Abstract

Several deconstructive readings of Kierkegaard from the early 1980’s and 1990’s begin with a critique of the role the aesthetic plays in The Point of View for My Work as an Author in order to trouble the entire (ostensive) hierarchy of religious-ethical-aesthetic. These readings suggest that there is no way to discern with certainty whether the signature “Kierkegaard” (here and elsewhere) indeed refers to the factical author, or is just another playful aesthetic pose. From this point, they go on to challenge the received view that the first authorship as a whole should be understood as fundamentally religious rather than aesthetic. I argue that this is a largely unsuccessful move, because these readers do not do full justice to Kierkegaard’s understanding of the transfiguration (or appropriation) of the lower stages of existence into the higher, in the balancing of the self. Re-reading the autobiographical texts with this in mind shows that the authorship is indeed a religious enterprise, even granting the questionable status of The Point of View. I conclude by arguing that On My Work as an Author represents a more successful autobiographical transfiguration of the aesthetic within the ethical-religious stages – and hence a more complete balancing of his own self – and that this work should also be understood as an act of witnessing. Indeed, for Kierkegaard to witness in a way other than through his writing would be a kind of despair, insofar as he would be willing to be someone other than himself.