This chapter contains sections titled: The Visual Introduction The Contemporary Discussion – Kierkegaard the Writer.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Reading Kierkegaard I: Fear and Trembling by Paul MartensDerek HostetterReading Kierkegaard I: Fear and Trembling Paul Martens EUGENE, OR: CASCADE BOOKS, 2017. 130 pp. $18.00The very first line of Reading Kierkegaard I: Fear and Trembling warns that "reading Søren Kierkegaard is a task that requires a relatively high level of intellectual investment" (ix). Yet the difficult task Paul Martens sets for (...) himself, in keeping with the goal of the Cascade Companions series, is to provide a short introduction to Kierkegaard's thought for a nonspecialist readership. In this first volume, the primary text in focus is Fear and Trembling (FT), with a second volume to focus on Works of Love. More specifically, the threefold purpose of this volume is "(1) to illuminate the internal logic of the text in a manner that renders the text more accessible; (2) to highlight the links between FT and Kierkegaard's broader context in a way that helps one make sense of some of its more opaque sections; and (3) to attend to the theological themes that permeate and drive the text" (xi). [End Page 205]Martens helpfully follows the structure provided by FT, explicating each "chapter" in turn and highlighting the ways it relates to the others as well as to the argument as a whole. This approach is particularly helpful for the long and difficult Problem III "chapter" in FT, which Martens frames as an attempt by Kierkegaard's pseudonymous author Johannes de Silentio to perform the text's argument by demonstrating "that the whole investigation—any investigation, even an unlimited poetic investigation of characters and concepts—only leads to one conspicuous conclusion: Abraham is unintelligible" (54).Attention to the links between FT and Kierkegaard's broader context is also helpful for unifying the seemingly disparate arguments in FT. In Martens's reading of this context, FT is to be understood against the broad backdrop of Kierkegaard's criticisms of nineteenth-century Danish Christendom and the particular backdrop of the Hegelianism that de Silentio finds within it. The overall task of FT is then "to raise the price of faith" (71).Martens clearly attends to the text's theological themes with his repeated juxtaposition between "faith" as de Silentio sees it in the story of Abraham and "the ethical" as de Silentio sees it in nineteenth-century Denmark. Many theological themes are also highlighted and then brought into the reader's context in the discussion questions that follow each chapter.In addition to the discussion questions, Martens provides an appendix, which includes a timeline of Kierkegaard's first authorship, a glossary of important terms that may be unfamiliar, and a list of suggested readings for further study. The glossary will be a particularly helpful tool for those less familiar with Kierkegaard. However, there are also several terms missing that are both significant enough and unclear enough to warrant inclusion. One thinks here of a figure like Socrates and concepts like the knight of faith and the knight of infinite resignation.Similarly, another feature of the book that is both a strength and a weakness is its commitment to the text of FT rather than the scholarship surrounding the text. This is a strength because it keeps the book short and accessible for nonspecialists. It is also a weakness, however, because the reader interested in further study is not clearly pointed toward competing interpretations, despite the fact that some lines are ripe for a brief footnote providing such a reference—"Not all agree with me on this" (76).Overall, the discussion questions and appendix, its short length and overall readability, and its commitment to the text make Reading Kierkegaard I: Fear and Trembling a significant pedagogical contribution to ethics and Kierkegaard studies as an entry point for nonspecialists. [End Page 206]Derek HostetterUniversity of DaytonCopyright © 2018 Society of Christian Ethics... (shrink)

Johannes Climacus, Søren Kierkegaard's pseudonymous author of Philosophical Fragments, "invents" a religion suspiciously resembling Christianity as an alternative to the assumption that humans possess the Truth within themselves. Through this literary device, Climacus raises in a fresh and audacious way age-old questions about the relation of Christian faith to human reason. Is the idea of a human incarnation of God logically coherent? Is religious faith the product of a voluntary choice? In a comprehensive discussion of one of Kierkegaard's (...) most important books, C. Stephen Evans elucidates Kierkegaard's novel explanation that the tension between faith and reason must be understood as a consequence of the passionate character of reason itself. Passionate Reason situates Kierkegaard's philosophy in the context of postmodern religious thought, providing a contemporary reading of Fragments as a challenge to both the modern Enlightenment critique of reason and the postmodern abandonment of truth. (shrink)

In recent years restorative practice in schools has been heralded as a new paradigm for thinking about student behaviour. Its premise is to provide solutions to indiscipline, to restore relationships where there has been conflict or harm, and to give pupils a language with which to understand wrongdoing. This article offers a critique of practitioners’ use of scripts with which to facilitate the restorative conference, one of the key strategies of restorative practice. To do so I turn to J.L. Austin (...) and Stanley Cavell whose writing on performative and passionate utterance point to the educational importance of making room for freedom in speech and emotion, over performance. Indeed, it is through making room for negative emotion, or silence, as observed in Cavell’s reading of King Lear, that we can see an opening up of the possibilities present in restorative practice. (shrink)

Theology in the modern era often assumes that the consummate form of theological discourse is objective prose—ignoring or condemning apophatic traditions and the spiritual eros that drives them. For too long, Kierkegaard has been read along these lines as a progenitor of twentieth-century neo-orthodoxy and a stern critic of the erotic in all its forms. In contrast, Hughes argues that Kierkegaard envisions faith fundamentally as a form of infinite, insatiable eros. He depicts the essential purpose of Kierkegaard’s (...) writing as to elicit ever-greater spiritual desire, not to provide the satisfactions of doctrine or knowledge. -/- Hughes’s argument revolves around close readings of provocative, disparate, and (in many cases) little-known Kierkegaardian texts. The thread connecting all of these texts is that they each conjure up some sort of performative “stage setting,” which they invite readers to enter. By analyzing the theological function of these texts, the book sheds new light on the role of the aesthetic in Kierkegaard’s authorship, his surprising affinity for liturgy and sacrament, and his overarching effort to conjoin eros for God with this-worldly love. (shrink)

This paper revisits the charges of fideism and irrationalism oftentimes leveled against Kierkegaard's consideration of the relation of ratio to fides. To this avail the author engages one of the key texts in this polemic, namely the first three chapters of Philosophical Fragments. His reading centers on the rather subtle suggestion that eroticlove, as a surrendering of oneself to another, plays the role of a metaphor or image for the downfall of the understanding characteristic of religious conversion. By (...) considering the possibilities and limitations of this metaphoric relation, he suggests that thedownfall of the understanding required in religious conversion occurs, surprisingly, not without an understanding, however limited, of the downfall. Because the experience oferotic love reveals where our true passion lies, we gain access to an alternative account of religious conversion according to Kierkegaard, one where ratio is not necessarilyput on the verge of disappearing by fides. Moreover, thanks to this metaphoric relation, not only does erotic love itself acquire a novel meaning—under the religious command of loving one's neighbor — but also one grasps in advance the risk of becoming dispassionate in a religious sense. (shrink)

