Dissertação (mestrado)—Universidade de Brasília, Instituto de Ciências Humanas, Departamento de Filosofia, Programa de Pós-Graduação em Filosofia, 2013. / Submitted by Albânia Cézar de Melo (albania@bce.unb.br) on 2013-09-02T13:53:23Z No. of bitstreams: 1 2013_ArthurBartholoGomes.pdf: 1133542 bytes, checksum: 2c63e6e33db6ad21f9d4d19fe988bea5 (MD5) / Approved for entry into archive by Guimaraes Jacqueline(jacqueline.guimaraes@bce.unb.br) on 2013-09-02T14:02:50Z (GMT) No. of bitstreams: 1 2013_ArthurBartholoGomes.pdf: 1133542 bytes, checksum: 2c63e6e33db6ad21f9d4d19fe988bea5 (MD5) / Made available in DSpace on 2013-09-02T14:02:50Z (GMT). No. of bitstreams: 1 2013_ArthurBartholoGomes.pdf: 1133542 bytes, checksum: 2c63e6e33db6ad21f9d4d19fe988bea5 (MD5) / Esta dissertação trata do problema da repetição em Kierkegaard do ponto de vista daquilo que ele concebe como sendo o estético. Tanto as articulações do significado deste conceito dentro da obra A Repetição, quanto o significado do estético nesta e em outras obras, serão trabalhados no sentido de aproximar aquilo que, no texto, aparece associado de maneira apenas indireta. A tarefa, portanto, exige uma exposição detalhada da ideia de repetição em toda a sua abrangência tal como Kierkegaard apresentou, bem como o significado do estético e como a repetição abre seus limites para o religioso enquanto uma postura existencial que a ultrapassa. A colisão entre o estético e o religioso, a partir da qual o poético aparece como uma forma de realização da repetição, consiste, portanto, na ideia central deste trabalho e no tema chave, em que seus elementos deverão ser desenvolvidos tanto em seus aspectos divergentes quanto convergentes. ______________________________________________________________________________ ABSTRACT / This dissertation intents to see the problem of repetition in Kierkegaard from that point of view which he conceives to be aesthetical. Both the meaning of this concept inside the book Repetition, as well as the meaning of the aesthetic on this matter in this text and in other writings, will be developed in order to bring together what appears linked in the text only in an indirect manner. The task altogether requires a detailed exposition of the idea of repetition in all its complexity as was shown by Kierkegaard, as well as the meaning of the aesthetical and the limits opened by repetition towards the religious as an existential posture that surpasses it. The collision between the aesthetical end the religious, from which the poetical appears as a way of realizing repetition, consists, for that matter, in the main idea of this work and its key-theme, in which its elements shall be developed in both its divergents and convergent aspects.

