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Almost no work has been done on the substance of Kierkegaard's epistemology. I argue, however, that knowledge plays a much more important role in Kierkegaard's thought than has traditionally been appreciated. / There are two basic types of knowledge, according to Kierkegaard: "objective knowledge" and "subjective knowledge." I argue that both types of knowledge are associated by Kierkegaard with "certainty" and may be defined as justified true mental representation (forestilling). I also argue, however, that the meaning of 'certainty,' 'justified' and 'true' is derivative of the object of knowledge. That is, I argue that Kierkegaard employs these expressions in both an objective and subjective sense and that the latter sense is not, as it has often been interpreted to be, subjectivist. / Finally, I argue that an appreciation of the substance of Kierkegaard's epistemology reveals that the charges of irrationalism which have often been made against him, are without foundation.

This study proposes to investigate the central metaphors of journey and silence as they as found in Kierkegaard's Fear and Trembling. Relying primarily on Paul Ricoeur's corrective to the tradition of metaphor theory, The Rule of Metaphor, Kierkegaard's use of these metaphors will be analysed for the way in which the nature of faith is depicted in this difficult, highly lyrical text. Key features of this study include a consideration of the role of "possibility" and "indirect communication" in the language of faith and, by extension, metaphor. Ricoeur's theory helps to connect what he terms the "work" of the text with the "world" of the text.

Ett gemensamt drag i den tidigare forskningen om Stina Aronsons modernism har varit att betona Artur Lundkvists betydelse. Den här uppsatsen undersöker en roman som utkom före det att Aronson hade någon kontakt med Lundkvist, Två herrar blev nöjda från 1928, i syfte att nyansera nämnda historieskrivning. Romanen undersöks utifrån en modernistisk diskurs baserad på tre representativa översiktsverk för perioden. Dessutom anläggs Judith Butlers performativitetsteori i ett försök att åskådliggöra hur Aronson i romanen skenbart anpassar sig till en traditionellt kvinnlig författarroll. Resultatet visar att Två herrar blev nöjda tar avstånd från realismen och istället präglas av modernismens estetik och radikalt nya världsåskådning. I såväl form som innehåll märks ett tydligt intresse för det omedvetna, för det irrationella, för slumpen och för det splittrade jaget. Vidare kännetecknas romanen av formell introspektion, det vill säga en upptagenhet vid den egna litterära skapelsen.

Thesis (Th. M.)--Regent College, Vancouver, BC, 2007. / Abstract and vita. Includes bibliographical references (leaves 159-165).

Originally presented as the author's Thesis (Ph. D.)--University of California, Berkeley, 1987. / Includes bibliographical references (p. 238-244).

Diss.--Institut für Philosophie--München--Ludwig-Maximilians-Universität, 1990.

Thesis (M.A.)--Wheaton College Graduate School, 2002. / Abstract. Includes bibliographical references (leaves 99-100).

Zugl.: Freiburg (Breisgau), Univ., Diss., 2006/07

Thesis (M.A.)--Wheaton College Graduate School, Wheaton, IL, 2000. / Abstract. Includes bibliographical references (leaves 99-100).