ABSTRACTThis paper presents a Kierkegaardian critique of Roy A. Rappaport’s classic treatment of religious rituals. It discusses Rappaport’s claim that public and outward acceptance of a religious ritual is sufficient for successfully enacting it – even where such acceptance is devoid of any personal commitment on the participants’ part. To interrogate Rappaport, the paper develops Jonathan Lear’s reading of Kierkegaard and builds on the Danish theologian’s remarks on the Christian sacraments to argue that, pace Rappaport, personal engagement is (...) necessary to the successful enactment of religious rituals. In this sense, I will show with Kierkegaard how inner belief is a necessary pre-requisite for the performance of any religious ritual whereas in Rappaport’s view it is ritual action itself which creates a posteriori the possibility for personal religious faith. (shrink)

To counteract the antinomian tendencies of nineteenth-century secular Protestantism, Søren Kierkegaard turns to Johannes Tauler's sermons, which vividly express a dialectics of works and grace, attacking an inflated asceticism as much as idleness. For reasons of reception history and because of the similarity of the images Kierkegaard and Tauler use, particularly servitude as expressed in Luke 17:10, this article proposes to understand Kierkegaard's account of grace as ‘Taulerian’ rather than ‘Arminian’. To show the intertwined agency of the (...) human and the divine, the article offers a comparative reading of Tauler's two sermons on Cantate Sunday, Kierkegaard's Upbuilding Discourse ‘The Expectancy of an Eternal Salvation’ and the second part of Judge for Yourself. Both Kierkegaard and Tauler design definitory ambiguities for a performative purpose: to help their readers and, respectively, listeners to become receptive to grace by humbling themselves and refraining from fathoming ‘what is not given to be understood’. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 89-93 [Access article in PDF] Richard Shusterman, Performing Live: Aesthetic Alternatives for the Ends of Art (New York: Cornell University Press, 2000) Performing Live can be ascribed to post-modern American pragmatism in its widest expression. The author's intention is to revalue aesthetic experience, as well as to expand its realm to the extent where such experience also encompasses areas alien to traditional (...) aesthetics (for example, popular art or the somatic arts of self-improvement), reaching "the art of living" and reclaiming life itself as performance.After the introduction, titled "Aesthetic Renewal for the Ends of Art: An Overture," the text is organized in two main parts: "Aesthetic Experience and Popular Art" and "Soma, Self, and Society." Along with its ambitious title, the book's organization and structure promise a consistency of approach and narrative that somewhat dissolves during the reading. Shusterman recognizes that the stylistic problems that arise from a compilation of articles spanning ten years, mixing newly written and revised articles, but appeals to the reader's appreciation of the "quality of the mix" (11). Despite this feature, he is a lucid and thoughtful communicator and his writing style is excellent.In order to propose new or revitalized alternatives for the ends of art, Shusterman [End Page 89] explores the crisis in traditional visions of art, pointing to the compartmentalization and lack of credibility in current artistic thought and practice. Hegel, Walter Benjamin, Gianni Vattimo, and Arthur Danto provide him with the philosophical arguments accounting for the modern "exhaustion" of art. He supports a dialectical approach, both naturalistic and historicist, and builds a solid case for the possibility of alternatives in aesthetic thought and experience. He proposes two alternatives in his introduction: The two most prominent sites for today's aesthetic alternatives are clearly the mass-media popular arts and the complex cluster of disciplines devoted to bodily beauty and the art of living as expressed in today's preoccupation with aesthetic lifestyles. (7) It is unclear why these alternatives are "clearly" "the two most prominent." The author does not build a case for this assumption or for the "newness" of these alternatives. The "compilation style" mentioned above and this lack of justification for one of the most original elements in the book make this text often read as a philosophical drafting board. Keeping these characteristics in mind and also critically pondering the degrees of success in the enterprise, the reader must give Shusterman credit for taking risks while suggesting concrete examples for an experiential, holistic philosophy. In this sense, he mentions (in a different context) that "all of us [are caught] between conceptual history and futuristic speculation" (145), and he takes to heart this situation and its challenges.The first chapter in Performing Live aims to redeem or revalue the concept of aesthetic experience. For Shusterman, the loss of "felt experience" in art makes the interest in this concept utterly relevant for art's survival. He traces the lineage of this aesthetic philosophy to John Dewey, Monroe Beardsley, Nelson Goodman, and Arthur Danto. Besides focusing on these authors, his analysis revisits some of the main currents of thought in Western philosophy on the topic (for example, Plato, Hume, Kant, Dickie, Adorno, Benjamin, Gadamer). He concludes that a pragmatic approach to aesthetics, applying the concept of aesthetic experience directionally (as a means towards the actual experience rather than as a definable concept), can provide new paths for revitalizing art. Throughout the text this concept is also used expansively. The post-modern justification of the proposed aesthetics, by allowing the extension of aesthetic experience to embrace "the art of living," can leave the reader wondering if Shusterman has not simply turned Kierkegaard's existentialist stages to self-realization upside down.The second chapter is an open defense of popular art, carried out by contesting the main complaints found in current art criticism. Shusterman's defense is not directed to the products of popular art, but against the claim that popular art is aesthetically "worthless." His definition of "popular art... (shrink)

Kierkegaard's work was a significant response to nineteenth‐century controversies about biblical hermeneutics. Kierkegaard attempted to resolve questions about meaning by focusing on the passions brought to bear on the text, and the passions that the text can evoke. His version of the hermeneutic circle was his conviction that the canonical form of the Bible has the power to evoke Christian pathos, when it is read with the appropriate self‐concern. The interaction of the canonical form and the apt subjectivity (...) obviated the need for any reconstructed authorial intentionality or historical context. (shrink)

This study engages in a detailed examination of Kierkegaard’s works of literary and dramatic criticism, including those works directed at interpreting Kierkegaard’s own authorship, with a specific concern for both what Kierkegaard and Kierkegaard’s anonyms and pseudonyms write about the nature and practice of authorship, as well as how the Kierkegaardian authors practice authorship themselves. Moving through five chapters, each devoted to one or more works of Kierkegaard’s criticism, the study develops a new approach to (...) reading Kierkegaard – a new Kierkegaardian hermeneutic – that begins always with the character of the author. This new approach avoids the challenges of critics of biographical criticism, such as Roland Barthes, Michel Foucault, and Jacques Derrida, by positing the author always as a work of fiction him- or herself, the creation of an unknown and ever anonymous “author of the author”. (shrink)

Name der Zeitschrift: Kierkegaard Studies Yearbook Jahrgang: 2013 Heft: 1 Seiten: 131-142.