Abstract This thesis consists of three independent parts combined by the theory part in the beginning. The aim of the thesis is to bring into focus the connection between Søren Kierkegaard and modernism. Joseph Heller's novel Catch-22 is also interpreted in the light of Kierkegaard's philosophy. The theoretical part deals with the main concepts of the research (movement, irony, repetition). Joseph Heller's Novel Catch-22 is also brought up more closely in this part. Kierkegaard's works The Seducer's Diary, Repetition and The Mozart-essays are interpreted in the second part of the thesis. The third part consists of two Kierkegaard translations from Danish into Finnish: Repetition and The Mozart-essays. [Søren Kierkegaard, Toisto (Gjentagelsen), transl. by Olli Mäkinen, Jyväskylä 2001, Atena; Mozart-esseet (De umiddelbare erotiska Stadier eller det Musikalsk-Erotiske), transl. by Olli Mäkinen, Jyväskylä, 2002)] Joseph Heller's novel Catch-22 is interpreted in the fourth part. The novel is studied in the light of Kierkegaard's paradigmatic examples and compared to them. There are two different contradictory movements in the study: Kierkegaard is studied as a modernist and modernism is also interpreted in the light of Kierkegaard's philosophy. The primary source of this thesis is the classical version of Kierkegaard's Collected Works: (Søren Kierkegards Samlede V?rker I-XV=SV I-XV. (1920-36 (1901-1906). -Udg. af A. D. Drachmann, J. L. Heiberg og H. O. Lange. Kjøbenhavn: Gyldendalske Boghandel, Nordisk Forlag) The more recent versions have however been used as the basis of the translations of texts Repetition and The Mozart-essays (Gjentageksen and De umiddelbare erotiska Stadier eller det Musikalsk-Erotiske, Søren Kierkegaards Forskningscentret, København 1997, Gads Forlag). In conclusion: Kierkegaard can be interpreted also as pre-modernist and the Kierkegaard-interpretation of Joseph Heller's Catch-22 is valid and possible, although the existential influence in this novel can also derive from the post-war existentialism of the World War II. / Tiivistelmä Kyseinen tutkimus koostuu kolmesta itsenäisestä osasta, joita yhdistää alussa oleva (neljäs) teoriaosa. Tutkimuksen tarkoituksena on valottaa Søren Kierkegaardin ja modernismin välistä yhteyttä. Tutkimuksessa tulkitaan myös amerikkalaisen kirjailijan Joseph Hellerin teosta Catch-22 Kierkegaardin filosofian valossa. Tutkimuksen teoriaosassa käsitellään tulkinnan kannalta keskeisiä käsitteitä (liike, ironia, toisto). Siinä otetaan esille myös Joseph Hellerin romaani Catch-22. Toisessa osassa lähiluetaan Viettelijän päiväkirjaa, joka on Kierkegaardin ehkä tunnetuin yksittäinen teos, ja sekä Toistoa että Mozart-esseitä. Kolmannen osan muodostavat kaksi kriittistä ja kommenteilla varustettua Kierkegaard-käännöstä. [Søren Kierkegaard (1843) Toisto (Gjentagelsen), suom. Olli Mäkinen, Jyväskylä 2001, Atena; Mozart-esseet (De umiddelbare erotiska Stadier eller det Musikalsk-Erotiske), suom. Olli Mäkinen, Helsinki 2002, Like.] Tutkimuksen neljäs osa koostuu Joseph Hellerin romaanin Catch-22 tulkinnasta. Kohdetta lähestytään Kierkegaardin paradigmaattisten esimerkkitapausten kautta. Tutkimuksessa ilmenee siis kahdenlaista liikettä. Kierkegaardia tulkitaan modernistina, mutta modernismia luetaan myös Kierkegaardin filosofian valossa. Tutkimuksessa käytetään primäärilähteinä Kierkegaardin koottujen teosten klassista versiota (Søren Kierkegards Samlede V?rker I-XV=SV I-XV. (1920-36) -Udg. af A. D. Drachmann, J. L. Heiberg og H. O. Lange. Kjøbenhavn: Gyldendalske Boghandel, Nordisk Forlag). Gjentageksen- ja De umiddelbare erotiska Stadier eller det Musikalsk-Erotiske -tekstien käännöksien pohjana on kuitenkin käytetty em. uusimpia versioita (Søren Kierkegaards Forskningscentret, København 1997-98, Gads Forlag). Tutkimuksessa päädytään johtopäätökseen, jonka mukaan Kierkegaardia voidaan tulkita myös esimodernistina ja Joseph Hellerin Catch-22 -teoksen Kierkegaard-tulkinta on mahdollinen, vaikka eksistentialistiset vaikutteet kyseisessä romaanissa voivat olla peräisin myös varsinaisesta toisen maailmansodan jälkeisestä eksistentialismista.

In the 1840s, Søren Kierkegaard argued that the creation of impersonal media through the newspaper would level down human possibilities by turning every action into a spectacle for publicity. Nearly 200 years later, with smartphones whipped out to capture the most meaningful and trivial events as soon as they begin, we can ask the question—was Kierkegaard right to be worried? This essay will construct a Kierkegaardian analytic argument that our society has been leveled derived from Kierkegaard’s views as expressed in his philosophical analysis of leveling and the present age contained in Two Ages: A Literary Review. After arguing that our society is leveled, I will give an account of how leveling has developed and briefly explain Kierkegaard’s solution to leveling. Lastly, I will extrapolate Kierkegaard’s views of the press to the Internet and argue that the Internet presents new technological developments that force him to hold contradictory views on impersonal media.

