By Søren Kierkegaard
"In the huge literature of affection, The Seducer's Diary is an tricky curiosity--a feverishly highbrow try and reconstruct an erotic failure as a pedagogic luck, a wound masked as a boast," observes John Updike in his foreword to Søren Kierkegaard''s narrative. This paintings, a bankruptcy from Kierkegaard''s first significant quantity, Either/Or, springs from his dating together with his fiancée, Regine Olsen. Kierkegaard fell in love with the younger girl, ten years his junior, proposed to her, yet then broke off their engagement a yr later. This occasion affected Kierkegaard profoundly. Olsen grew to become a muse for him, and a flood of volumes resulted. His try to set correct, in writing, what he feels used to be a mistake in his courting with Olsen taught him the key of "indirect communication." The Seducer''s Diary, then, turns into Kierkegaard''s try and painting himself as a scoundrel and therefore make their holiday more straightforward for her. issues of marriage, the moral as opposed to the cultured, dread, and, more and more, the severities of Christianity are contemplated through Kierkegaard during this extreme paintings.
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Additional info for The Seducer's Diary
Christianity, it seems to me, is still needed by most people in old Europe even today; hence it still ﬁnds believers. For that is how man is: an article of faith could be refuted to him a thousand times; as long as he needed it, he would consider it ‘true’ again and again in accordance with the famous ‘proof of strength’ of which the Bible speaks. (ibid. 347) But the continuing existence of believers is not of any ultimate consequence or signiﬁcance. If God is indeed dead, the fundamental change whose importance needs to be grasped does not relate to the behaviour of ordinary people, which may for long enough continue in the same old way.
Hence, aesthetics does not ask whether there should be works of art. (ibid. 144) Should there be works of art? This is a strange question. Whose question is it? We might perhaps rephrase it in a more illuminating way. Does Art enrich the world, and would its loss impoverish it? To most minds the answer to this question is obviously ‘yes’. ’. What is the nature of Art’s enrichment of the world? No study of aesthetics that simply accords canonical status to certain pictures, sculptures, pieces of music, literary works, and buildings, and in this sense takes them as ‘given’, can answer this question.
Hume is another. But among the voices ranged against them were those of respected intellectual ﬁgures who could also claim to speak on behalf of reason and rationality. It is simply a mistake to view the discussion of religion in the eighteenth century as a debate between Enlightenment reason and pre-Enlightenment dogmatics. One of the most sustained replies to Hume’s essay on miracles was by George Campbell, another Scottish philosopher no less imbued with the intellectual values of the Enlightenment.
The Seducer's Diary by Søren Kierkegaard