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Kierkegaard essay on repetition in literature 115 A Theater of Ideas Performance and Performativity in Kierkegaard’s Repetition Martijn Boven It has always been one of the tasks of philosophy to develop categories that give an intelligible form to knowledge. This is no different for Kierke gaard. He has developed important categories such as repetition, the instant, anxiety, despair, and so forth. However, there is something odd about these categories: it is very hard to find a clear and unequivocal definition of them. In different ways, each of them is shrouded in uncertainty. This uncertainty is not the result of a lack of talent but a deliberate effect. In Kierkegaard’s view, there are two types of categories: logical and existential. Logical categories can ideally exhaust their object in such a way that there is no uncertainty left. This is different in the case of existential categories. These categories will never be able ideally to exhaust their object because they are dependent on the person who essay topics Fossil Q Venture HR Review using them. Kierkegaard tries to solve this difficulty by preserving the uncertainty inherent in these categories. An example can clarify this. One of Kierkegaard’s pseudonyms tells about a witty fellow who divided humankind into three classes: officers, servant girls, and chimney sweeps.“In my opinion,” the pseudonym writes, “this remark is not only witty but also profound, and it would take great speculative talent to make a better classification. If a classification does not ideally exhaust its object, the accidental is preferable in every way, because it sets the imagination in motion” (SKS 4:37 / R 162). The sheer impossibility of establishing an exhaustive classification of humankind shows that it makes more sense to rely on an accidental and unessential classification than on a serious and essential one. Any classification will at best approximate the truth, without ever reaching it. But an accidental classification has the added advantage of activating the imagination and forcing the recipient to produce a creative response. This is exactly the kind of performative effect that Kierkegaard tries to University spin-out raises cash for tech to help robots avoid crashes essay. In this essay, I will argue that Kierkegaard’s oeuvre can be seen as a theater of ideas.1 This argument is developed in three steps. First, I will briefly introduce a theoretical framework for addressing the theatrical dimension of Kierkegaard’s works. This framework is based on a distinction between 116 Martijn Boven “performative writing strategies” and “categories of performativity.”2 As a second step, I will focus on Repetition: A Venture in Experimenting Psychology“by Constantin Constantius,” one of the best examples of Kierkegaard’s innovative way of doing philosophy. This strange and elusive book introduces the difficult and counterintuitive notion of repetition. Repetition is a category of performativity that aims to activate the subjectivity of the reader. This performative effect is achieved by confronting the reader with an “unresolved ” existential problem that is not yet drawn into clarity but is staged in all its essay on Seahawks-Cardinals injury updates: LB K.J. Wright out, RB Chris Carson questionable and contradictions. Kierkegaard’s pseudonym Constantius relies here on a performative writing strategy that is animated by a dialectic of advance and withdrawal. In the last and third step, I will analyze Constantius ’s own reflection on the performative dimension of his text. Constantius has left several clues behind, each of which suggests that he deliberately developed a performative writing strategy. Theoretical Framework: Performance and Performativity Many interpreters of Kierkegaard have studied his poetics of indirect communication as a maieutic practice that takes place on the borderline between philosophy and literature. Without denying the influence of literature on Kierkegaard’s works, I will focus on a different discipline of art: the theater.3 It is well known that Kierkegaard was an ardent lover of theater and could often be found in the Royal Theater in Copenhagen. He composed several minor writings about theater and remained fascinated with the subject to the end of his life. Although these minor writings have never received much attention, they can shed some light on the performative dimension of Kierke gaard’s works.4 “Phister as Captain Scipio” is exemplary in this respect. In this short essay, the pseudonym Procul analyzes how the Danish essay on Gordon Hayward scores 10 points for Celtics in return from gruesome leg injury Joachim Ludvig Phister plays the role of Scipio, an alcoholic who is a captain in the Papal Police Corps. To exploit the comic potential of this character, Phister has to make a double movement. On the one hand, he has to play Captain Scipio as someone who is constantly concealing that he is an alcoholic. On the other hand, he has to make sure that the. If you would like to authenticate using a essay on Manchester City news: Kevin De Bruyne will return to training in next few days subscribed institution that supports Shibboleth authentication or have your own login and password to Project MUSE, click 'Authenticate'. You are not currently authenticated. View freely available titles: Book titles OR Journal titles. Kierkegaard, Literature, and the Arts is a collection of fourteen essays that illuminate the broad and often underappreciated variety of the nineteenth-century Danish thinker Søren Kierkegaard’s engagements with literature and the arts. These essays, contextualized with an insightful introduction by Eric Ziolkowski, explore Kierkegaard’s relationship to literature (poetry, prose, and storytelling), the performing arts (theater, music, opera, and dance), and the visual arts and film. The collection is rounded out with a final comparative section that considers Kierkegaard in juxtaposition with a romantic poet (William Blake), a modern composer (Arnold Schoenberg), and a contemporary singer-songwriter essay topics Turn-by-turn analysis of the new Charlotte road course Dylan). Kierkegaard was as much an aesthetic thinker as a philosopher, and his philosophical writings are complemented by his literary and music criticism. Bringing together insights from an international group of Kierkegaard scholars, Kierkegaard, Literature, and the Arts will offer much of interest to scholars concerned with Kierkegaard as well as teachers, performers, and readers in the various aesthetic fields discussed.