Bøger af Søren Kierkegaard

Three Discourses on Imagined Occasions was the last of seven works signed by Kierkegaard and published simultaneously with an anonymously authored companion piece. Imagined Occasions both complements and stands in contrast to Kierkegaard's pseudonymously published Stages on Life's Way. The two volumes not only have a chronological relation but treat some of the same distinct themes. The first of the three discourses, "e;On the Occasion of a Confession,"e; centers on stillness, wonder, and one's search for God--in contrast to the speechmaking on erotic love in "e;In Vino Veritas,"e; part one of Stages. The second discourse, "e;On the Occasion of a Wedding,"e; complements the second part of Stages, in which Judge William delivers a panegyric on marriage. The third discourse, "e;At a Graveside,"e; sharpens the ethical and religious earnestness implicit in Stages's "e;'Guilty'/'Not Guilty'"e; and completes this collection.

Early Polemical Writings covers the young Kierkegaard's works from 1834 through 1838. His authorship begins, as it was destined to end, with polemic. Kierkegaard's first published article touches on the theme of women's emancipation, and the other articles from his student years deal with freedom of the press. Modern readers can see the seeds of Kierkegaard's future career these early pieces. In "e;From the Papers of One Still Living,"e; his review of Hans Christian Andersen's novel Only a Fiddler, Kierkegaard rejects the notion that environment is decisive in determining the fate of genius. He also puts forward his belief that each person needs a life-view or life for which and by which to live, a thought he explores further in the comic play The Battle between the Old and the New Soap-Cellars.

Soren Kierkegaard (1813-55) published an extraordinary number of works during his lifetime, but he left behind nearly as much unpublished writing, most of which consists of what are called his "e;journals and notebooks."e; Volume 3 of this 11-volume edition of Kierkegaard's Journals and Notebooks includes Kierkegaard's extensive notes on lectures by the Danish theologian H. N. Clausen and by the German philosopher Schelling, as well as a great many other entries on philosophical, theological, and literary topics. In addition, the volume includes many personal reflections by Kierkegaard, notably those in which he provides an account of his love affair with Regine Olsen, his onetime fiancee.

A collection of known eyewitness account of the great Danish thinker Soren Kierkegaard (1813-1855). It contains accounts, ranging from the writings of Meir Aron Goldschmidt, editor of "The Corsair", to the recollections of Kierkegaard's fiancee.

Presented here in a new translation, with a historical introduction by the translators, Fear and Trembling and Repetition are the most poetic and personal of Soren Kierkegaard's pseudonymous writings. Published in 1843 and written under the names Johannes de Silentio and Constantine Constantius, respectively, the books demonstrate Kierkegaard's transmutation of the personal into the lyrically religious. Each work uses as a point of departure Kierkegaard's breaking of his engagement to Regine Olsen--his sacrifice of "e;that single individual."e; From this beginning Fear and Trembling becomes an exploration of the faith that transcends the ethical, as in Abraham's willingness to sacrifice his son Isaac at God's command. This faith, which persists in the face of the absurd, is rewarded finally by the return of all that the faithful one is willing to sacrifice. Repetition discusses the most profound implications of unity of personhood and of identity within change, beginning with the ironic story of a young poet who cannot fulfill the ethical claims of his engagement because of the possible consequences of his marriage. The poet finally despairs of repetition (renewal) in the ethical sphere, as does his advisor and friend Constantius in the aesthetic sphere. The book ends with Constantius' intimation of a third kind of repetition--in the religious sphere.

