摘要：TRADITIONALLY, S.ren Kierkegaard's early works were read in line with the title of his first extensive work, "Either/Or." In the wake of intellectual developments that have taken binary oppositions such as these in doubt, Kierkegaard's works were read as "Both/And."1In what follows, I will argue that Kierkegaard's work embodies a meaningful Neither/Nor. As a means to demonstrate my proposal, I will present the literary configuration of the pseudonymous writings of 1843 ("Either/Or," "The Repetition" and "Fear and Trembling") by means of an intra- and intertextual analysis of the employment of two literary motives, "gravity" and "sound," within these writings. By means of these literary motives, the pseudonymous voices engage in a "microdialogue"2underneath the propositional dialogue on the surface of their debate. This microdialogue is controversial up to the point of destructiveness in so far as the voices purposefully unhinge and suspend one another. Yet this mutual destruction of the voices is distinct from any arbitrary play of voices in so far as it yields a very specific 'negative illumination of faith