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 41.1 (2003) 135-136 [Access article in PDF] Alastair Hannay. Kierkegaard: A Biography. New York: Cambridge University Press, 2001. Pp. xvi + 496. Cloth, $39.95. In the opening pages of this carefully crafted biography, Hannay states that he has no intention of making matters easy for his reader. By this, he means that "final judgments" will not be forthcoming on a number of (...) key issues surrounding Kierkegaard and his works: the nature of his relation to Christianity, the motives leading him to collide with The Corsair, and the meaning and wisdom of his final attack on Bishop Jakob Mynster and the established Danish Church. This is not to say that Hannay presents Kierkegaard either through rose-colored lenses or through narrowly intellectualist ones. Indeed, one of the book's central virtues is that it combines a philosopher's long-standing interest in Kierkegaard's writings with other guiding passions: a fascination with the sources of human creativity, the twists and turns of nineteenth-century European intellectual history, and the drama of one man's sustained grappling with the meaning of (his) life and the degree to which this meaning could be forged and sustained in his own writing.Hannay raises the curtain on Kierkegaard's life at the intellectual debut of the latter. In his first public appearance before the Student Union at the University of Copenhagen, Kierkegaard took issue with a student colleague's espousal of liberal reform. Hannay sees in Kierkegaard's performance signs of things to come: (1) the attempt to gain the notice and approval of the leading cultural lights, such as Danish literary icon Johan Ludvig Heiberg, and (2) a habit of seeking unity and definition through opposition and controversy. In his subsequent discussion of Fear and Trembling, Hannay notes the inescapable fact that Kierkegaard's philosophic positions are often tailor-made justifications for his private [End Page 135] behavior. The classic example is de Silentio's celebration of Abraham's teleological suspension of the ethical, a celebration which would, as often noted, vindicate equally Isaac's sacrifice by Abraham and Regine's "sacrifice" by Kierkegaard. Already on the occasion of his address to the Student Union, Kierkegaard's thought lines up nicely with his self-interest. But Hannay's work is hardly a reductive exposé. His ear for the varied leitmotifs of the authorship, their development and integration, is unrivaled. Regarding Kierkegaard's first skirmish in the academic arena, Hannay alerts his reader to emergent themes: (1) the valorization of personal unity, and the assertion that such unity must emerge from a life rather than be imposed upon it, and (2) a corresponding respect for the power of lived experience and a critique of any life or movement which is either primarily reactive or abstracted from individual existence. While personal unity remains a desideratum throughout his life, the integrity of lived experience is ultimately placed in question by Kierkegaard's construal of Christianity, which he comes increasingly to see as opposed to the humanism which underlies both Enlightened and Romantic thought.Hannay's biography focuses primarily on the development of Kierkegaard's thought as expressed in his journals and published writings. As such, his biography tends to emphasize the continuity of the authorship over its internal tensions. Hannay views, for example, thehumanistic stance of Climacus's Religiousness A as propadeutic to the radical transcendenceof the godhead embraced by Religiousness B. This is a topic open to dispute, since Kierkegaard himself went out of his way to record, and perhaps exhibit, the offensiveness of Christian demands to (fallen) human nature. Hannay acknowledges Kierkegaard's lifelong ambivalencetoward Christianity, but he does not show how this ambivalence echoes in the authorship. Ifhis Kierkegaard is a less divided character than the original, Hannay nevertheless challenges those who would minimize either (1) the depth of Kierkegaard's breach with humanistic thought or (2) the degree to which "the religious life-view [is] persistently in the offing" (Hannay, "Something on Hermeneutics and Communication in Kierkegaard After All," forthcoming in Kierkegaard and the Word, Poul Houe and Gordon D. Marino... (shrink)

This paper explores Stanley Cavell’s notion of ‘passionate utterance’, which acts as an extension of/departure from (we might read it as both) J. L. Austin’s theory of the performative. Cavell argues that Austin having made the revolutionary discovery that truth claims in language are bound up with how words perform, then gets bogged by convention when discussing what is done ‘by’ words. In failing to account for the less predictable, unconventional aspects of language, the latter therefore washes his hands (...) of the expressive passionate aspects of speech. To ignore such aspects is to ignore an important moral dimension of language. Finally, I bring Cavell’s approach to bear on the epistemic criterion, which Michael Hand applies in his paper ‘Should We Teach Homosexuality as a Controversial Issue?’. I suggest that Hand’s approach, by failing to account for the linguistic dimension of truth and the expressive quality that accompanies this dimension, presents an overly narrow conception of moral education. (shrink)

Back when I was a college freshman, I started working as a research assistant to a young graduate student named Bertram Malle. I hadn’t actually known very much about Malle’s work when I first signed up for the position, but as luck would have it, he was a brilliant researcher with an innovative new approach. Malle was interested in understanding people’s ordinary intuitions about intentional action – the way in which people’s ascriptions of belief, desire, awareness and so forth ultimately (...) feed into the process by which people determine whether or not a behavior was performed intentionally. Of course, this sort of question had already been pursued in countless philosophy papers, but Malle wanted to use a different approach. He wanted to study the problem experimentally. We ran a number of experiments together and then co-authored a paper, which was published in a social psychology journal. Yet although I found this type of research interesting and engaging, my real passion lay elsewhere. I was obsessively reading Nietzsche, along with some heavy doses of Kierkegaard, Hume, Marx, Wittgenstein and Aristotle. What I really wanted to do was to continue working on the very same sorts of questions I saw addressed in these thinkers. (shrink)

Most readings of Kierkegaard’s Fear and Trembling take its account of the Abraham and Isaac story to imply fairly obviously that duty towards God is absolutely distinct from, and therefore capable of superseding, duty towards neighbor or son. This paper will argue, however, that the Akedah, or ‘binding’ of Isaac, as Kierkegaard’s pseudonym, Johannes de Silentio, depicts it, binds Abraham to Isaac in a revitalized neighbor relation that is not at all subordinate, in any simple way, to Abraham’s (...) God-relation. The two relations are defined by an intimate mutual tension, a dynamic of passionate inwardness that responds to the immediate demands of the neighbor as fully as the ethics that Levinas notoriously accuses Kierkegaard of having ignored. It is also the dynamic of time consciousness, which for Levinas is fundamentally ethical. I show that Kierkegaardian faith can be viewed as the dynamic of time-consciousness transformed by passionate inwardness into one’s God-relation—that is, converted into a certain religious mode of life. The ethics corresponding to this—an ethics of neighbor love superseding the ‘social morality’ that Silentio, following Hegel, calls the ‘ethical’—would then be the same dynamic of time-consciousness transformed by passionate inwardness into one’s neighbor-relation. The key to the argument is seeing the need to substitute for the spatial dichotomy ‘interior/exterior,’ which results in so much trouble when comparing Levinas and Kierkegaard, the temporal contraries ‘giving up’ and ‘getting back.’. (shrink)

