When the tried oldster drew near to his last hour, having fought the good fight and kept the faith, his heart was still young enough not to have forgotten that ...

In this essay I offer a reading of Fear and Trembling that responds to critiques of Kierkegaardian ethics as being, as Brand Blanshard claims, “morally nihilistic,” as Emmanuel Levinas contends, ethically violent, and, as Alasdair MacIntyre charges, simply irrational. I argue that by focusing on Isaac's singularity as the very condition for Abraham's “ordeal,” the book presents a story about responsible subjectivity. Rather than standing in competition with the relation to God, the relation to other people is, thus, inscribed into (...) this very relation. Fear and Trembling, I contend, advocates a bidirectional responsibility that is constitutive of subjectivity itself and, as such, actually resonates with certain aspects of Levinasian ethics. I conclude by suggesting that Abraham's ordeal is not due to the conflict between a nonreligious duty and the duty to God, but instead reflects a tension that is internal to the life of faith itself. (shrink)

Both Aristotle and Kierkegaard show that virtues result, in part, from training which produces distinctive patterns of salience. The "frame problem" in AI shows that rationality requires salience. Salience is a function of cares and desires (passions) and thus governs choice in much the way Aristotle supposes when he describes choice as deliberative desire. Since rationality requires salience it follows that rationality requires passion. Thus Kierkegaard is no more an irrationalist in ethics than is Aristotle, though he continues to be (...) charged with irrationalism. The compatibility of an Aristotelian reading of Kierkegaard with the "suspension of the ethical" and general problems with aretaic ethical theories are treated briefly. The author argues that it is possible to preserve a realist ethics in the face of the "tradition relativism" which threatens the version of virtue ethics here attributed to Kierkegaard. (shrink)

Stay! That is to say, either stay with your decision or stay your hand. Demeure: either remain or delay. Morari or moriri: either life or death. The alternation is also a hyphenation, a connection-disconnection, as with that of Judaeo-Christianity and the ethicoreligious. How are these hyphenations construed in Kierkegaard's divergence from Kant and Hegel and in the responses of Derrida and Levinas to Johannes de silentio's story of what happened and did not happen on Mount Moriah? Perfect duties and imperfect (...) duties fall under the responsibility of absolute duty. If the ethical is externally related to natural life, the life that is internal to the ethical is due to another externality, that of responsibility to the absolute other - or God, if you like. Another alternation. Another hyphenation? Or a dash? And would it be a dash that separates justice from love? And is love ever separate from self-love or from narcissisim? What sort of narcissism is exemplifed in Kierkegaard's search for salvation? Meanwhile Abraham waits, and with him or against him but without demur, so do Isaac, the ram, and a host of hostages, guests, and asylum-seekers, one by one. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 63.2 (2002) 303-321 [Access article in PDF] "The Peak on Which Abraham Stands": The Pregnant Moment of Søren Kierkegaard's Fear and Trembling Lasse Horne Kjaeldgaard When Søren Kierkegaard in the 1840s began his one-man crusade against the predominant philosophy of his time and place—the right Hegelianism that was en vogue among his contemporaries in Copenhagen—he chose his weapons with great circumspection. The indirect (...) form of communication, which he later advocated in more direct terms in his "Point of View," 1 was not only a maieutic means that helped the reader conceive of the latent and strictly private messages of the texts; it was also a strategy for Kierkegaard's undercover assaults on the Hegelian turn of the Geistesleben around him. By interweaving many of the Hegelian platitudes and self-confident pronouncements that circulated in the intellectual life of the day into the pseudonymous writings, Kierkegaard contested them with parody rather than argumentation. This is the local background against which these texts are structured and to which they are addressed in multiple and very subtle ways. That also goes for that of the pseudonymous writings which has become the best known but which may also be regarded as the most private and most secretive of them all, Fear and Trembling, published pseudonymously in 1843.Secrecy, silence, and unspeakable messages are abundantly thematized in Fear and Trembling, as one could expect from the name of the narrator, Johannes de Silentio. Silentio is a prominent member of the choir of pseudonymous figures Kierkegaard invented to communicate indirectly with his audience and in [End Page 303] the name of which he published his most celebrated works. The silence that Silentio speaks of is that of Abraham of the Old Testament, who was commanded by God to sacrifice his only son on Mount Moriah. Although Genesis 22 includes fragments of the dialogue between Abraham and Isaac on their way to the mountain, Silentio insists that Abraham remained silent on the essential issue: the command he acts upon. The unmediated message Abraham had received from God could not be conveyed, and he was therefore barred from communication and bereft of his community as he journeyed to the Mountain. Yet Silentio's discourse upon this silence in Fear and Trembling has given impetus to innumerable pages of commentary. The questions and answers he poses in his reflections upon Abraham's ordeal have called for critical attention and controversy since the time of its publication. His obsession with the biblical narrative certainly seems to have been passed on to many readers of Fear and Trembling, which, a recent commentator has remarked, "continues to haunt us like no other of [Kierkegaard's] writings." 2 So far, it would seem, then, that Kierkegaard was right when he predicted, in an undated journal entry, that "Fear and Trembling will be enough to immortalise my name." It has indeed been "read and translated into foreign languages," as he foresaw it would. 3Even so, what has passed unnoticed in its long history of reception is the significance of the titles that the manuscript text bore before it came to be called Fear and Trembling. On the title page the definitive appellation is placed together with two alternatives with less suggestion of pathos: "Movements and Postures" (Bevægelser og Stillinger) and "Between-each-other" (Mellemhver-andre). 4 Not much can be discerned from these unpeculiar phrases in isolation. However, tracing their history and significance through Kierkegaard's writings and beyond, will make it clear that Fear and Trembling was also dispatched to the narrow Hegelian community in Copenhagen for the purpose of questioning their literary and visual aesthetics and philosophy of history. Into the guerrilla warfare against them Fear and Trembling introduces a weapon of such sophistication that it has remained undetected so far: the power of the "pregnant moment." My aim here will be to demonstrate the way in which Fear and Trembling appropriates a principle of selection intended for the... (shrink)

A compelling account of Kierkegaard's ethical views, seeing him against the backdrop of nineteenth-century European society but showing the relevance of his thought for the twenty-first century. Kierkegaard's view of morality as grounded in God's command to love our neighbours as ourselves has clear advantages over contemporary secular rivals.

In Either/Or, using the voices of two characters—the aesthetic young man of part one, called simply "A," and the ethical Judge Vilhelm of the second section—Kierkegaard reflects upon the search for a meaningful existence, contemplating subjects as diverse as Mozart, drama, boredom, and, in the famous Seducer's Diary, the cynical seduction and ultimate rejection of a young, beautiful woman. A masterpiece of duality, Either/Or is a brilliant exploration of the conflict between the aesthetic and the ethical - both meditating ironically (...) and seductively upon Epicurean pleasures, and eloquently expounding the noble virtues of a morally upstanding life. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators. (shrink)

C. Stephen Evans explains and defends Kierkegaard's account of moral obligations as rooted in God's commands, the fundamental command being `You shall love your neighbour as yourself'. The work will be of interest not only to those interested in Kierkegaard, but also to those interested in the relation between ethics and religion, especially questions about whether morality can or must have a religious foundation. As well as providing a comprehensive reading of Kierkegaard as an ethical thinker, Evans puts him into (...) conversation with contemporary moral theorists. Kierkegaard's divine command theory is shown to be an account that safeguards human flourishing, as well as protecting the proper relations between religion and state in a pluralistic society. (shrink)