In Either/Or, Part One, Kierkegaard presents what he calls the aesthetic form of life. There he focuses on a large variety of the stereotypical views of women, from a sentimental and whining appraisal of her position in the world, through the view that sexual exploitation is an uncontrollable natural instinct and/or drive for which men are not morally responsible, to the view that woman is a jest, not to be taken seriously as a moral and responsible being, and then (...) that she is just there as a sexual object or plaything to be reflectively seduced on the male's terms and for his pleasure or rejection, whatever suits him at the moment. Needless to say, this great variety of views of the "uses" of woman has provoked a large critique, and just as predictably, that critique is as varied as the intellectual tools available for the analysis of a work that is as literary as it is philosophic. The present collection of essays treats these and many other of the most important issues raised in Either/Or in fresh and perceptive ways. Even where familiar themes are argued, the authors introduce innovative interpretive models, new approaches and new materials are appealed to, or new rebuttal arguments against previously held positions are offered. Several of the articles, for instance, appropriate or criticize methods or insights derived from postmodernism and/or feminist philosophy, an approach that would have been unlikely two decades ago. (shrink)

In this article, I investigate Either/Or’s generic affinity with the Bildungsroman. I demonstrate that it both imitates the topological structure of this genre and that it is likewise composed of a number of formation narratives and tropes that mirror the Bildungsroman. This is documented by following the development of an often-overlooked textual figure at the conclusion of the second part of Either/Or and through a reading of “The Seducer’s Diary” as a demonic Bildungsroman with maieutic implications. Finally, I (...) examine the relationship between the Bildungsroman and the Entwicklungsroman [novel of development] with particular attention to Kierkegaard’s late authorship. (shrink)

This essay surveys the varieties of disjunctivism about perceptual experience. Disjunctivism comes in two main flavours, metaphysical and epistemological.

Often seen as a typical Chaoskampf, the cosmic struggle between Marduk and Tiamat in the Babylonian epic of creation, Enuma Elish, looked at closely belies this reading that has been dominating scholarship since the nineteenth century. Through a close-reading of the epic’s narrative against its modern/colonial reception, the article argues that Enuma Elish provides a rich and complex narrative in which motherhood and monstrosity do not oppose each other, nor do they run together with each other. The textual, historical and (...) philological analyses, as well as reception-critiques, ultimately serve to theorize from within the ancient cosmology an immanent and decolonial logic that is beyond ‘either/or’. (shrink)

I trace Shlomit Schuster’s main ideas about the practice of philosophy, and fol­low with a critical characterization of her thought which bears on philosophy’s relation to psychology and psychiatry, on the one hand, and to religion, on the other, as well as on her basis of claiming philosophy’s suitability for non-philosophers. I argue that Shlomit could be unnecessarily uncompromising in implementing her either/or yet not sufficiently discerning of philosophy’s difference with religion. The most conspicuous tenet of Shlomit’s thought – (...) the relation between philosophy and the therapeutic disciplines – has been abundantly debated within the practical philosophy movement. As far as I know, the tacit assumption of her thought regarding the relation of religion with philosophy and its prac­tice, in contradistinction, has not been addressed within this movement. Shlomit’s life and death urges us to tackle this delicate yet significant subject. (shrink)

In Either/Or, using the voices of two characters—the aesthetic young man of part one, called simply "A," and the ethical Judge Vilhelm of the second section—Kierkegaard reflects upon the search for a meaningful existence, contemplating subjects as diverse as Mozart, drama, boredom, and, in the famous Seducer's Diary, the cynical seduction and ultimate rejection of a young, beautiful woman. A masterpiece of duality, Either/Or is a brilliant exploration of the conflict between the aesthetic and the ethical - both (...) meditating ironically and seductively upon Epicurean pleasures, and eloquently expounding the noble virtues of a morally upstanding life. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators. (shrink)