In Philosophical Fragments the pseudonymous author Johannes Climacus explored the question: What is required in order to go beyond Socratic recollection of eternal ideas already possessed by the learner? Written as an afterword to this work, Concluding Unscientific Postscript is on one level a philosophical jest, yet on another it is Climacus's characterization of the subjective thinker's relation to the truth of Christianity. At once ironic, humorous, and polemical, this work takes on the "e;unscientific"e; form of a mimical-pathetical-dialectical compilation of ideas. Whereas the movement in the earlier pseudonymous writings is away from the aesthetic, the movement in Postscript is away from speculative thought. Kierkegaard intended Postscript to be his concluding work as an author. The subsequent "e;second authorship"e; after The Corsair Affair made Postscript the turning point in the entire authorship. Part One of the text volume examines the truth of Christianity as an objective issue, Part Two the subjective issue of what is involved for the individual in becoming a Christian, and the volume ends with an addendum in which Kierkegaard acknowledges and explains his relation to the pseudonymous authors and their writings. The second volume contains the scholarly apparatus, including a key to references and selected entries from Kierkegaard's journals and papers.

While ostensibly commenting on the work of a contemporary novelist, Kierkegaard used this review as a critique of his society and age. The influence of this short piece has been far-reaching. The apocalyptic final sections are the source for central notions in Heidegger's Being and Time. Later readers have seized on the essay as a prophetic analysis of our own time. Its concepts have been drawn into current debates on identity, addiction, and social conformity.

One of the greatest thinkers of the nineteenth century, S ren Kierkegaard (1814-55) often expressed himself through pseudonyms and disguises. Taken from his personal writings, these private reflections reveal the development of his own thought and personality, from his time as a young student to the deep later internal conflict that formed the basis for his masterpiece of duality Either/Or and beyond. Expressing his beliefs with a freedom not seen in works he published during his lifetime, Kierkegaard here rejects for the first time his father's conventional Christianity and forges the revolutionary idea of the 'leap of faith' required for true religious belief. A combination of theoretical argument, vivid natural description and sharply honed wit, the Papers and Journals reveal to the full the passionate integrity of his lifelong efforts 'to find a truth which is truth for me'.

The various kinds and conditions of love are a common theme for Kierkegaard, beginning with his early Either/Or, through "e;The Diary of the Seducer"e; and Judge William's eulogy on married love, to his last work, on the changelessness of God's love. Works of Love, the midpoint in the series, is also the monumental high point, because of its penetrating, illuminating analysis of the forms and sources of love. Love as feeling and mood is distinguished from works of love, love of the lovable from love of the unlovely, preferential love from love as the royal law, love as mutual egotism from triangular love, and erotic love from self-giving love. This work is marked by Kierkegaard's Socratic awareness of the reader, both as the center of awakened understanding and as the initiator of action. Written to be read aloud, the book conveys a keenness of thought and an insightful, poetic imagination that make such an attentive approach richly rewarding. Works of Love not only serves as an excellent place to begin exploring the writings of Kierkegaard, but also rewards many rereadings.

A work that "e;not only treats of irony but is irony,"e; wrote a contemporary reviewer of The Concept of Irony, with Continual Reference to Socrates. Presented here with Kierkegaard's notes of the celebrated Berlin lectures on "e;positive philosophy"e; by F.W.J. Schelling, the book is a seedbed of Kierkegaard's subsequent work, both stylistically and thematically. Part One concentrates on Socrates, the master ironist, as interpreted by Xenophon, Plato, and Aristophanes, with a word on Hegel and Hegelian categories. Part Two is a more synoptic discussion of the concept of irony in Kierkegaard's categories, with examples from other philosophers and with particular attention given to A. W. Schlegel's novel Lucinde as an epitome of romantic irony. The Concept of Irony and the Notes of Schelling's Berlin Lectures belong to the momentous year 1841, which included not only the completion of Kierkegaard's university work and his sojourn in Berlin, but also the end of his engagement to Regine Olsen and the initial writing of Either/Or.