In his posthumously published Journals and Papers,, Kierkegaard boldly claimed, "Oh, once I am dead, Fear and Trembling alone will be enough for an imperishable name as an author. Then it will be read, translated into foreign languages as well. The reader will almost shrink from the frightful pathos in the book." Certainly, Fear and Trembling has been translated into foreign languages, and its fame has ensured Kierkegaard's place in the pantheon of Western philosophy. Today, however, most shrink (...) from the book not because of its frightful pathos but because of its fearsome impenetrability. In this first volume of a Reading Kierkegaard miniseries, Martens carefully unfolds the form and content of Kierkegaard's celebrated pseudonymous text, guiding and inviting the reader to embrace the challenge of wrestling with it to the end. Throughout, Martens demonstrates that Fear and Trembling is not merely a book that contains frightful pathos; it is also an entree into Kierkegaard's vibrant and polyphonic corpus that is nearly as restless as the faith it commends. (Publisher). (shrink)

Great philosophers such as Kierkegaard, Nietzsche and Sartre have clearly been preoccupied by the possibility of authenticity. In this study, Jacob Golomb looks closely at the literature and writings of these philosophers in his analysis of their ethics. Golomb's writings shows his passionate commitment to the quest for the authenticity - particularly in our climate of post-modern scepticism. He argues that existentialism is all the more pertinent and relevant today when set against the general disillusionment which characterises the (...) late twentieth century. This book is invaluable reading for those who have been fascinated by figures like Camus's Meursault, Sartre's Matthieu and Nietzsche's Zarathustra. (shrink)

Søren Kierkegaard (1813-1855) has often been cast as an irrationalist -- an enemy of reason, logic, and perhaps even truth. It is easy to see why. Some of his works encourage us to "crucify" our understanding or to take a leap of faith beyond the evidence.[1] We also encounter texts suggesting that passionate beliefs are more important than true ones.[2] Perhaps his most frequently read book, Fear and Trembling, lauds Abraham for following God's commands "by virtue of the (...) absurd."[3] Finally, a number of passages encourage us to accept "the absolute paradox" or "the contradiction" of the God-man, Jesus Christ.[4] Richard McCombs joins a growing chorus of scholars who reject this view. Indeed, there is something approaching a consensus among specialists that Kierkegaard is not as irrational as he appears. What sets McCombs apart is that he also defends a more ambitious thesis. In addition to downplaying the irrationality of Kierkegaard, he maintains that Kierkegaard is actually a "robustly rational thinker" (7). (shrink)

The Christian life, concerned with both spirituality and doctrine, aims not at rationally defensible truth but at life-transforming love. Greater understanding of the truth will not settle the restlessness in a human spirit; only the redemptive power of relationship with God can calm the soul. The crux of Kierkegaard's presentation of Christianity is not that doctrine is unimportant, but that it is ultimately insufficient for a life lived in relationship with God. In Contemporary with Christ, Joshua Cockayne explores the (...) Christian spiritual life with Søren Kierkegaard as his guide and analytic theology as his key tool of engagement. Cockayne contends that the Christian life is second-personal: it seeks encounter with a personal God. As Kierkegaard describes, God invites us to live on the most intimate terms with God. Cockayne argues that this vision of Christian spirituality is deeply practical because it advocates for a certain way of acting and existing. This approach to the Christian life moves from first-reflection, whereby one acquires objective knowledge, to second-reflection, whereby one attains deeper self-understanding, which fortifies one's relationship with God. Individuals encounter Christ through traditional practices: prayer, the Eucharist, and the reading of Scripture. However, experiences of suffering and mortality that mirror Christ's own passion also enliven this life of encounter. Spiritual progress comes through a reorientation of one's will, desire, and self-knowledge. Such progress must ultimately serve the goal of drawing close to God through Christ's presence. Engaging philosophy, theology, and psychology, Cockayne invites us to join in a conversation with Kierkegaard and explore how the spiritual disciplines provide opportunities for relationship with God by becoming contemporary with Christ. --C. Stephen Evans, University Professor of Philosophy and Humanities, Baylor University. (shrink)

Who might reasonably be nominated as the funniest philosopher of all time? With this anthology, Thomas Oden provisionally declares Søren Aabye Kierkegaard (1813-1855)--despite his enduring stereotype as the melancholy, despairing Dane--as, among philosophers, the most amusing. Kierkegaard not only explored comic perception to its depths but also practiced the art of comedy as astutely as any writer of his time. This collection shows how his theory of comedy is integrated into his practice of comic perception, and how both (...) are integral to his entire authorship. Kierkegaard's humor ranges from the droll to the rollicking; from farce to intricate, subtle analysis; from nimble stories to amusing aphorisms. In these pages you are invited to meet the wife of an author who burned her husband's manuscript and a businessman who, even with an abundance of calling cards, forgot his own name. You will hear of an interminable vacillator whom archeologists found still pacing thousands of years later, trying to come to a decision. Then there is the emperor who became a barkeeper in order to stay in the know. The Humor of Kierkegaard is for anyone ready to be amused by human follies. Those new to Kierkegaard will discover a dazzling mind worth meeting. Those already familiar with his theory of comedy will be delighted to see it concisely set forth and exemplified. Others may have read Kierkegaard intensively without having ever really noticed his comic side. Here they will find what they have been missing. (shrink)

Søren Kierkegaard is an important thinker, especially important for those who wish to understand Christian faith. His elusive style, however, and certain distancing techniques make him particularly difficult to understand. The recent history of writings on Kierkegaard reveals a strong tendency to fall into one of two erroneous modes of interpretation. This essay is an attempt to rescue Kierkegaard both from muggings by ‘rigorous’ philosophers and from the morganatic embraces of Post-Modernists. It reviews the classical sources of (...) each of these sorts of reading of Kierkegaard, exposes their mistakes, and suggests several appropriate principles of interpretation. (shrink)

