ABSTRACT
As the title Forms of Art implies, this work refers to the shape, organizational components or physical objects that can be called "art" as well as indirectly referring to ways of making art. There are few works in contemporary Kierkegaard scholarship that discuss the problems Kierkegaard raises in the area of philosophy of music while maintaining a bipartite methodology that is both musicologically and philosophically relevant. In De Sousa's discussion of Kierkegaard's pseudonyms, she respects the pseudonyms as individual and unique authors. Following this, she develops a thesis on Kierkegaard's creation of the pseudonyms as a kind of rhetorical strategy. De Sousa ultimately argues that Franz Liszt influenced Kierkegaard's writing of the "Immediate Erotic Stages". It is in an act of reconciling two disciplines often at odds with each other that we find De Sousa's work presenting a harmonious balance of Kierkegaard commentary with musicological analysis.
