By Geoffrey A. Hale
What can we learn after we learn Kierkegaard? How will we be aware of? Insisting that Kierkegaard is still a much more enigmatic and paradoxical author than is usually assumed, Geoffrey Hale argues that the way to process Keirkegaard's paintings and comprehend its value for our personal notion is to retrace its formative effect on significant intellectuals of the early 20th century.
In together reflective readings of Kierkegaard's foundational texts during the paintings of 3 pivotal authors-Franz Kafka, Theodor Adorno, and Rainer Maria Rilke-Hale indicates how every one of those writers attracts cognizance to the unwavering feel of human finitude that pervades all of Kierkegaard's paintings and, with it, the profoundly unsettling indeterminacy during which it effects. it's the very barriers of language, Hale argues, that carry it open to that means, to interpretation, and hence to freedom. Resisting transparent circumscription during this method, Kierkegaard's paintings turns into the entire extra fruitful to us-and all of the extra challenging-to the level that it resists our figuring out.
Geoffrey A. Hale obtained a Ph.D. in German from The Johns Hopkins collage and studied on the unfastened collage in Berlin via a Fulbright scholarship.
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Additional info for Kierkegaard And The Ends Of Language
The “doubly reﬂected” form of communication “is the subtlety that the subjective individuals must be held devoutly apart from one another and must not run coagulatingly together in objectivity. This is objectivity’s word of farewell to subjectivity” (Postscript, 79). And objectivity in communication can do nothing but issue this word of farewell to subjectivity. Objectivity bids farewell to subjectivity, and, in so doing, turns subjects out, exposes them, under the sign of the negative that is there with all of communication.
If subjective existence is a form for Kierkegaard/Climacus, it cannot be construed as a kind of Platonic ideal. It is rather an antiform and a deforming form that, in making the subject subjective in the ﬁrst place, does nothing other than separate, divide, and isolate this subject beyond all 22 kierkegaard who? communication. That is, the subject cannot assume, as Kierkegaard repeatedly insists, a universally communicable form or expression in reﬂection, but rather the opposite: “doubly reﬂected communication” reﬂects the subject only under the sign of its own impossibility and, hence, the impossibility that it might be reﬂected in any communication.
If the authors we thus discover are less familiar than their names lead us to believe (Rilke, Kafka, Adorno, Kierkegaard), that is precisely the point. We cannot know their work before we read it. kierkegaard who? 35 The grounds for the necessity of such intervention have already been clearly, if negatively, laid in Kierkegaard’s more canonical reception. 40 Not just a mere oversight, it seems that something more critical is at stake. At the very least, returning to the general, guiding question of whether Kierkegaard’s work would be properly understood as philosophical, theological, or literary, Adorno’s book serves to remind these commentators that this question misses the point.
Kierkegaard And The Ends Of Language by Geoffrey A. Hale