"Ever Since This World Began" from Love Dog (Penny-Ante Editions, 2013) by Masha Tupitsyn continent. The audio-essay you've recorded yourself reading for continent. , “Ever Since the World Began,” is a compelling entrance into your new multi-media book, Love Dog (Success and Failure) , because it speaks to the very form of the book itself: vacillating and finding the long way around the question of love by using different genres and media. In your discussion of the face, one of (...) the themes of Love Dog , I think there is something to be said about the surfaces media create and how you constantly manipulate them in your work. This seems important for thinking also about your book LACONIA: 1,200 Tweets on Film ; a book on film written in tweets, interposing already three sets of expectations and pushing the boundaries of each medium's faciality, it's surface tension. In Love Dog , is there another kind of facial interaction? Perhaps the discursive faces of approaching love as topic and love as method? If so, how did/do these intersect for you, do/did they drive the creation of this book? MASHA TUPITSYN With LACONIA and Love Dog , I wanted to pay homage to the work modernism has done on subjective time and chronological time by carrying that experiment over into the digital economy. Because LACONIA is a time-based work of cultural criticism that employs the aphorism to look at 21 st century American culture, it is also an archival work of cultural mourning and memory. And in Love Dog , which is also a work about mourning as it relates to love, I wanted to think with all my senses, and to reflect that in the writing itself by using a multi-media form. LACONIA tackled the sound bite and the promotional image--the everyday language of consumer culture--which often wants to communicate ideological agendas through the repetition of a single image or reductive phrase. I had always been interested in the approaches of artists like Barbara Kruger and Jenny Holzer and essayistic, typographical filmmakers, like Chris Marker and Godard. In both cases, I felt it was important to try to compose a book in which deep—critical—thinking happens in so-called immediate, informal, and disposable contexts. That is, in places where you are either not supposed to be serious or are not required to take things seriously. To me the most intervention is needed in every day instances of culture and representation. In order to do that, I had to utilize and interrogate the very structures I was critiquing. In other words, the writing had to materialize in that live, digital, public space. It couldn’t simply happen at home on a piece of paper or in a word document on my computer that no one could see until it was finished. It had to unfold in real time, amidst everything else. And it had to literally be surrounded by the cultural landscape I wanted to assess. In both LACONIA and Love Dog , I wanted to know how and if we can get away from what we cannot get away from? From which there is no respite. Given this, I don’t think hypertexts can really be called hypertexts anymore. Hypertexts are simply the world today. This is not only the way we read the world now. It is the way the world reads. Likewise, interfaciality, as you put it, works on a number of levels for me, both on and off the page. There is my relation to epistemological and phenomenological surfaces—the screen, the body, the face, the voice, gender; the official story. Then there is the way this dovetails formally, and to which the digital adds yet another dimension. It’s also where sound comes into Love Dog (giving the book a sound; giving tonality to the book’s ideas and feelings). As Anne Carson pointed out in her essay “The Gender of Sound,” the two are connected, and of course so are love and gender. In “Ever Since This World Began,” I wanted to think about the phenomenology of the voice, which is why I visualize the sonic in the book and why in my writing about faces, I look at the tonal aspects (the things a face voices and a voice faces) of a face. This was standard to do when images and faces were “silent” in the silent era. Those images/faces were extraordinarily audible. The greatest screen face, to me, is still Falconetti’s in Dreyer’s The Passion of Joan of Arc . We can hear her face—even though there is no actual sound on screen of her speaking. The internet is a similarly “silent” space where actual voices are lacking. So intertextuality goes with interfaciality. I’ve also talked a lot about how categorization worked when it came to the reception of my first book, Beauty Talk & Monsters . How despite the fact that Beauty Talk is a text that crisscrosses form and content in a variety of ways, not pinpointing its exact genre—choosing one genre over another—only made things worse. Fiction was the category people were most adverse to me using, even though of course there is a lot of fiction in the book. Part of how fiction works in Beauty Talk is in the reader not knowing exactly where the fiction resides. In Godard’s 1967 film, Weekend , for example, everything matters. Everything is political, whether it’s real or imaginary, film or reality. In Weekend , life is not a game and neither is the game a game. The game is really life. Either everything is important or nothing is. But many people want clear answers and demarcations so that they can decide what is important and what is not important. My use of the “I,” subjective criticism, made everything “real” in Beauty Talk . But fiction is in the construction. It is in the blending. This is why I perforate the movie screen and connect the onscreen and the offscreen; the official story and the backstory. Although I don’t think there is a difference between onscreen and offscreen anymore. Nor is there a dialectic. It’s all screen all the time now. Non-fiction, on the other hand, was more tolerated as a moniker. Unlike Love Dog , Beauty Talk wasn’t explicitly or tangibly (what is tangible is a question in all these books) working with digital forms or within this digital economy, so some people resisted the book’s hypertextuality or intertextuality because they couldn’t see its other forms, if that makes sense. It was a problem of invisibility; of how to make something appear (this is where Nietzsche, big presence in Love Dog , comes in—the nature of appearances). Something people don’t necessarily want to see. Some readers couldn’t see the way forms were interfacing in that book. On the surface, Beauty Talk was simply a text about media culture—the domination of entertainment as a mode of being and knowing—and most readers could only see that one side of the book. But as Godard puts it in Wim Wenders’ documentary about the future of cinema, Room 666 , “Films are made, images are made, when there’s no one looking. That’s what the invisible is, that which we don’t see. That’s what the incredible is, that which we don’t see. And cinema shows you that which we don’t see, the incredible.” We are living in the aftermath of narrative and temporal collapse, which means we don’t read or feel in the same way. I began to use digital forms in my writing because I don’t see us as traditional book people anymore. I would add that power also resides in the invisible, in the things we make invisible by making them visible. Or it did for a long time. The new face of power is quickly becoming so-called transparency, which is even more corrupt because even though we now live in a behind-the-scenes culture, and see and know how the mechanisms of power and corruption operate, we still don't change. The world still doesn't change. Finally, another important thing that Godard says in Room 666 that relates to Love Dog is: “I’m here in front of the camera, and yet in my body and in my head, I’m behind it. My world is the imaginary and the imaginary is a journey between forwards and backwards.” This idea of visible/invisible, foresight and hindsight , backwards and forwards is an important dialectic in relation to time and the idea of the destinal. This is why I wanted Love Dog to travel, literally, figuratively, and discursively. You have to be open to not knowing. To epistemological, geographical, chronological, and emotional aporias. In Love Dog my story is both visible and invisible to me. Sometimes I could see where I was going. Other times I was completely in the dark existentially. Truth procedure, which love is, as bell hooks and Badiou tell us, requires expedition and openness to possibility. Unless you want a story you already know, but that is not truth procedure. So I tried to create this backwards and forwards journey in the book—this sense of travel and motion, hope and doubt—by jumping between forms, media, time; traveling to different places, texts, and emotional registers. The book’s “Time-Jump series,” which mostly takes the form of music—songs—but also a series of “green” videos that I shot, is the most obvious tribute to this idea of subjective and chronological time. continent. Your work aligns with writers that play with the form of their language, or have assumed the role of performance artist at some point: Kathy Acker, Chris Kraus, Avital Ronell, and Anne Carson to name a few representing varied approaches that show up in Love Dog . At the risk of ossifying the work, or missing the point—as these experimental modes of writing stack-up in piles of published works, do they approach a genre? MASHA As I noted in my book Life As We Show It , in Chelsea Girls the poet Eileen Myles points out, “You can’t get money without a category.” More importantly, you can’t get a category—or respect, rank—without a clear genre. This makes genre and gender an obvious pair. The two words are even linked etymologically and both genre and gender concern taxonomies of legitimacy—of sorting through what and who is valuable. So the words share common prejudices. The things one does not want to read is often synonymous with who one doesn't want to read about. Therefore a break-up of or with genre is maybe the genre or anti-genre that could be said to link these writers. Avital Ronell breaks up with philosophical tradition and modes of inquiry. Like Nietzsche, she revaluates methods of evaluation, testing out things you are not supposed to use philosophy to test (and, by the same token, testing philosophy in ways it’s not supposed to be tested), like drugs and stupidity—where philosophy fails and we fail philosophy. And Chris Kraus does something similar in her experimental fiction, using different forms to put female subjectivity “to the test,” so to speak. All these female writers and thinkers have tried to destabilize the systems that have been set up in (and against) writing. Thus missing the mark with genre, even intentionally, means that we have missed the point in some sense as writers and thinkers. And that to me is a good thing, however difficult. We’ve started at the wrong point and gone somewhere else instead. We’ve acknowledged that writing and thinking are also about failure, and that failure is always embedded in the act of writing and in our reasons for writing. So that missing the point is also the point. Derrida insisted: “We must invent a name for those ‘critical’ inventions which belong to literature while deforming its limits.” But how can you give something that resists and deforms, a name? Wouldn’t the name also be deformed? Isn't this why the aforementioned writers get hyphenated descriptors like ficto-criticism? Do we need a proper name to be able to read something carefully? I don’t think so. I don’t need it as a reader. I’ve always taken a work on its own terms. But for most people, if you don’t have an address, people don’t know how to find you. A lot of time, they won’t even know how to look. And in some cases, they’ll think you’re not even worth finding. You are not on the map because you have to literally make the map in order to exist. In her essay, “The Gender of Sound” Carson asks, “Why is female sound bad to hear?” I think for the same reason something uncategorizable (pedagogically, creatively, racially, and sexually)—Other—is hard to read. *For an audio recording of Florida , read by Masha Tupitsyn click here . continent. : We're also curious to hear know how you see the significance of 'performance' (and why the label sticks to the shoes of these authors like toilet paper) in describing this kind of writing work? MASHA I think I responded to the parenthetical portion of this question in my previous answer. As far as how performance relates to Love Dog , in Acker’s Don Quixote , which is another big presence in the book, she writes, “there is no other reality than anthropomorphism.” In Don Quixote , the dog is human and the human is dog. Which brings us to the title of Love Dog and the totemic function of the dog in the book: giving human things animal characteristics and animal things human characteristics. Rather than investing all our human love ideals into dogs, which we do constantly as a culture of dog lovers, I wanted to put the dog into love. It is the difference between the consumption of love as a patriarchal institution or status position and the essence of a type of radical and liberatory relation that would benefit humans in their bonds with other humans. So the dog in Love Dog is not simply the book’s cover or performative affect, so to speak. Love has always needed the dog, which is why the dog is the very embodiment of belief in love . Recall Argos The Great Dog and Odysseus. Argos is the only one who remembers and recognizes the ragged and old Odysseus even after his 20-year absence. So love is the high ideal and the dog, both common and dependable, is the bridge between the sacred and the profane. The dog is the house of love. And because Love Dog is a digital project, it seemed impossible to think about the post-human, technology, the virtual, or difference (which Badiou says is essential to love in In Praise of Love ) without thinking about animal-being and being-animal. Instead of simply “performing” these ideas and characteristics as literary affects, I’m interested in being-becoming. Which means the book’s tropes, leitmotifs, series, and even its titles are in service of that truth procedure. In other words, I actually want to live this way, not just write this way. And, more importantly, I want to live this way not just think this way. So Love Dog became both my totem animal and my autobiographical animal. This made the book organic, anthropomorphic—beyond literary. See the trailer to Masha Tupitsyn's new book available now from Penny Ante Editions. (shrink)

