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Either/Or : Part 1 Kierkegaard's Writings Edna H. Hong, Howard V. Hong, Soren Kierkegaard
Publisher: Princeton University Press

Gurgioli's longtime obsession with Kierkegaard's “A Seducer's Diary,” from the book Either/Or by the nineteenth century Danish philosopher. The year 1845 saw two more large-scale works: Stages on Life's Way, in which he once more went over the ground covered by Either/Or, this time making plain that religion forms a special sphere of existence; and Concluding Unscientific . I read this anthology as part of my daily Lenten discipline because I wanted to immerse myself in some spiritual writing that required serious concentration. And the culmination of these impressions, gleaned while reading the “Diapsalmata” and upon finishing it, Either/Or as a compilation of two “found texts,” arranged and published by an unnamed editor (Preface). It was as true in the nineteenth century as the twenty-first. But do I feel that I understand Kierkegaard better for reading it? Gurgioli composed the music specifically for The Dialtones, collectively under the title Calculated Carelessness, based upon the various characteristics of Kierkegaard's writing, utilizing deconstructed lines from the story as lyrics. How was it that a man whose whole There is no evidence in his works of familiarity with any of the writings of the author of Either-Or. After reading the preface to Either/Or, as soon as I began the “Diapsalmata,” the section from which I draw the following excerpts, I was struck. The editor refers to the first set of writing as the writings of “A,” in light of the fact that he has no name for the author. It seems like rather an imposing Recommended. Clown-on-fire3.jpg So often in academic theology we read as if it's merely about the insightfulness of the arguments. This morning, while reading Kierkegaard's essay on crop rotation (in Either/Or, Part I), I found what I needed. This website provides an archive for my teaching and writing on religion and theology, and the reversals which occur therein. We read a great essay and we applaud. During my visit to Freiburg [im Breisgau, where Husserl lived], learning that I had never read Kierkegaard, Husserl began not to ask but to demand - with enigmatic insistence - that I acquaint myself with the works of the Danish thinker. I have had trouble writing it, however, always getting hung up on one particular point. He adapted the Sermon on the Mount for American audiences, writing, “Blessed are the happy who have everything, because they won't need to be comforted” and “Blessed are the impeccably dressed, because they will look nice when they see God.” He responded sharply to Kierkegaard's Either/Or with a treatise titled Both/And, followed by the conciliatory Either/Or and/or Both/And. But it seems clear that Kierkegaard's ideas deeply impressed him. Having not read philosophy for a while, I've lost the knack for it.