Nassim Bravo

Resumen En el siguiente artículo se ofrece un análisis del denominado “diario de Gilleleje” del filósofo danés Soren Kierkegaard. Se intenta argumentar que en este escrito temprano de 1835 y de un carácter eminentemente literario es posible encontrar las reflexiones filosóficas incipientes de un joven Kierkegaard acerca de la cuestión existencial del descubrimiento del propio Yo y la construcción de la personalidad, uno de los temas fundamentales en la obra del escritor danés. El desarrollo del texto culmina con la exposición de uno de los conceptos claves del pensamiento kierkegaardiano: la verdad subjetiva.In the following article I offer an analysis of the so-called “journal of Gilleleje” by Danish philosopher Soren Kierkegaard. I would like to argue that in this early writing of 1836, a piece with a distinct literary tone, it ispossible to observe young Kierkegaard’sfirstphilosophi- cal insights on the existential question about the discovery of the self and the development of personhood, one of the key topics in the Dane's writings. The journal concludes with the exposition of a central concept in Kierkegaard’s thought: subjective truth.

This article offers a detailed and compact account of what might be called Kierkegaard’s Faust project, that is, the collection of notes, bibliographies and reflections on the mythical German necromancer that the young Kierkegaard registered in his various journals and notebooks from the years 1835 – 1837. As is well known, the young writer presumably intended to pen a book or essay about the universal idea represented by Faust. Additionally, I discuss Kierkegaard’s project within the context of the 1830s, the reception of the Faustian myth among his Danish contemporaries such as J.L. Heiberg and H.L. Martensen, and the enthusiasm for Goethe that seized Copenhagen during those years.

Resumen Entre 1834 y 1835, Kierkegaard, quien todavía era un estudiante de veintiún años en la Universidad de Copenhague, se interesó en la figura mítica y folclórica conocida como el “ladrón maestro”. Decidió entonces trabajar en un drama que girara alrededor de este personaje y su lucha en contra del orden establecido. Con eso en mente, este artículo tiene dos objetivos. El primero consiste en hacer una exposición general del denominado proyecto del ladrón maestro. Las notas de Kierkegaard sobre el ladrón maestro han permanecido en una relativa oscuridad, de manera que este artículo busca presentarle al lector hispanohablante este trabajo poco conocido del pensador danés. El segundo objetivo es analizar la cuestión filosófica planteada en el proyecto del ladrón maestro, es decir, la cuestión sobre la relación del individuo rebelde y marginado con el orden establecido.In the years 1834 and1835, Kierkegaard, still a 21-year-old student at the University of Copenhagen, became interested in the mythical character known as the master-thief. He then decided to work on a drama about this character and his struggle against the established order. With this in mind, the paper has two main objectives. First, to offer a complete account of the so-called master-thief project. Kierkegaard’s notes on the master-thief have remained in a relative obscurity. This paper aims at exposing this little-known work of the Danish thinker to the Spanish-speaking reader. Second, to analyze the philosophical question raised in the master thief project, that is, the issue about the relationship of the rebel and marginalized individual with the established order.

In this article, I explore Johan Ludvig Heiberg’s diagnosis of the crisis of his age, Golden Age Denmark, in his treatise On the Significance of Philosophy, published in 1833. Althoughin recent times there is a renewed interest in the intellectual scene of Golden Age Denmark, in part due to the current relevancy of a thinker such as Søren Kierkegaard, it is a fact that one of its most important figures, J. L. Heiberg, has been more or less ignored by contemporary scholars. Thus, in this article I try to shed light on his figure and thought, especially on his attempt to use Hegelian philosophy to solve the cultural crisis of his time.

In this paper we wish to analyze how Kierkegaard understood the art of writing novels, that is, as a way to express and develop the life-view of the author. We would like to argue that this notion, presented for the first time in From the Papers of One Still Living, was put into practice in the short novel Repetition, in which Kierkegaard used the biblical story of Job to explain the development of selfhood through the existential category of repetition. According to Kierkegaard, true repetition—which is the central category of the life-view he is trying to convey—helps the individual “recollect” the past correctly so he or she can reconcile with the present and grow into the future.

Resumen Entre 1834 y 1835, Kierkegaard, quien todavía era un estudiante de veintiún años en la Universidad de Copenhague, se interesó en la figura mítica y folclórica conocida como el “ladrón maestro”. Decidió entonces trabajar en un drama que girara alrededor de este personaje y su lucha en contra del orden establecido. Con eso en mente, este artículo tiene dos objetivos. El primero consiste en hacer una exposición general del denominado proyecto del ladrón maestro. Las notas de Kierkegaard sobre el ladrón maestro han permanecido en una relativa oscuridad, de manera que este artículo busca presentarle al lector hispanohablante este trabajo poco conocido del pensador danés. El segundo objetivo es analizar la cuestión filosófica planteada en el proyecto del ladrón maestro, es decir, la cuestión sobre la relación del individuo rebelde y marginado con el orden establecido.In the years 1834 and1835, Kierkegaard, still a 21-year-old student at the University of Copenhagen, became interested in the mythical character known as the master-thief. He then decided to work on a drama about this character and his struggle against the established order. With this in mind, the paper has two main objectives. First, to offer a complete account of the so-called master-thief project. Kierkegaard’s notes on the master-thief have remained in a relative obscurity. This paper aims at exposing this little-known work of the Danish thinker to the Spanish-speaking reader. Second, to analyze the philosophical question raised in the master thief project, that is, the issue about the relationship of the rebel and marginalized individual with the established order.

This article offers a philosophical account of the so-called journal of Gilleleje. I would like to argue that in this text from 1835 one can trace the early philosophical musings of Kierkegaard on the existential question of the discovery of the self and the development of selfhood, one of the main motifs in the authorship of the Dane. Additionally, I discuss the literary trends of the 1830s in Golden Age Denmark, particularly the boom of the Danish short novel and Heiberg’s admiration of Goethe, analyzing in what way this local context impacted Kierkegaard’s ideas in the journal of Gilleleje.

In this article I offer an introduction to Hans Lassen Martensen’s review of Heiberg’s New Poems, published in 1841. In his treatise On the Significance of Philosophy of 1833, the poet and philosopher Johan Ludvig Heiberg presented a diagnosis of what he perceived as the cultural crisis of the time. In his view, Danish society was afflicted by a frivolous and nihilistic worldview. A Hegel enthusiast, Heiberg thought that the cure for the crisis lay in a new philosophical perspective, capable of finding the universal and infinite within the particular and finite. But this was only possible to communicate through literature and, more specifically, through what he called speculative poetry. In the following years, Heiberg and his friend and colleague Martensen developed the notion of this new genre. This didactic campaign culminated with the publication of Heiberg’s New Poems, especially the piece “A Soul after Death,” accompanied by the review composed by Martensen.

In this article I offer an English translation of the first two installments of Hans Lassen Martensen’s review of the New Poems by Johan Ludvig Heiberg. The review was published in three installments in the periodical Fædrelandet in January 10 – 12, 1841. This is the first translation of Martensen’s review into English. I provide an introduction to the text in the foregoing article in this volume of the Yearbook, titled “Martensen’s Review of Heiberg’s New Poems and the Discussion on Speculative Poetry and the Crisis of the Age.”