" ‘I can be understood only after my death,’ Kierkegaard noted prophetically: the fulfillment of this expectation for the English-speaking world a century and a quarter later is signified by the English translation in authoritative editions of all his works by the indefatigable Howard and Edna Hong.... The importance of [the Papirer] was emphasized by Kierkegaard himself.... The essentially religious interpretation he gave to his mission in life and his personal relationships is now documented clearly and exhaustively.... Obviously, (...) these editions are essential for academic and large general collections." —Library Journal "From this point on, anyone interested in tracking down a Kierkegaardian theme will have to consult the Hong presentation as well as the books of Kierkegaard." —Annual Review of Philosophy "The translations are entirely excellent. One envies the Hongs their capacity in language, the breadth of their reading in Kierkegaard and his sources, and the dedication they brought to this Herculean task. The assistance of Gregor Malantschuk has contributed materially to the notes which serve as trenchant summaries of Kierkegaard’s thought on the topics.... This is indeed a monumental work." —Review of Metaphysics "... [an] astonishing labor of editing and translating... " —International Studies in Philosophy "Howard and Edna Hong have brought to the task solid scholarship, linguistic competence, an imaginative and useful arrangement of the material, and a scrupulous self-effacement before the work. No one could ask for more." —Citation of the Judges at the National Book Awards "We must be grateful to the Hongs for their enormous labor.... Kierkegaard’s Journals and Papers are worth having for angry days, or ‘inward’ days; especially when they have been translated in as lively and sensitive a manner as are the texts in this first volume." —Nation The incidental writings of Søren Kierkegaard, published in the twenty-volume Danish edition of the Papirer, provide direct access to the thought of the many-faceted nineteenth-century philosopher who exerted so profound an influence on Protestant theology and modern existentialism. This important material, which Danish scholars regard as the "key to the scriptures" of Kierkegaard’s other work, spans his entire productive life, the last entry of the Papirer being dated only a few days before his death. These writings have been previously inaccessible in English except for a few fragmentary selections; the most significant writings are now being made available in this definitive seven-volume edition under the editorship of two expert scholars and translators. Kierkegaard’s scattered writings fall into three main subject groupings: journal entries of varied content, notes and early versions of his published material, and personal reactions to his reading and study. In length and degree of polish they range from brief and cryptic notes to extensive lecture material, finished travel sketches, and extended philosophical speculation. The translators provide annotations, copious notes, and a collation of entries with the Danish Papirer. The editors group the selections in Volumes I through IV by theme, with all entries on a given subject under the same heading. Within subject headings, entries are arranged chronologically, making it feasible to trace the evolution of Kierkegaard’s thought on a specific topic. Volumes V and VI are devoted to autobiographical material. Volume VII contains an extensive index with topical crossreferences. (shrink)

For Self-Examination and its companion piece Judge for Yourself! are the culmination of Soren Kierkegaard's "second authorship," which followed his Concluding Unscientific Postscript. Among the simplest and most readily comprehended of Kierkegaard's books, the two works are part of the signed direct communications, as distinguished from his earlier pseudonymous writings. The lucidity and pithiness and earnestness and power, of For Self-Examination and Judge for Yourself! are enhanced when, as Kierkegaard requested, they are read aloud. They contain the (...) well-known passsages on Socrates' defense speech, how to read, the lover's letter, the royal coachman and the carriage team, and the painter's relation to his painting. The aim of awakening and inward deepening is signaled by the opening section on Socrates in For Self-Examination and is pursued in the context of the relations of Christian ideality, grace, and response. The secondary aim, a critique of the established order, links the works to the final polemical writings that appear later after a four-year period of silence. Originally published in 1944. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