This edition replaces the earlier translation by Walter Lowrie that appeared under the title The Concept of Dread. Along with The Sickness unto Death, the work reflects from a psychological point of view Soren Kierkegaard's longstanding concern with the Socratic maxim, "e;Know yourself."e; His ontological view of the self as a synthesis of body, soul, and spirit has influenced philosophers such as Heidegger and Sartre, theologians such as Jaspers and Tillich, and psychologists such as Rollo May. In The Concept of Anxiety, Kierkegaard describes the nature and forms of anxiety, placing the domain of anxiety within the mental-emotional states of human existence that precede the qualitative leap of faith to the spiritual state of Christianity. It is through anxiety that the self becomes aware of its dialectical relation between the finite and the infinite, the temporal and the eternal.

Soren Kierkegaard, the nineteenth-century Danish philosopher rediscovered in the twentieth century, is a major influence in contemporary philosophy, religion, and literature. He regarded Either/Or as the beginning of his authorship, although he had published two earlier works on Hans Christian Andersen and irony. The pseudonymous volumes of Either/Or are the writings of a young man (I) and of Judge William (II). The ironical young man's papers include a collection of sardonic aphorisms; essays on Mozart, modern drama, and boredom; and "e;The Seducer's Diary."e; The seeming miscellany is a reflective presentation of aspects of the "e;either,"e; the esthetic view of life. Part II is an older friend's "e;or,"e; the ethical life of integrated, authentic personhood, elaborated in discussions of personal becoming and of marriage. The resolution of the "e;either/or"e; is left to the reader, for there is no Part III until the appearance of Stages on Life's Way. The poetic-reflective creations of a master stylist and imaginative impersonator, the two men write in distinctive ways appropriate to their respective positions.

In Philosophical Fragments the pseudonymous author Johannes Climacus explored the question: What is required in order to go beyond Socratic recollection of eternal ideas already possessed by the learner? Written as an afterword to this work, Concluding Unscientific Postscript is on one level a philosophical jest, yet on another it is Climacus's characterization of the subjective thinker's relation to the truth of Christianity. At once ironic, humorous, and polemical, this work takes on the "e;unscientific"e; form of a mimical-pathetical-dialectical compilation of ideas. Whereas the movement in the earlier pseudonymous writings is away from the aesthetic, the movement in Postscript is away from speculative thought. Kierkegaard intended Postscript to be his concluding work as an author. The subsequent "e;second authorship"e; after The Corsair Affair made Postscript the turning point in the entire authorship. Part One of the text volume examines the truth of Christianity as an objective issue, Part Two the subjective issue of what is involved for the individual in becoming a Christian, and the volume ends with an addendum in which Kierkegaard acknowledges and explains his relation to the pseudonymous authors and their writings. The second volume contains the scholarly apparatus, including a key to references and selected entries from Kierkegaard's journals and papers.

This volume contains a new translation, with a historical introduction by the translators, of two works written under the pseudonym Johannes Climacus. Through Climacus, Kierkegaard contrasts the paradoxes of Christianity with Greek and modern philosophical thinking. In Philosophical Fragments he begins with Greek Platonic philosophy, exploring the implications of venturing beyond the Socratic understanding of truth acquired through recollection to the Christian experience of acquiring truth through grace. Published in 1844 and not originally planned to appear under the pseudonym Climacus, the book varies in tone and substance from the other works so attributed, but it is dialectically related to them, as well as to the other pseudonymous writings. The central issue of Johannes Climacus is doubt. Probably written between November 1842 and April 1843 but unfinished and published only posthumously, this book was described by Kierkegaard as an attack on modern speculative philosophy by "e;means of the melancholy irony, which did not consist in any single utterance on the part of Johannes Climacus but in his whole life. . . . Johannes does what we are told to do--he actually doubts everything--he suffers through all the pain of doing that, becomes cunning, almost acquires a bad conscience. When he has gone as far in that direction as he can go and wants to come back, he cannot do so. . . . Now he despairs, his life is wasted, his youth is spent in these deliberations. Life does not acquire any meaning for him, and all this is the fault of philosophy."e; A note by Kierkegaard suggests how he might have finished the work: "e;Doubt is conquered not by the system but by faith, just as it is faith that has brought doubt into the world!."e;