At first glance, a systematic examination of Either/Or apparently yields a clear analysis of its structure. The project is straightforward. There are two words in the title. There are two volumes, each with its principal speaker. In the course of the work a speaker for the ethical perspective follows an aesthetic speaker and comments critically on him and his ideas. As a judge, he clearly has the requisite temporal authority and moral ascendancy to do so. Moreover the judge appeals (...) to eternal authority, embodied in a sermon, as additional support for his position. (shrink)

In this article, I outline a framework for the sociological study of culture that connects three intertwined elements of human culture and demonstrates the concrete contexts under which each most critically influences actions and their subsequent outcomes. In contrast to models that cast motivations, resources, and meanings as competing explanations of how culture affects action, I argue that these are fundamental constituent elements of culture that are inseparable, interdependent, and simultaneously operative. Which element provides the strongest link to action, and (...) how this link operates, must be understood as a function of the actor's position within wider social contexts. I argue that on average motivations have the most discernable link to action within a social strata, cultural resources provide the strongest link across strata, and meanings have the greatest direct influence when codified and sanctioned. I then offer a reframing and synthesis that reintegrates previously “competing” theories of culture into a more holistic context-dependent model of culture in action. Finally, I use evidence from prior empirical research, as well as new data from an ongoing ethnographic study of health behaviors among the aged, to show how various elements of culture are concretely linked to action in eight different social contexts. In doing so, I provide a roadmap for the transition out of the “either-or” logic underlying much of cultural theory and reemphasize the importance of the classical sociological concern for “when” and “how” various aspects of culture influence action and outcomes in concrete social contexts. (shrink)

This chapter contains sections titled: Either – Or Two Upbuilding Discourses (1843) further reading.

This essay surveys the varieties of disjunctivism about perceptual experience. Disjunctivism comes in two main flavours, metaphysical and epistemological. Metaphysical disjunctivism is the view usually associated with the disjunctivist label, and whenever ‘disjunctivism’ occurs here unprefixed, it refers to this view. After some initial discussion of (metaphysical) disjunctivism (sections 1–3), we explain epistemological disjunctivism in section 4. The rest of the essay is solely concerned with explaining and assessing metaphysical disjunctivism, a theory of the nature of perceptual experience. Our main (...) (and provisional) conclusion is that although there is considerable insight in the vicinity, metaphysical disjunctivism is false. (shrink)

Epistemicism seems to be the most dominating approach to vagueness in the recent twenty years. In the logical and philosophical tradition, e.g. Peirce, vagueness does not depend on human knowledge. Epistemicists deny this fact and contend that vagueness is merely the result of our imperfect mind, our dearth of knowledge, sort of phantom, finally, that it simply does not exist. In my opinion, such a stance not only excludes vagueness comprehended in terms of human knowledge, but which is worse, stems (...) from spurious logical arguments. The part of arguments called Sorensen’s Arguments or even Proofs were the subject of my analysis in the book Paradoksy and in the paper “Epistemicism and Roy Sorensen Arguments” published in the Bulletin of the Section of Logic. Here I shall only briefly refer to these works and focus mainly on the arguments launched by Tymothy Williamson. One of them is to uncover why we are not able to recognize the alleged sharp boundary between positive and negative extensions of any vague predicates. Williamson’s reasoning is based on his margin for error principle. Another argumentation of Williamson aims at the refutation of the principle I know that I know. It should be emphasized that all the aforementioned arguments are fundamental for epistemicism and all of them are fallacious because of either formal or false-premise fallacy. There is the circumstance that we cannot deem epistemicism logical. Finally, we show that within the epistemic frame the following thesis is valid: if what epistemicism states is the case, then what epistemicism states is not the case. This immediately implies → ¬p’) that it is not the case what epistemicism states. So, either epistemicism or logic. (shrink)

Name der Zeitschrift: Kierkegaard Studies Yearbook Jahrgang: 20 Heft: 1 Seiten: 163-178.