For over a century, the Danish thinker Søren Kierkegaard (1813-55) has been at the center of a number of important discussions, concerning not only philosophy and theology, but also, more recently, fields such as social thought, psychology, and contemporary aesthetics, especially literary theory. Despite his relatively short life, Kierkegaard was an extraordinarily prolific writer, as attested to by the 26-volume Princeton University Press edition of all of his published writings. But Kierkegaard left behind nearly as much unpublished (...) writing, most of which consists of what are called his "journals and notebooks." Kierkegaard has long been recognized as one of history's great journal keepers, but only rather small portions of his journals and notebooks are what we usually understand by the term "diaries." By far the greater part of Kierkegaard's journals and notebooks consists of reflections on a myriad of subjects--philosophical, religious, political, personal. Studying his journals and notebooks takes us into his workshop, where we can see his entire universe of thought. We can witness the genesis of his published works, to be sure--but we can also see whole galaxies of concepts, new insights, and fragments, large and small, of partially (or almost entirely) completed but unpublished works. Kierkegaard's Journals and Notebooks enables us to see the thinker in dialogue with his times and with himself. Volume 7 of this 11-volume series includes six of Kierkegaard's important "NB" journals (Journals NB15 through NB20), covering the months from early January 1850 to mid-September of that year. By this time it had become clear that popular sovereignty, ushered in by the revolution of 1848 and ratified by the Danish constitution of 1849, had come to stay, and Kierkegaard now intensified his criticism of the notion that everything, even matters involving the human soul, could be decided by "balloting." He also continued to direct his barbs at the established Danish Church and its clergy (particularly Bishop J. P. Mynster and Professor H. L. Martensen), at the press, and at the attempt by modern philosophy to comprehend the incomprehensibility of faith. Kierkegaard's reading notes include entries on Augustine, the Stoics, German mystics, Luther, pietist authors, and Rousseau, while his autobiographical reflections circle around the question of which, if any, of several essays explaining his life and works he ought to publish. Perhaps unsurprisingly, Kierkegaard's more personal reflections return once again to his public feud with M. A. Goldschmidt and his broken engagement to Regine Olsen. Kierkegaard wrote his journals in a two-column format, one for his initial entries and the second for the extensive marginal comments that he added later. This edition of the journals reproduces this format, includes several photographs of original manuscript pages, and contains extensive scholarly commentary on the various entries and on the history of the manuscripts being reproduced. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Longing for Darkness: Tara and the Black Madonna; A Ten-year JourneyCorinne DempseyLonging for Darkness: Tara and the Black Madonna; A Ten-year Journey. By China Galland. New York: Penguin, 1990. xx + 392 pp.As someone accustomed to reading religion through ethnography—a genre that approaches deities and saints in a largely contextualized manner, purportedly “grounded” in indigenous perspectives—writings that aim to link devotional figures from opposite sides of the globe (...) make me decidedly skittish. So near the beginning of Longing for Darkness, when Galland states that “intuition told me” that the Black Madonna at Einsiedeln, Switzerland, and the goddess Kali from a Varanasi temple in India are somehow “connected” (p. 57), I felt the urge to discredit the entire book. Yet as it happened, it was too late; by then I was irretrievably captivated by a vividly and passionately told tale, related by an intensely courageous and honest author. Rather than expecting—wrongly and perhaps unfairly—the writing to conform to my academic framework, I thus gladly tended to what seemed to be my own “genre problem.” Wanting to maintain the author’s credibility in my eyes—to take her leaps of faith for what they were—I let go of the inclination to frame the book as ethnography, or even history of religions, and construed it as something else, something no less valuable.Because of its deeply personal tone, Galland’s detailed portrayal of her visits to a half dozen countries reads somewhat like a travelogue, yet much of the account takes place at home as well—in only slightly exotic places such as Marin County, California, and southern Texas. Furthermore, Galland chronicles a journey that is as much an interior one as it is global, invoking a personal and spiritual process that she connects to her search for feminine models for God and human holiness. In many ways a pilgrim’s account, Longing for Darkness is perhaps most aptly described as spiritual autobiography, or in any case, it is from this angle that I find immense value in the work. This does not mean, however, that Galland’s account relies entirely on faith, “intuition,” or personal interpretation; she has most certainly done her scholarly homework. Peppered throughout by footnotes and capped by an extensive selected bibliography, the book gives good reason for some of us to be genre-confused.The point of entry Galland chooses for leading us on her spiritual journey is a high mountain trek in Nepal. The trip, meant to culminate in a moon ceremony at a mountaintop monastery, ends instead in disaster, a metaphor for the disastrous direction that her life is presently taking. Subsequently, while back at home, Galland reassesses and readjusts the course of her internal world, meanwhile taking herself and her reader back across the globe four and a half years later. She travels to Nepal and India two more times, aiming to learn more about the goddess Tara, women in Tibetan Buddhism, and furthering her own established commitment to the Buddhist tradition. Galland relates in striking visual and conceptual detail experiences and observations at various shrines and conversations with a vast array of people—including a meeting with the Dalai Lama. After her second trip to South Asia, the [End Page 224] author takes a detour to Einsiedeln, Switzerland, before returning home, thus beginning her exploration into the phenomenon of European Black Madonnas. Galland continues her investigation of Mary by embarking on two more European journeys that take her to Switzerland, France, the former Yugoslavia, and twice through Poland. A side trip to the Rio Grande Valley to visit a North American Madonna shrine further rounds out her quest.The book’s final scene brings us to the author’s northern California home atop Mount Tamalpais, where the Dalai Lama performs the Lahsang ceremony for the purification of the earth and for world peace. Longing for Darkness thus ends where it began: in mountains, sites where one might expect to find spiritual riches. Furthermore, while start and finish are located on opposite sides of the globe, Galland refers to her journey as taking her full circle; her travels confirm what she already knows, gained primarily through... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Phaedra's Labyrinth as the Paradigm of Passion: Racine's Aesthetic Formulation of Mimetic Desire Jacques-Jude Lépine Haverford College The actual model of Racine's Phaedra is no more the one that he claims to follow in his preface than one ofthose which his critics have sought in vain to find in the works of his immediate predecessors.1 Indeed, the comparative reading ofRacine's last profane tragedy against his sources shows that (...) Seneca and Euripides only provided a very general framework, one might say a traditional theme, which Racine completely recasts on the level of the plot, structure, characters, poetic esthetics, and theatrical performance. On the other hand, the myth of Phaedra's involuntary passion for her stepson Hippolytus, the hunter who was supposed to be atavistically insensitive to erotic seduction, could very well have been reorganized on the basis of another mythological episode which precedes it, the killing of the Minotaur by Theseus in the Labyrinth. There are many explicit references to this episode throughout Racine's Phaedra. There are even more than a rich but strictly thematic critic has been able to detect (see Racine), underscoring the fundamental point of my essay that the intensely poetic character of the Labyrinth, and particularly its function as a fantastic spatial frame, is not simply of a decorative nature. In Racine's work, as in any other genuine literary masterpiece, there is a unity ofcontent and form. The many references to the Labyrinth are determinant for the very subject ofPhaedra, which is the representation of passion, the only subject of interest for Racine. In fact, I intend to demonstrate that Racine used the unique topography of the Labyrinth as a paradigm of the logic of the relationships between his ' These works are Garnier's "Hippolyte" (1573) and Quinault's "Bellérophon" (1671). 48Jacques-Jude Lépine characters because of its capacity for fully expressing the mimetic origin of passion, a decisive discovery the gradual stages towards which may be traced in all his previous works. The Monster Hunt as a Metaphor of the Dramatic Action In order to demonstrate this point, I will start from the textual data, even though it will be necessary to go beyond a simple inventory of the themes explicitly connected to the Labyrinth. The first of these themes is obviously the one of monstrosity. At some point in the play, all the main characters accuse themselves, or are accused, of being a monster (Barthes 115). The relationship between this moral monstrosity (expressed in ambiguous statements suggesting a physical sign) and the return of Theseus, whose numerous monster hunts Hippolytus recalls in the opening scene,2 is easy to see. As has been already noted, the theme of the monster hunt is present from beginning to end of the play, where the fight between Hippolytus and the sea monster occurs (see Jasenas). But the monsterpar excellence is the Minotaur, whose death at the hands of Theseus Phaedra recalls in a famous speech which serves to reveal her passion to Hippolytus through a series of substitutions in the original cast of characters: Oh, why were you too young top have embarked Within the ship that brought him [Theseus] to our shores? You would have been the monster's killer then, In spite of all the windings of his maze. To find your way in that uncertain dark, My sister would have armed you with the thread. But no! In this design I would have been Ahead of her, my sister! Me, not her, It would have been whom love at first inspired; And I it would have been, Prince, I, whose aid Had taught you all the Labyrinth's crooked ways. A single thread would not have been enough To satisfy your lover's fears for you. I would myself have wished to lead the way, And share the perils you were bound to face. Phaedra, into the Labyrinth, with you Would have descended, and with you returned, To safety, or with you have perished. (647-62) 2 See verses 73-90. References to Margaret Rawlings's translation of Phaedra will be given parenthetically in the text. The verse numbers refer to the French edition... (shrink)