A companion piece to The Concept of Anxiety, this work continues Soren Kierkegaard's radical and comprehensive analysis of human nature in a spectrum of possibilities of existence. Present here is a remarkable combination of the insight of the poet and the contemplation of the philosopher. In The Sickness unto Death, Kierkegaard moves beyond anxiety on the mental-emotional level to the spiritual level, where--in contact with the eternal--anxiety becomes despair. Both anxiety and despair reflect the misrelation that arises in the self when the elements of the synthesis--the infinite and the finite--do not come into proper relation to each other. Despair is a deeper expression for anxiety and is a mark of the eternal, which is intended to penetrate temporal existence.

Soren Kierkegaard, the nineteenth-century Danish philosopher rediscovered in the twentieth century, is a major influence in contemporary philosophy, religion, and literature. He regarded Either/Or as the beginning of his authorship, although he had published two earlier works on Hans Christian Andersen and irony. The pseudonymous volumes of Either/Or are the writings of a young man (I) and of Judge William (II). The ironical young man's papers include a collection of sardonic aphorisms; essays on Mozart, modern drama, and boredom; and "e;The Seducer's Diary."e; The seeming miscellany is a reflective presentation of aspects of the "e;either,"e; the esthetic view of life. Part II is an older friend's "e;or,"e; the ethical life of integrated, authentic personhood, elaborated in discussions of personal becoming and of marriage. The resolution of the "e;either/or"e; is left to the reader, for there is no Part III until the appearance of Stages on Life's Way. The poetic-reflective creations of a master stylist and imaginative impersonator, the two men write in distinctive ways appropriate to their respective positions.

One of the most remarkable philosophical works of the nineteenth century, The Sickness Unto Death is also famed for the depth and acuity of its modern psychological insights. Writing under the pseudonym Anti-Climacus, Kierkegaard explores the concept of 'despair', alerting readers to the diversity of ways in which they may be described as living in this state of bleak abandonment - including some that may seem just the opposite - and offering a much-discussed formula for the eradication of despair. With its penetrating account of the self, this late work by Kierkegaard was hugely influential upon twentieth-century philosophers including Karl Jaspers, Jean-Paul Sartre and Albert Camus. The Sickness unto Death can be regarded as one of the key works of theistic existentialist thought - a brilliant and revelatory answer to one man's struggle to fill the spiritual void.

Litteraturforsker F. J. Billeskov Jansen havde som et af sine hovedområder studiet af Søren Kierkegaards værker. Billeskov sigtede i stigende grad mod at bringe solide standardværker ud til en stor læserkreds og dermed gøre Søren Kierkegaard bredt tilgængelig – også for nye læsere. I dette bind, der handler om Kierkegaard som digter og kunstkritiker, er fokus lagt på filosoffens værker Enten-Eller, Stadier paa Livets Vei og Æstetisk Kritik.F. J. Billeskov Jansen, Frederik Julius Billeskov Jansen, 1907-2002, professor i dansk litteratur ved Københavns Universitet og prisbelønnet litteraturforsker, stærkt inspireret af strukturalismen. Hans litteraturformidling, var præget af antagelsen om, at litteratur er en æstetisk disciplin i sig selv, og derfor ikke alene skal anskues biografisk, som der havde været tradition for. Billeskov Jansens arbejder kan i denne optik ses som en forløber for den angelsaksiske nykritik. Senere åbnede han op for en mere idehistorisk tilgang til litteraturen. De fleste af Billeskov Jansens studier fokuserer på det danske 1700-tals litteratur. Billeskov Jansen stiftede tidsskriftet Orbis litterarum, og var fra 1967 medlem af Det Danske Akademi.

