By Karsten Harries
If the Enlightenment grew to become to cause to reoccupy where left vacant through the loss of life of God, the final centuries have undermined such religion in cause. we won't break out this historical past. the threat of nihilism haunts Either/Or. To exorcize it's Kierkegaard´s so much basic hindrance. yet the place are we to show? To a cultured transfiguration of, or get away from truth? Does ethics promise a solution? Or is all that's left an irrational jump to faith? All such questions are shadowed via the threat of Kitsch. What does it suggest to be real within the glossy global?
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Extra resources for Between nihilism and faith : a commentary on Either/or
The misprint was not corrected until 1947, eight years after Yeats’ death. 76 Jean Paul Vorschule der ¾sthetik, pp. 31 – 34. Kierkegaard owned the second edition of the Vorschule der Aesthetik from 1831 (Ktl. 1381 – 1383). Kierkegaard’s relation to Jean Paul is still a largely unexplored area of research; for a recent study, cf. Markus Kleinert “Apparent and Hidden Relations between Kierkegaard and Jean Paul,” esp. p. ” 3. Immediacy and Reflection 1 The “Diapsalmata” set the mood for what is to come.
It is that freedom that cannot find its home in the world. The talk of anguish and beauty of the first diapsalma should be compared to the sublime laughter of the last. If there is one mood that pervades the “Diapsalmata” as a whole it is this sense of homelessness, of being a stranger in the world. Is this is a personal mood, a mood that has its origin in a personal history? Or does it have its foundation in a historical development that let the human being fall out of reality? Or is it the human condition?
Schlegel’s novel Lucinde, where he notoriously celebrates the extramarital relation between Julius and Lucinde (cf. esp. Kritische Friedrich-Schlegel-Ausgabe, vol. 5, pp. 61 – 62). 2. ”68 A wants to get his own way. Note the divorce here of freedom and the immediacy of enjoyment. Here is what A has to say about the innocent pleasures of life: “And now the innocent pleasures of life. ”69 A knows about the way reflection cuts him off from really living: “Aladdin [a play by Adam Gottlob Oehlenschläger] is so very refreshing because this piece has the audacity of the child, of the genius, in the wildest wishes.