In 1844, when Kierkegaard published his work, The Concept of Anxiety, under the pseudonym of Vigilius Haufuiensis, it constituted no mean feat for a variety of reasons. Firstly, and perhaps most obviously, was the content of the work. At that time, very little work had been done concerning the experience of anxiety and certainly no single academic work had had this issue as its formal topic. Secondly, the book was an incisive and complex theological and philosophical argument. So much so in fact, that no discussion of Haufuiensis' concept of anxiety is possible without incorporating its theological implications. Thirdly, and certainly as significant as its religious aspect, is the psychology inherent to The Concept of Anxiety. This was as innovative as the philosophical aspect, as is evinced by the pervasive influence it exercised over the development of psychology in the twentieth century. Lastly, but by no means least importantly, is the fact that Haufuiensis' work was an ingenious and derisive attack on Hegelianism, as well as a superb example of the practice of irony. The reason that I make mention of this is to briefly illustrate the depth and complexity of this "little" work. Hence, in this essay, it has been my aim to thoroughly explore all four aspects of the work and to demonstrate how each holds as much significance as the other in considering the work as a whole. In terms of methodology, I have actively refrained from limiting my investigation to one particular approach. Instead, I have endeavoured to explore Haufuiensis' The Concept of Anxiety from a myriad of different angles, including the analytical, existential, theological, linguistic and deconstructive interpretations. Furthermore, in my opinion, any sound investigation of The Concept of Anxiety cannot proceed along the lines of isolating one specific aspect of the work as being of greater significance than any other. This is in contrast to the earlier scholars of Kierkegaard, who tended to categorize him chiefly as a Christian writer, greatly at the expense of all the other facets of his work. The influence of Kierkegaard's work on the existentialist movement is well known and is encapsulated in his being cast as "the father of existentialism". In my opinion, this constitutes yet one more attempt to categorize both the man and his work, and as such constitutes a reductionism and an untenable approach to the work of this important thinker. My motivation in conducting an investigation into Kierkegaard's conception of anxiety is two-fold. Firstly, I am of the opinion that anxiety is a universal and, at the same time, intensely personal experience. As such, The Concept of Anxiety is an indispensable, and often overlooked part of Kierkegaard's philosophy. My second reason is to demonstrate, by simply concentrating on one aspect of Kierkegaard's work, the depth and scope of his corpus. The Concept of Anxiety is notoriously known as being Kierkegaard's most inaccessible work, due chiefly to the difficulty experienced in its interpretation, and the subsequent plethora of misinterpretation. It is my opinion that the principal cause of this problem is the failure on the part of readers to take heed of the fact that Haufuiensis' work is conducted by means of indirect communication and as such is fraught with irony. Finally, my conclusion after examining the conception of anxiety, as put forth by Haufniensis, as well as the reactions and influences it has elicited in the years since its publication, is that the work of the Danish author is as relevant and as important today, as it was upon being published. / Dissertation (MA (Philosophy))--University of Pretoria, 2000. / Philosophy / unrestricted

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Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

My thesis argues that Søren Kierkegaard provides a perspective on grief that validates emotional experience while offering the opportunity for transcendence beyond the immediacy of grief through the work of love in recollecting one who is dead. Conventional philosophical approaches offer an incomplete picture by focusing on grief either as exclusively emotional or exclusively moral. The alternative methodology of phenomenology serves to draw out common threads from the intensely subjective, inward experience of grief. Kierkegaard’s writings on the topics of grief, sorrow, and love for the dead reflect the complexity uncovered in the phenomenological analysis. Traditional interpretations of Kierkegaard’s call to love the dead focus on this love as a metaphor for how to love the living, while more recent scholarship identifies love for the dead as valuable in itself. Taking up this approach, I seek to provide a reading that takes seriously the emotional experience of loss and justifies the value of continued love for the dead consistent with the phenomenology of grief and Kierkegaard’s writings.

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