In Either/Or, using the voices of two characters - the aesthetic young man of part one, called simply 'A', and the ethical Judge Vilhelm of the second section - Kierkegaard reflects upon the search for a meaningful existence, contemplating subjects as diverse as Mozart, drama, boredom, and, in the famous Seducer's Diary, the cynical seduction and ultimate rejection of a young, beautiful woman. A masterpiece of duality, Either/Or is a brilliant exploration of the conflict between the aesthetic and (...) the ethical - both meditating ironically and seductively upon Epicurean pleasures, and eloquently expounding the noble virtues of a morally upstanding life. (shrink)

This paper analyzes the coordination challenge a partial cartel faces when payoff asymmetries between potential cartel insiders and potential cartel outsiders are large. We introduce two experimental treatments: a standard treatment where a complete cartel can be supported in a Nash equilibrium and a modified treatment where a complete cartel and a partial cartel can both be supported in a Nash equilibrium. To assess the role of communication both treatments are additionally run with a “chat option,” yielding four treatments in (...) total. Our results show that subjects frequently reject the formation of partial cartels in the modified treatments. In all treatments with communication subjects are more likely to form complete cartels than partial cartels. The implications of these results are important for antitrust: payoff asymmetries between cartel members and outsiders may jeopardize the formation of partial cartels. Yet complete cartels may be formed instead, if institutional mechanisms with frequent communication are used to form cartels. (shrink)

In an earlier paper I argued that J.G. Fichte (rather than Kant or Hegel or some amalgam) was the primary historical model for the ethical standpoint described in Kierkegaard’s Either/Or II . There I offered a list of reasons for thinking that Hegel was less important than some believed and that Kierkegaard addressed Kantianism largely in its Fichtean form. In the interim I have discovered another reason to add to that list: as it happens, there was a quite general (...) consensus among philosophers in the 1830s, ’40s and ’50s not just that Fichte’s ethics was Kantian ethics in its most perfect form, but even that it was the best example available of normative ethics on a philosophical (rather than a religious) foundation. So Kierkegaard’s use of Fichte as a foil was the perfectly obvious choice in the context. That is a curious fact, given the complete obscurity of Fichte’s ethics today, and one whose interest should not be confined to Kierkegaard scholars. (shrink)

Following are excerpts from the keynote speech delivered to the second of the Colloquium 2000 series on applied media ethics by Kevin Klose, president and chief executive officer of National Public Radio. Mr. Klose spoke in the Robert E. Lee chapel at Washington and Lee University in Lexington, Virginia, November 2, 2001. This colloquium sought to unearth global values in media ethics.

: The category of despair plays a central role in Kierkegaard's pseudonymous corpus, but its meaning is controversial. This paper offers an interpretation of its use in Either/Or (in particular, in the claim the aesthetic life is despair and the ethical life freedom from despair). After examining and rejecting two recent alternatives, I argue that despair is the conscious or unconscious assumption of a passive or fatalistic attitude toward one's existence, which attitude is informed by a misconstrual of the (...) nature of human agency. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Barbarous On Either Side: The New York Blues Of Mr. Sammler’s PlanetStanley CrouchThere are no two ways about virtue, my dear student; it either is, or it is not. Talk of doing penance for your sins! It is a nice system of business, when you pay for your crime by an act of contrition! You seduce a woman that you may set your foot on such and (...) such a rung of the social ladder; you sow dissension among the children of a family; you descend, in short, to every base action that can be committed at home or abroad, to gain your own ends for you own pleasure or profit.... That man with yellow gloves and a golden tongue commits many a murder; he sheds no blood, but he drains his victims as surely; a desperado forces open a door with a crowbar, dark deeds both of them! You yourself will do every one of the things that I suggested to you today, bar the bloodshed. Do you believe there is any absolute standard in this world?—Vautrin, Père GoriotWe are now mightily perplexed by the vulgarity and the brutal appetites of our culture, which Mr. Sammler sees so, so clearly, startled from page to page and in passage after passage of Saul Bellow’s 1970 novel. The terrible children of our day, the worst of our politicians, and the rampant sleaze that slides up and down the classes, across the races and religions, from the cynical students to the unrepentingly jaded and old, can be traced back to the elements that are so alarming to the protagonist of Mr. Sammler’s Planet. As a well-educated man who has smelled the molten breath and felt the bloody teeth of European fascism, Mr. Sammler is obsessed with understanding what makes or breaks a society, what causes a civilization to embrace ruthlessness as the [End Page 89] best way to realize its ambitions and handle its fears. A veteran of World War II, he has seen killing and he has done it himself, which makes him a man for whom none of his questions exists in a speculative air unfouled by the odor of murder. His intellectual ponderings are thereby part of a drama in which he has seen the lowest the Western world has to offer. This lack of innocence makes him a hero and a thinker haunted by his past and startled to uneasiness by the present. Oh, yes: Artur Sammler knows firsthand how quickly the metamorphosis from the refined to the smugly savage can take place. “Like many people who had seen the world collapse once, Mr. Sammler entertained the possibility it might collapse twice.”The very conception of Mr. Sammler is expressive of Bellow’s gift for bringing together the intellect, the passion, the spirit, and the flesh. The physical responses to stimulation are rendered with the same attention given to all of the many things that Mr. Sammler contemplates as he tries to get a grip on New York, America’s financial capital and the pinnacle of the nation’s culture. Mr. Sammler’s ideas are counterpointed by feeling and sensuality to such a degree that the thoughts are themselves elements of emotion, which is something only our finest writers can bring off, the literary condition of character so complete that every aspect of consciousness takes form within the container of a body equal in the life of its senses to the spirit it carries. We get the feeling of a human being in repose, in grief, in rage, in self-protective contemplation, in unsparing self-examination, in attentive motion through Manhattan, on foot, in public transportation, in chauffeured limousine.New York’s power over the country was central to why it was chosen as the place of action. Mr. Sammler could not be in a better setting if he were to wrestle with the identity of the United States. One part of it obviously has to do with the character’s Jewishness. Manhattan and Hollywood are the two places where Jews have made their deepest imprints on the country. Unlike the dream factory of Hollywood, New York is the city... (shrink)

