Anna Söderquist

This article engages with A’s “Crop Rotation” in Either/Or—the “boredom” essay—as a source for serious thought on the modern crisis of faith. Exploring A’s portrayal of the modern subject as isolated and self-enclosed, a “bored” condition linked to its radical autonomy and self-directed existence, it suggests that A’s explanation for this condition still holds today: modern humans’ self-assertion (and hence self-isolation) emerges as a response to a profound loss of meaning. Through an existential reading of A’s essay, it highlights A’s notion of “demonic pantheism” as illuminating what lies behind boredom, namely, a relatable experience of disillusionment following the loss of meaning—in other words, “existential doubt” or a crisis of faith.

This paper elucidates Kierkegaard’s notion of the “simultaneity of factors” in order to reveal the intimate connection between reason and emotion. I begin with the romantic vision of aesthetic education as embodied in Friedrich Schiller, which Kierkegaard himself inherited, though in a critical and nuanced manner. Next, I explore Kierkegaard’s pointed critique of the romantics, namely through his conviction that they had misrepresented the role of imagination to the detriment of harmony in the individual. Finally, I present Kierkegaard’s positive view of the simultaneity of factors, emphasizing his improvement on the romantics through the central category of “inwardness.” Throughout, I underline that Kierkegaard gave higher status neither to emotion nor reason, taking them as complimentary aspects of human existence and thereby inviting their reunion in the history of philosophy

This study underscores The Lily and the Bird's response to despair in The Sickness unto Death. By suggesting in The Lily and the Bird that we look to nature's creatures to learn an attunement and responsiveness to our situation as physical creatures subject to finite constraints, Kierkegaard's text comes into dialogue with a form of misalignment portrayed in The Sickness unto Death as a refusal of the given, “the finite,” and “the necessary.” One way of seeking alignment in The Lily and the Bird entails learning to hear and to answer within one's given environment, opening up the possibility of embodied joy.