Kierkegaard's preoccupation with a separation between the ‘inner’ and the ‘outer’ runs through his work and is widely thought to belong to his rejection of Hegel's idealist monism. Focusing on The Concept of Irony and Either/Or, I argue that although Kierkegaard believes in various metaphysical distinctions between inside and outside, he nonetheless understands the task of the philosopher as that of making outside and inside converge in a representation. Drawing on Hegel's philosophy of art, I show that Kierkegaard's project in (...) both of these books is the aesthetic project of revealing the inner essence of something in its outward appearance. Kierkegaard's portrait of Socrates in The Concept of Irony is a phenomenology of the spirit of irony. My interpretation adds a new dimension to our understanding of Kierkegaard's aesthetics and his relation to Hegel; it presents him as a follower of Plato, whom he is usually thought to have dismissed; and it uncovers a deep connection between Kierkegaard's first two books, which are never read in conjunction. (shrink)

Victor Eremita proposes that the reader understand parts I and II of Either/Or as parties in a dialogue; most readers in fact view II as a devastating reply to I. I suggest that part I be read as a reaction or follow-up to Kierkegaard’s dissertation. Much of part I presents reflective characters who are aware of their freedom but reluctant or unable to adopt the ethical life. The modern Antigone and the Silhouettes are sisters of Alcibiades—failed students of Socrates. I (...) articulate and defend their modes of loving, which are significantly different from Don Giovanni’s and Johannes the Seducer’s purely aesthetic approaches to love. Such feminine love, I argue, dwells in the disputed territory between passion and action, substance and freedom, the aesthetic and the ethical. Antigone’s love is a passion she both suffers and tries to appropriate. The Silhouettes’ devotion to their beloved makes them dependent on him. I defend this dependence even though it is undoubtedly a form of despair. By appealing to Sartre’s account of love, I argue moreover that this love involves a recognition and appraisal of the beloved absent in the love exemplified by Fear and Trembling’s knight of infinite resignation. (shrink)

In “Tragedy and Resentment” Ulrika Carlsson claims that there are cases when we are justified in feeling non-moral resentment against someone who harms us without wronging us, when the harm either consists in their attitude towards us or in the emotional suffering triggered by their attitudes. Since they had no duty to protect us from harm, the objectionable attitude is not disrespect but a failure to show love, admiration, or appreciation for us. I explain why unrequited love is the (...) wrong example to use when arguing for the possibility of justified non-moral resentment—and why, therefore, Carlsson’s claim remains unsubstantiated. Pace Carlsson, people who fail to return our love are not best described as harming us, but as merely failing to benefit us by saving us from harm. Moreover, their role in the causal chain that results in our coming to harm is insufficient to warrant our resentment; more plausibly, we ourselves play a greater and more direct causal role in this process. This is a welcome result: Responding with resentment to someone’s failure to return our love indicates that our love has not taken the form of a genuine gift. When we put conditions on successful gifting by allowing for justified resentment if the gift is not returned we are not in fact giving gifts but making a bid for an exchange: I love you so that you love me back. (shrink)