Katalin Nun and Jon Stewart are both based in the Søren Kierkegaard Research Centre, the University of Copenhagen, Denmark.

• Contents: Preface; Agamemnon: from ancient tragic hero to modern ethical archetype, Laura Liva; Agnes and the merman: Abraham as monster, Nathaniel Kramer; Aladdin: the audacity of wildest wishes, Jennifer Veninga; Amor: god of love - Psyche’s seducer, Frances Maughan-Brown; Antigone: the tragic art of either/or, Shoni Rancher; Ariadne: Kierkegaard’s view on women, life and remorse, Filipa Afonso; Marie Beaumarchais: Kierkegaard’s account of feminine sorrow, Susana Janic; Bluebeard: demoniac or tragic hero?, Ian W. Panth; Captain Scipio: the recollection of Phister’s portrayal as the comic par excellence, Timothy Stock; Cerberus: deceiving a watchdog and relying on God, Filipa Afonso; Clavigo: a little tale about the sense of guilt, Antonella Fimiani; Coach horn: Kierkegaard’s ambivalent valedictory to a disappearing instrument, Wolter Hartog; Desdemona: the ill-starred heroine of indirect communication, Ana Pinto Leite; Diotima: teacher of Socrates and Kierkegaard’s advocate for the mythical, Harald Steffes; Don Juan (Don Giovanni): seduction and its absolute medium in music, Jacobo Zabalo; Don Quixote: Kierkegaard and the relation between knight-errant and truth-witness, Christopher B. Barnett; Donna Elvira: the colossal feminine character, from donna abbandonata to the embodiment of modern sorrow, Sara Ellen Eckerson; Elves, trolls, and nisses: the relevance of supernatural creatures to aestheticism, philosophical rationalism, and the Christian faith, Will Williams; Erasmus Montanus: the tragi-comic victim of the crowd, Julie K. Allen; Faust: the seduction of doubt, Leonardo F. Lisi; The Fenris wolf: unreal fetters and real forces in Søren Kierkegaard’s authorship, Henrike Fürstenberg; Figaro: the character and the opera he represents, Sara Ellen Eckerson; Furies: the phenomenal representation of guilt, Laura Liva; Gadfly: Kierkegaard’s relation to Socrates, Hjördis Becker-Lindenthal; Guadalquivir: Kierkegaard’s subterranean fluvial pseudonymity, Eric Ziolkowski; Indexes.

Katalin Nun and Jon Stewart are both based in the Søren Kierkegaard Research Centre, the University of Copenhagen, Denmark.

• Contents: Preface; Agamemnon: from ancient tragic hero to modern ethical archetype, Laura Liva; Agnes and the merman: Abraham as monster, Nathaniel Kramer; Aladdin: the audacity of wildest wishes, Jennifer Veninga; Amor: god of love - Psyche’s seducer, Frances Maughan-Brown; Antigone: the tragic art of either/or, Shoni Rancher; Ariadne: Kierkegaard’s view on women, life and remorse, Filipa Afonso; Marie Beaumarchais: Kierkegaard’s account of feminine sorrow, Susana Janic; Bluebeard: demoniac or tragic hero?, Ian W. Panth; Captain Scipio: the recollection of Phister’s portrayal as the comic par excellence, Timothy Stock; Cerberus: deceiving a watchdog and relying on God, Filipa Afonso; Clavigo: a little tale about the sense of guilt, Antonella Fimiani; Coach horn: Kierkegaard’s ambivalent valedictory to a disappearing instrument, Wolter Hartog; Desdemona: the ill-starred heroine of indirect communication, Ana Pinto Leite; Diotima: teacher of Socrates and Kierkegaard’s advocate for the mythical, Harald Steffes; Don Juan (Don Giovanni): seduction and its absolute medium in music, Jacobo Zabalo; Don Quixote: Kierkegaard and the relation between knight-errant and truth-witness, Christopher B. Barnett; Donna Elvira: the colossal feminine character, from donna abbandonata to the embodiment of modern sorrow, Sara Ellen Eckerson; Elves, trolls, and nisses: the relevance of supernatural creatures to aestheticism, philosophical rationalism, and the Christian faith, Will Williams; Erasmus Montanus: the tragi-comic victim of the crowd, Julie K. Allen; Faust: the seduction of doubt, Leonardo F. Lisi; The Fenris wolf: unreal fetters and real forces in Søren Kierkegaard’s authorship, Henrike Fürstenberg; Figaro: the character and the opera he represents, Sara Ellen Eckerson; Furies: the phenomenal representation of guilt, Laura Liva; Gadfly: Kierkegaard’s relation to Socrates, Hjördis Becker-Lindenthal; Guadalquivir: Kierkegaard’s subterranean fluvial pseudonymity, Eric Ziolkowski; Indexes.

Katalin Nun and Jon Stewart are both based in the Søren Kierkegaard Research Centre, the University of Copenhagen, Denmark.

• Contents: Preface; Agamemnon: from ancient tragic hero to modern ethical archetype, Laura Liva; Agnes and the merman: Abraham as monster, Nathaniel Kramer; Aladdin: the audacity of wildest wishes, Jennifer Veninga; Amor: god of love - Psyche’s seducer, Frances Maughan-Brown; Antigone: the tragic art of either/or, Shoni Rancher; Ariadne: Kierkegaard’s view on women, life and remorse, Filipa Afonso; Marie Beaumarchais: Kierkegaard’s account of feminine sorrow, Susana Janic; Bluebeard: demoniac or tragic hero?, Ian W. Panth; Captain Scipio: the recollection of Phister’s portrayal as the comic par excellence, Timothy Stock; Cerberus: deceiving a watchdog and relying on God, Filipa Afonso; Clavigo: a little tale about the sense of guilt, Antonella Fimiani; Coach horn: Kierkegaard’s ambivalent valedictory to a disappearing instrument, Wolter Hartog; Desdemona: the ill-starred heroine of indirect communication, Ana Pinto Leite; Diotima: teacher of Socrates and Kierkegaard’s advocate for the mythical, Harald Steffes; Don Juan (Don Giovanni): seduction and its absolute medium in music, Jacobo Zabalo; Don Quixote: Kierkegaard and the relation between knight-errant and truth-witness, Christopher B. Barnett; Donna Elvira: the colossal feminine character, from donna abbandonata to the embodiment of modern sorrow, Sara Ellen Eckerson; Elves, trolls, and nisses: the relevance of supernatural creatures to aestheticism, philosophical rationalism, and the Christian faith, Will Williams; Erasmus Montanus: the tragi-comic victim of the crowd, Julie K. Allen; Faust: the seduction of doubt, Leonardo F. Lisi; The Fenris wolf: unreal fetters and real forces in Søren Kierkegaard’s authorship, Henrike Fürstenberg; Figaro: the character and the opera he represents, Sara Ellen Eckerson; Furies: the phenomenal representation of guilt, Laura Liva; Gadfly: Kierkegaard’s relation to Socrates, Hjördis Becker-Lindenthal; Guadalquivir: Kierkegaard’s subterranean fluvial pseudonymity, Eric Ziolkowski; Indexes.