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- W2890639342 abstract "In this article, I will argue that Kierkegaard’s oeuvre can be seen as a theater of ideas. This argument is developed in three steps. First, I will briefly introduce a theoretical framework for addressing the theatrical dimension of Kierkegaard’s works. This framework is based on a distinction between “performative writing strategies” and “categories of performativity.” As a second step, I will focus on 'Repetition: A Venture in Experimenting Psychology, by Constantin Constantius,' one of the best examples of Kierkegaard’s innovative way of doing philosophy. This strange and elusive book introduces the difficult and counterintuitive notion of repetition. As I will argue, repetition is a category of performativity that aims to activate the subjectivity of the reader. This performative effect is achieved by confronting the reader with an “unresolved” existential problem that is not yet drawn into clarity, but is staged in all its confusions and contradictions. I will show that Kierkegaard’s pseudonym Constantius relies here on a performative writing strategy that is animated by a dialectic of advance and withdrawal. In the last and third step, I will analyze Constantius’ own reflection on the performative dimension of his text. As I will show, Constantius has left several clues behind, each of which suggests that he deliberately developed a performative writing strategy." @default.
- W2890639342 created "2018-09-27" @default.
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- W2890639342 date "2018-01-01" @default.
- W2890639342 modified "2023-09-27" @default.
- W2890639342 title "A Theater of Ideas: Performance and Performativity in Kierkegaard’s Repetition" @default.
- W2890639342 hasPublicationYear "2018" @default.
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