Litteraturforsker F. J. Billeskov Jansen havde som et af sine hovedområder studiet af Søren Kierkegaards værker. Billeskov sigtede i stigende grad mod at bringe solide standardværker ud til en stor læserkreds og dermed gøre Søren Kierkegaard bredt tilgængelig - også for nye læsere. I dette bind er fokus lagt på introducerende indledninger og tekstforklaringer.F. J. Billeskov Jansen, Frederik Julius Billeskov Jansen, 1907-2002, professor i dansk litteratur ved Københavns Universitet og prisbelønnet litteraturforsker, hvis litteraturforståelse var stærkt inspireret af strukturalisme. Dette kom til udtryk i hans litteraturformidling, der var præget af antagelsen om, at litteratur er en æstetisk disciplin i sig selv, og derfor ikke alene skal anskues biografisk, som der havde været tradition for. Billeskov Jansens arbejder kan i denne optik ses som en art forløber for den angelsaksiske nykritik. Senere åbnede han op for en mere idehistorisk tilgang til litteraturen, der afspejlede sig i hans evne til at forene nylæsning af klassiske tekster med historisk indlevelse. Dette gjorde ham blandt andet til grundlæggeren af det moderne studium af Ludvig Holberg. De fleste af Billeskov Jansens studier fokuserer da også på ældre litteratur; særligt det danske 1700-tal og dets forudsætninger i europæisk og især fransk litteratur. For at udbrede kendskabet til dansk litteratur og litteraturforskning i det hele taget stiftede han blandt andet tidsskriftet Orbis litterarum, sad i bestyrelsen for flere litterære og kulturelle selskaber og var fra 1967 medlem af Det Danske Akademi. Talrige danske litteraturhistorier og antologier på de europæiske hovedsprog er blevet til under hans medvirken.

Søren Kierkegaards 'Stadier på livets vej' indeholder særdeles interessante betragtninger over manden og kvinden - særdeles underholdende, det indviklede emne taget i betragtning.

I Stadier paa Livets Vei. Studier af Forskjellige (1845) tænker Kierkegaard nærmere over begrebet eksperiment. Stadierne rummer forfatterskabets længste fiktionstekst, romanen „Skyldig?“ – „Ikke-Skyldig?“, som handler om endnu en brudt forlovelse. Efter selve romanen henvender den pseudonyme forfatter, Frater Taciturnus, sig direkte til sin læser i en „Skrivelse til Læseren“. Her præsenterer Taciturnus ikke bare en filosofisk analyse af den triste forlovelseshistorie, man lige har læst, men reflekterer også over, hvordan man skal bære sig ad med at fremstille en så kedelig forlovelse i et litterært værk. Det kan ifølge Taciturnus kun gøres i eksperimentets form. For Taciturnus er eksperimentet altså ikke bare en psykologisk praksis, men først og fremmest en litterær form, der gør det muligt at forstå den menneskelige eksistens: „Dette har jeg bragt mig til Bevidsthed ved at danne den Lidelseshistorie, jeg har udført som et Experiment.“(Dansk Litteraturs Historie)"Adskilligt om Ægteskabet"Denne del er skrevet af pseudonymet Assessor Vilhelm, hvor han argumenterer for ægteskabets berettigelse. Han tager udgangspunkt i tilværelsens alvor og argumenterer for sammenhængen mellem teori og praksis. Ægteskabet bør bære en videreførelse af forelskelsen, men for at dette kan lykkes må der træde et nyt moment til, nemlig Beslutningen. Sympatien og Pligten vil derefter opstå, hvilket vil gøre livet rigere, samt at man vil kunne opleve kvinden i hendes skønneste skikkelse der er muligt for hende, nemlig som moder. Hans udgangspunkt er altså også etisk. I et ægteskab ændrer forholdet mellem mand og kvinde sig fra at være noget forbigående til noget vedvarende og fra noget individuelt til noget alment. I løbet af denne del af bogen bliver de tidligere argumenter fra In Vino Veritas imødegået og forsøgt modbevist.Men vil man undgå ægteskabet må dette også blive gjort med Beslutningen som moment, og man må derfor være klar på at træde ud i lidelsen. Dette er hvad Undtagelsen gør og Undtagelsen viser sig pludselig at være ganske interessant for Kierkegaard, da dette netop afspejler ham. Generelt er dette afsnit i bogen ganske kort og leder i høj grad over til bogens tredje del, der netop handler om Undtagelsen.(Wikipedia)

