By Sharon Krishek

Kierkegaard's writings are interspersed with extraordinary tales of affection, more often than not understood as a literary gadget that illustrates the troublesome nature of aesthetic and moral varieties of existence, and the contrasting desirability of the lifetime of religion. Sharon Krishek argues that for Kierkegaard the relationship among love and religion is much from being basically illustrative. really, love and religion have a standard constitution, and are concerned with each other in a manner that makes it most unlikely to like good with out religion. Remarkably, this is applicable to romantic love at least to neighbourly love. Krishek's unique and compelling interpretation of the Works of affection within the mild of Kierkegaard's well-known research of the paradoxicality of religion in worry and Trembling indicates that preferential love, and specifically romantic love, performs a way more vital and confident function in his considering than has frequently been assumed.

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After all, this (namely, society’s structure, duties, and roles) is the ‘site’ in which truth itself (namely, free Spirit that knows itself) is embodied. 27 The Judge – who believes in self-fulfilment through assimilation into society, who has confidence in his absolute autonomy and adopts an optimistic view which does away with every element of pain, fear, or uncertainty – fits very well the profile of the philosopher. Indeed, the Judge criticizes the philosophers, saying that ‘[p]hilosophy turns toward the past … it mediates and mediates.

The aesthetic ‘solution’ is to attach oneself to immediacy, creating a false eternity that collapses into itself, becoming – instead of a transcendent eternity – an extended recollection. In his fear of the future (because it is the loss of the immediate, of the present), the aesthete turns his life into a huge gallery of recollections. Since the cherished, immediate moment is not allowed to have a future (so to speak), the only way to keep one’s hold on it is through recollection – a movement directed at the past.

Since of the various Kierkegaardian protagonists the demonic (as I shall explain later in this chapter and in chapter 6) is in many ways the closest to us, I think it is significant that Kierkegaard, rather than distinguishing the demonic as a ‘Poet’, a ‘Seducer’, or a ‘Judge’, characterizes him as ‘Someone’, perhaps in the sense of ‘any person’. 17 18 kierkegaard on faith and love Essential loss, as specified in the Introduction, is the condition common to all those circumstances in which the object of love is potentially lost, and those in which it is actually lost.

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