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The Kierkegaardian Author: Authorship and Performance in by Joseph Westfall

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By Joseph Westfall

This examine engages in a close exam of Kierkegaard's works of literary and dramatic feedback, together with these works directed at examining Kierkegaard's personal authorship, with a selected main issue for either what Kierkegaard and Kierkegaard's anonyms and pseudonyms write in regards to the nature and perform of authorship, in addition to how the Kierkegaardian authors perform authorship themselves. relocating via 5 chapters, every one dedicated to a number of works of Kierkegaard's feedback, the research develops a brand new method of examining Kierkegaard-- a brand new Kierkegaardian hermeneutic-- that starts off consistently with the nature of the writer. This new process avoids the demanding situations of critics of biographical feedback, comparable to Roland Barthes, Michel Foucault, and Jacques Derrida, through positing the writer constantly as a piece of fiction him- or herself, the construction of an unknown and ever nameless "author of the author".

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Additional info for The Kierkegaardian Author: Authorship and Performance in Kierkegaard’s Literary and Dramatic Criticism

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M. M0ller. See Walsh Living Poetically, p. 33. And W. Glyn Jones "S0ren Kierkegaard and Poul Martin M0ller" in Modern Language Review 60,1965, pp. 73-82. EPW, 81 / SKS 1, 36. " Rumble "Eternity Lies Beneath: Autonomy and Finitude in Kierkegaard's Early Writings" in Journal of the History of Philosophy 35:1,1997, p. 89. EPW, 81 / SKS 1, 36-37. Livs-Anskuelser: Andersen as a Novelist 37 genius to fruition. The genius succumbs to circumstance, becoming nothing more than a poor fiddler. He dies a musical failure, in obscurity and alone.

99-115. A comparable analysis of works of literature as performance, although in an entirely different philosophical context and thus with radically different conclusions (informed very much by certain versions of reader response theory) can be found in Stephen Railton Authorship and Audience: Literary Performance in the American Renaissance, Princeton: Princeton University Press 1991. Railton's practice of veronymity, however, forces fundamental and irreconcilable differences between the Kierkegaardian project and what Railton takes to be the authorial projects of Emerson, Thoreau, Hawthorne, Poe, and Melville.

Heiberg's revision of the Hegelian development from epic, through lyric, to drama (Heiberg and the author of the review reverse the order of epic and lyric in Hegel); and the notion of a life-view, in a sense not altogether unlike the author's, is found in the thought of Kierkegaard's teacher and friend, P. M. M0ller. See Walsh Living Poetically, p. 33. And W. Glyn Jones "S0ren Kierkegaard and Poul Martin M0ller" in Modern Language Review 60,1965, pp. 73-82. EPW, 81 / SKS 1, 36. " Rumble "Eternity Lies Beneath: Autonomy and Finitude in Kierkegaard's Early Writings" in Journal of the History of Philosophy 35:1,1997, p.

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