ABSTRACT
Batuhan, in his dissertation, claims that Kierkegaard is a philosopher who cannot be placed within a fixed philosophical system, but belongs solely to the tradition of non-systematic philosophers such as Epictetus, St. Augustine, Montaigne, Pascal, Hamann, and Nietzsche; for Kierkegaard's major concern was the interior life of man, underlining the moral and religious problems. The 1930s witnessed conflicts about the definitions of cultural identity in Turkey. The reception of Kierkegaard in the domain of literature and fine arts illustrates one of the most interesting pictures. The reflection of Kierkegaard's philosophy in the visual arts, cinema, painting and sculpture, retrospectively speaking, might have been the most favourable context for Kierkegaard's reception. If the reception of Kierkegaard is thought to be a matter for intellectuals, then this title is in need of specification. Despite the changes in the reception of Kierkegaard in Turkey, some presuppositions continue to be maintained in the past fifty years.
