ABSTRACT What happens to the imagination in the process of overturning despair and becoming an authentic (i.e. a Christian) self? Using the mystic concept of Entbildung (i.e. getting cleansed of images) as heuristics, the article re-examines the relation of the imagination and the will in Kierkegaard. Analysing the rarely compared texts Practice in Christianity and the first of the Ethical-Religious Essay, and paying close attention to the semantics of the image, the article argues that grace and imagination cooperate in the (...) process of Entbildung, restoring the self’s receptivity for possibility as an uncontrollable, non-anticipatable divine possibility. It is in this kenotic discipleship that the aspiring followers of Christ may come to resemble Christ, who in the Garden of Gethsemane prayed ‘Father … everything is possible for you. Take this cup from me. Yet not what I will, but what you will’. (shrink)

ABSTRACTThe role of the image in the third part of Practice in Christianity suggests that Kierkegaard was inspired by Meister Eckhart’s and Johann Tauler’s account of detachment. I argue that Kierkegaard was not only indirectly influenced by Tauler through the works of the Pietistic writers, but also directly inspired by Tauler’s sermons. Particularly striking are similarities to a sermon that was included in the Tauler edition owned by Kierkegaard: the second sermon on the Feast of the Exaltation of the Cross. (...) A comparison of the texts shows how both Tauler and Kierkegaard criticize the mental images their contemporaries hold of Jesus Christ. Both stress the importance of existential kenosis, which they describe as Entbildung of the intellect and the will, and which is an essential part of following Christ in his abasement. Furthermore, they analyze inadequate attempts to imitate Christ in a similar manner. Even though Kierkegaard and Tauler differ with regard to the ontological implications of Entbildung, the ethical implications are the same: one should not retreat from the world, but rather turn to it with a selfless attitude. (shrink)

To counteract the antinomian tendencies of nineteenth-century secular Protestantism, Søren Kierkegaard turns to Johannes Tauler's sermons, which vividly express a dialectics of works and grace, attacking an inflated asceticism as much as idleness. For reasons of reception history and because of the similarity of the images Kierkegaard and Tauler use, particularly servitude as expressed in Luke 17:10, this article proposes to understand Kierkegaard's account of grace as ‘Taulerian’ rather than ‘Arminian’. To show the intertwined agency of the human and the (...) divine, the article offers a comparative reading of Tauler's two sermons on Cantate Sunday, Kierkegaard's Upbuilding Discourse ‘The Expectancy of an Eternal Salvation’ and the second part of Judge for Yourself. Both Kierkegaard and Tauler design definitory ambiguities for a performative purpose: to help their readers and, respectively, listeners to become receptive to grace by humbling themselves and refraining from fathoming ‘what is not given to be understood’. (shrink)

Name der Zeitschrift: Kierkegaard Studies Yearbook Jahrgang: 2017 Heft: 1 Seiten: 379-394.

The article examines the explicit and implicit role that Kierkegaard played in the cultural criticism developed in the literary circle of the Danish journal Heretica (1948 – 1954). The cultural criticism of Kierkegaard and eminent Danish post-war authors (Martin A. Hansen, Vilhem Grønbech, Bjørn Poulsen, Tage Skou-Hansen and Ole Wivel) is contextualized in the tradition of Western cultural criticism. An analysis of central concepts such as crisis, rationality, spirit and reflection as well as alienation, individuality and community, demonstrates the original (...) contributions these authors make to the modern understanding of culture. Furthermore, the article addresses the reservations that some of the Heretica- authors had towards Kierkegaard. The accusation of solipsism, however, turns out to be unwarranted. Rather, it becomes clear that Kierkegaard’s emphasis on the individual, like the post-war authors’ critique of fascism, is directed against the power of the masses and the increasing bureaucratization of life. Finally, Kierkegaard as well as the 20th century authors depict neighbor love as decisive for a post-restitutive, forward-oriented way out of a severe cultural crisis. (shrink)

The development of Vertigo’s main characters provides a detailed illustration of the dialectics of despair as analysed in Kierkegaard’s The Sickness unto Death, in particular of the so-called ‘masculine’ and ‘feminine’ types of failed selfhood. This article shows the relation of selfhood and despair to dizziness both in Kierkegaard’s work and in Hitchcock’s film, and it examines the religious subtext of Vertigo. The dramatis personae of Judy and Scottie are analysed by applying Kierkegaard’s phenomenology of despair. They display a variety (...) of failures to relate to their selves, like unconscious and conscious despair, possibility’s despair, despair over the earthly and despair of the eternal. Moreover, they epitomize the gendered types of despair as depicted in The Sickness unto Death: losing one’s self in relation to someone and obsessively striving for self-assertion at the cost of others. (shrink)