This essay surveys the varieties of disjunctivism about perceptual experience. Disjunctivism comes in two main ?avours, metaphysical and epistemological. Metaphysical disjunctivism is the view usually associated with the disjunctivist label, and whenever.

“We are animals.” That’s what animalists say—that’s their slogan. But what animalists mean by their slogan varies. Many animalists are adamant that what they mean—and, indeed, what the true animalist thesis is—is that we are identical to animals (human animals, to be precise). But others say that’s not enough. They say that the animalist thesis has to be something more—perhaps that we are essentially or most fundamentally human animals. This paper argues that, depending on how we understand it, animalism is (...) either false or uninteresting. If animalism is just the claim that we are identical to animals, then it is uninteresting. For it doesn’t provide an answer to the question it’s meant to address. On the other hand, if animalism entails a stronger claim, such as that we are essentially animals, then animalism is false. Either way, we should set animalism aside. (shrink)

This paper develops lines of criticism directed at two currently popular versions of anti-realism: the putnam-rorty-kuhn version that is centered on an acceptance theory of truth, and the van fraassen version that is centered on empiricist strictures over warranted beliefs. the paper continues by elaborating and extending a stance, called "the natural ontological attitude", that is neither realist nor anti-realist.

Should we put our agricultural hopes in new technologies or in regenerative approaches? Dualisms, and their suggestion that we must choose, frame many debates. By offering just two options, they tend to discourage more wideranging and creative searches. Yet dualism can also be helpful, for example in the form of critical discussion, an antidote against confirmation bias and wishful thinking. But then again, critical dialogue is not necessarily connected with the dualism of winning or losing. Why choose, if we are (...) actually ambivalent? This lecture looks for pragmatic ways of dealing with dualisms. It proposes pilot farms as places, and as metaphors, for finding new directions on the basis of tensions, through back and forth thinking between tradition and innovation. (shrink)

This collection of essays strikes new ground in our understanding of Kierkegaard's Either/Or and his authorship as a whole.

