Kierkegaard „alakoskodása”
Kierkegaard’s “disguises”

Summary/Abstract: In the author’s opinion, Kierkegaard changed the traditional position of the thinker – philosopher, theologian – radically through his writings and life. He published a significant part of his oeuvre under pseudonyms, and by applying the viewpoints they represented, he not only went beyond the philosophical, theological, and aesthetic problems he raised, but also emphasized the inevitability of interpreting and rethinking them – more precisely, he thematized, demonstrated, and dramatized them, “staging” them in his own life. The pseudonymous writings were mostly polemical in nature, sometimes giving multiple answers to the same questions, thus he created a multidimensional, or in today’s terminology, “interactive” intellectual space within his oeuvre. Through this, the pseudonymous texts forced the reader out from their traditionally passive position and turned them into a spectator in a kind of “textual theatre”, involving them in the process of thinking. In my paper, I examined this phenomenon, since while all of the pseudonymous works originated from Kierkegaard, none of them were nominally by “Magister” Søren Kierkegaard, who appeared at most as a publisher and editor in the publication process, but sometimes distanced himself from the works written under his pseudonyms, or even viewed his own role as a writer from an outside perspective, in the context of contemporary Danish literature. What did this role playing mean, why did it become an inspiration for writers and thinkers, and how did it renew philosophical discourse with its theatrical and dramatic characteristics? This study seeks answers to these questions.

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