Titlebook: Kierkegaard: The Aesthetic and the Religious; From the Magic Theat George Pattison Book 1992 George Linsley Pattison 1992 communication.dia

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CLOWN

The Genealogy of Art,ition in relation to those thinkers and theories which were the subject of the preceding chapter. By setting his work in this context we shall be able to identify assumptions, usages, concepts and themes which show that he was very much a man of his age. This is true even of certain features of his

EXULT

The Dialectics of Communication,dicated something of his own standing . the various positions represented in this background. We have also seen how his early journals offer the outline of an ambitious account of the dialectics of the aesthetic consciousness, showing (in a manner not too far removed from that of Hegelian-ism) how t

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Life in the Magic Theatre,. It is not surprising therefore that the world of the theatre pervades his authorship, providing him with a constant supply of illustrative material drawn from classical, Shakespearian, German and Danish sources. More importantly, it provided him with a paradigm of the aesthetic consciousness, a pa

Myocarditis

Nihilism and the Novel, further possibilities of interpretation are forthwith exhausted. There are other modes of reading, equally well-grounded in Kierkegaard’s own understanding of literature and aesthetics, which we can use to bring into prominence further aspects or dimensions of that authorship. In particular it is p

Heart-Attack

Reading, Repentance and the Crucifixion of the Image,rpretation which open up important dimensions of Kierkegaard’s many-levelled work as an author. In doing so they also disclose a tension which runs through virtually every line of the authorship: the tension between the aesthetic and the religious. Yet though they allude to — perhaps, on occasion, e

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