Romanen Gjentagelsen. Et Forsøg i den experimenterende Psychologi udkom den samme dag som Frygt og Bæven og nærmer sig det samme problem fra et lidt andet udgangspunkt. Hvad gentagelsesbegrebet mere præcist går ud på, er det imidlertid svært at få hold på i romanen, for den er ifølge forfatterpseudonymet Constantin Constantius skrevet sådan, at kætterne ikke kan forstå den. Romanen vrimler med mere eller mindre parodiske forestillinger og fortællinger om gentagelsen, så det er svært at se, hvad der bliver sagt i spøg, og hvad der er alvor. Der er dog formentlig et holdepunkt i romanens bærende modstilling mellem erindring og gentagelse – to ord, der her ikke skal forstås i gængs forstand, men snarere mere generelt som to strategier, som man kan bruge til at modarbejde meningsløshedens smilende ansigt: „Naar man ikke har Erindringens eller Gjentagelsens Kategori, saa opløser hele Livet sig i en tom og indholdsløs Larmen.“Begrebet erindring har her meget lidt at gøre med at huske sit tidligere liv; det handler snarere om at konstruere en totaloverskuelse ved at føre sit konkrete liv tilbage til et bagvedliggende værdigrundlag. At erindre vil i denne sammenhæng sige at give verden mening ved at få den til at passe til en forudgiven, stabil målestok. Ifølge Kierkegaard er denne måde at skabe mening på blevet et problem i den moderne verden, hvor man må klare sig uden faste værdimålestokke. Nietzsche talte om, at Gud er død; Kierkegaard bruger i stedet et teologisk begreb og taler om, at den eksisterendes konkrete liv er blevet syndigt, og det vil sige adsplittet, uigennemsigtigt og meningsløst.Gentagelsen må forstås som et forsøg på at skabe mening på de vanskelige betingelser efter syndefaldet. Den tager udgangspunkt i et stykke konkret menneskeliv, som overhovedet ikke kan gøres gennemsigtigt og meningsfuldt – og skaber en helt ny mening ud af det. Det enkelte menneske kan vel at mærke ikke skabe den slags totaloverskuelse på egen hånd, det er snarere noget, der melder sig som en nådegave i kraft af det absurde.(Dansk Litteraturs Historie)