In ____Selves in Discord and Resolve__, Edward Mooney examines the Wittgensteinian and deconstructive accounts of subjectivity to illuminate the rich legacy left by Kierkegaard's representation of the self in modes of self-understanding and self-articulation. Mooney situates Kierkegaard in the context of a post-Nietzschean crisis of individualism, and evokes the Socratric influences on Kierkegaard's thinking and shows how Kierkegaard's philsophy relies upon the Socratic care for the soul. He examines Kierkegaard's work on Judge Wilhelm, from _Either/Or,_ Socrates, in the _Postscript_ and (...) Abraham and Job in _Repetition_ and _Fear and Trembling_. (shrink)

A long debate in aesthetics concerns the reasoned nature of criticism. The main questions in the debate are whether criticism is based on (normative) reasons, whether critics communicate reasons for their audience’s responses, and if so, how to understand these critical reasons. I argue that a great obstacle to making any progress in this debate is the deeply engrained assumption, shared by all sides of the debate, that reasons can only be either theoretical reasons (i.e., those that explain what (...) to believe or what propositions are true) or practical reasons (i.e., those that explain what is to be done or what actions are good/required/called for/otherwise worthy of doing). My aims are (1) to put pressure on this assumption that, if there are critical reasons, they must be either theoretical or practical (the EITHER/OR assumption), and (2) to suggest that, if there are critical reasons, the most central among them are neither theoretical nor practical (NEITHER/NOR). (shrink)

My concern in this paper is the role of subjectivity in the pursuit of the good. I propose that subjective thought as well as a subjective mental process underappreciated in philosophical psychology – contemplation – are instrumental for discovering and apprehending a whole range of value. In fact, I will argue that our primary contact with these values is through experience and that they could not be properly understood in any other way. This means that subjectivity is central to our (...) evaluative lives. (shrink)

Et filosofisk værk der i form af aforismer, æstetiske afhandlinger og små romaner skildrer livets stadier.

This article engages with A’s “Crop Rotation” in Either/Or—the “boredom” essay—as a source for serious thought on the modern crisis of faith. Exploring A’s portrayal of the modern subject as isolated and self-enclosed, a “bored” condition linked to its radical autonomy and self-directed existence, it suggests that A’s explanation for this condition still holds today: modern humans’ self-assertion (and hence self-isolation) emerges as a response to a profound loss of meaning. Through an existential reading of A’s essay, it highlights (...) A’s notion of “demonic pantheism” as illuminating what lies behind boredom, namely, a relatable experience of disillusionment following the loss of meaning—in other words, “existential doubt” or a crisis of faith. (shrink)

El autor analiza el pronunciamiento de Kierkegaard acerca de la mujer y lo femenino en el texto O lo Uno o lo Otro, especialmente en las partes I y II. Para esto, se seleccionaron palabras clave como “mujer”, “femenino”, “virginidad”, “novia”, “esposa”, entre muchas otras más y se empleó el programa de análisis comparativo SimCA 2.0 de Michael J. Greenacre con el objetivo de mostrar tanto las comunes como las diferentes posturas del esteta A y el esteta B, así como (...) ofrecer una serie de dimensiones discursivas presentes en el texto que arrojan un conjunto de conclusiones valiosas para la comprensión de esta obra kierkegaardiana y la postura del filósofo danés frente a la mujer y lo que le compete. Los resultados del análisis se muestran al final del artículo por medio de tablas que comparan el vocabulario de A y de B y muestran su frecuencia; otras figuras exhiben por medio de gráficas el comportamiento de las palabras clave frente a las dimensiones discursivas más importantes. (shrink)

The intuitive, folk concept of hypocrisy is not a unified moral category. While many theorists hold that all cases of hypocrisy involve some form of deception, I argue that this is not the case. Instead, I argue for a disjunctive account of hypocrisy whereby all cases of “hypocrisy” involve either the deceiving of others about the sincerity of an agent's beliefs or the lack of will to carry through with the demands of an agent's sincere beliefs. Thus, all cases (...) of hypocrisy can be described either as cases of deception or as cases of akrasia. If this analysis correct, then I suggest further that the moral status of all instances of hypocrisy must be reduced either to the moral blameworthiness of deception or to the moral blameworthiness of akrasia. There can be no unified account of the moral wrongness of “hypocrisy” that holds across the disjunction. (shrink)