Frygt og Bæven er et filosofisk værk af Søren Kierkegaard, udgivet 16. oktober 1843 under pseudonymet Johannes de Silentio. Titlen er tilsyneladende en henvisning til Paulus' Brev til Filipperne 2:12: "...ligesom I altid have været lydige, så arbejder ikke alene som i min Nærværelse, men nu meget mere i min Fraværelse på eders egen Frelse med Frygt og Bæven."Værket begynder med en grublen over Abrahams troskab da han af Gud blev beordret til at ofre sin søn Isak, som det fortælles i første Mosebog kapitel 22. Derefter følger "Problemata", som tager fat på tre specifikke filosofiske spørgsmål, som er fremhævet fra historien om Abrahams offer: Er der en teleologisk ophævelse af det etiske? (Kan det, at Abrahams hensigt var at ofre Isak betragtes som "godt" selvom menneskeofringer er etisk uacceptable?) Er der en absolut pligt overfor Gud? Var det etisk forsvarligt for Abraham at have skjult sin hensigt for Sara, Eleazar og Isak?I Frygt og Bæven introducerer Kierkegaard "Den tragiske helt" og stiller denne i kontrast til "Troens ridder". Begge tilsidesætter egne ønsker i en højere sags tjeneste. Den tragiske helt ved at ofre sin søn for et højere gode, eksempelvis folkets ve og vel, derved tilsidesætter han en etisk fordring til fordel for en større af slagsen. Troens ridder ofrer sin søn på Guds befaling og tilsidesætter et etisk krav (kærlighed og omsorg for sønnen) til fordel for et højere mål der ligger uden for etikkens rammer (teleolgisk suspension af det etiske), nemlig religiøsiteten.Troens ridder resignerer ikke alene på alting, men stoler også på at han vil få det tilbage, hans tro baseret på "det absurdes styrke". For Kierkegaard (eller i det mindste Johannes de Silentio), er uendelig resignation let, men troen bunder i troen på det absurde. For Abraham blev denne tro på det absurde fundet i Abrahams tro på at Gud ikke ville lade ofringen af Isak ske, eller at Isak ville blive bragt tilbage fra de døde. Kierkegaards mening er, at det der adskiller Abraham fra at være en dræber er hans tro. (I slutningen af første Mosebogs 22 historie stopper Gud Abraham i sidste øjeblik. En vædder dukker op, hvilket Abraham tager som et tegn fra Gud, og han ofrer vædderen i stedet for Isak.)(Wikipedia)

Dette er en specieludgave af den såkaldte "Diapsalmata".

En citatsamling hvor kierkegaard stiller modsætninger op for at tvinge bogens læser til at tage stilling - eller rettere 'Tænke selv'

Dagbogen dokumenterer den taktiske forfører Johannes' strategier for erobringen af og det senere brud med den tillokkende Cordelia og er – som det er tilfældet med hovedparten af forfatterskabets overvejelser omkring kærlighedsforholdet – en filosofisk bearbejdelse af Kierkegaards konfliktfyldte og ultimativt brudte forlovelse med den unge Regine Olsen. Forførerens Dagbog afslutter første del af to-bindsværket Enten-Eller.

Det er lidt uklart hvorfor dette skrift hedder FORORD - undertitlen MORSKABSLÆSNING FOR ENKELTE STÆNDER EFTER TID OG LEILIGHED er mere dækkende. Kierkegaard filosoferer over en forfatters hele stilling i samfundet - ligeledes påtænker han at udgive et filosofisk tidsskriftmen vanskelighederne er mange, hvilket fører til yderst humoristiske og satiriske betragtninger.

Ordet 'diapsalmata' er beslægtet med 'salme' og betyder "omkvæd" eller "refræn". Ordet bruges i den græske oversættelse af Davids psalmer om et strengespil, der har været spillet mellem forskellige afsnit af en tekst, der har været foredraget i en synagoge. den består af små korte bidder tekst der er skrevet af en kynisk og livstræt person. De lange, funderende og reflekterende tekster orker han ikke at skrive, og således bliver det til disse små fragmenter af hans tankeverden, inden han atter mister lysten til at fortsætte sin tankerække. Han er ganske enkelt fanget i sin melankoli og hans tanker virker ganske resignerende og fastlåste i fortvivlelse. Diapsalmata blev ifølge forfatteren fundet som en masse små løse sedler. Det er digt, da både den ukendte forfatter af diapsalmata-tekststykkerne og Victor Eremita selv er pseudonymer for Søren Kierkegaard, og bogens afsnit stammer i høj grad fra Søren Kierkegaards dagbogsnotater med billeder af de frustrationer, han følte under sin studietid.

Samling af Kierkegaards artikler i både DEN FLYVENDE POST og FÆDRELANDET - udgivet 1857 af R. Nielsen på Reitzels forlag.OBS - GOTISK skrift!

Dette er den berømte samling af breve fra Søren Kierkegaard til Regine Olsen, som med dennes tilladelse blev udgivet af Raphael Meyer.