One of the greatest thinkers of the nineteenth century, Søren Kierkegaard often expressed himself through pseudonyms and disguises. Taken from his personal writings, these private reflections reveal the development of his own thought and personality, from his time as a young student to the deep later internal conflict that formed the basis for his masterpiece of duality Either/Or and beyond. Expressing his beliefs with a freedom not seen in works he published during his lifetime, Kierkegaard here rejects for (...) the first time his father's conventional Christianity and forges the revolutionary idea of the "leap of faith" required for true religious belief. A combination of theoretical argument, vivid natural description and sharply honed wit, the Papers and Journals reveal to the full the passionate integrity of his lifelong efforts "to find a truth which is truth for me." For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators. (shrink)

This paper examines the seemingly unlikely rapport between the ‘Christian existentialist’, radically Protestant thinker, Søren Kierkegaard and French classicist and historian of philosophy, Pierre Hadot, famous for advocating a return to the ancient pagan sense of philosophy as a way of life. Despite decisive differences we stress in our concluding remarks, we argue that the conception of philosophy in Hadot as a way of life shares decisive features with Kierkegaard’s understanding of the true ‘religious’ life: as something demanding (...) existential engagement from its proponent, as well as the learning or recitation of accepted doctrines. The mediating figure between the two authors, the paper agrees with Irina, is Socrates and his famous irony. In order to appreciate Kierkegaard’s rapport with Hadot, then we first of all consider Hadot’s treatment of the enigmatic ‘old wise man’ who remains central to Kierkegaard’s entire authorship. However, to highlight Hadot’s Socratic proximity to Kierkegaard, we set up Hadot’s Socrates against the contrasting portrait readers can find in John M. Cooper’s recent work on Socrates and philosophy as a way of life. Part II of the essay turns back from Hadot’s and Kierkegaard’s Socrates towards Hadot’s own work, and argues—again moving beyond both Gregor and Irina’s works on Hadot and Kierkegaard—that the shape of Hadot’s ‘authorship’, including his remarkably classical style, can be understood by way of Kierkegaard’s notion of indirect communication. In our concluding remarks, in the spirit of Kierkegaard, we pinpoint the fundamental difference between the two thinkers, arguing that for Hadot in contrast to Kierkegaard, a stress on existential commitment in no way speaks against the philosophical defence of a form of rational universalism. Reading Hadot via Kierkegaard allows us to appreciate Hadot’s novelty as attempting to ‘squaring the circle’ between an emphasis on subjectivity and, as it were, the subjective dimensions of philosophers’ pursuit of rational universality. (shrink)

Introduction to Ethics: A Primer for the Western Tradition is designed for Introduction to Ethics courses which survey the history of ideas in the Western philosophical tradition. Introducing students to essential normative and meta-ethical distinctions both in regard to perennial primary sources and in abstract form, this book has been deliberately constructed in a style geared toward learning and remembering core material, while facilitating the comparison of ideas across the history of the Western tradition. Though this book may be used (...) as a standalone resource, optimally, this book should be used alongside primary source readings. -/- While respecting the depth of the standard historical divisions in Western philosophy, Introduction to Ethics: A Primer for the Western Tradition emphasizes the traditional metaethical concerns of philosophers to provide a philosophically robust understanding of: Goodness, Freedom, Friendship, Integrity, Happiness, and Human Excellence. This book also aims to present, with sufficient commensurability, normative ethical theories for students to consider as so many strategies for engaging in ethical decision-making and for performing ethically-minded actions. Philosophers discussed include, but are not limited to: Plato, Aristotle, Epicurus, Epictetus, Augustine, Hobbes, Hume, Kant, Bentham, J.S. Mill, and Nietzsche. -/- Introduction to Ethics: A Primer for the Western Tradition is designed to facilitate discussion and critical thinking in ethics by, for example, concisely presenting the central grounds for justification, such as, consequences, duties, and virtues and the central themes of contextualization, such as, cultural relativism, divine command theory, and nihilism, informing the Western philosophical tradition. Other notions discussed, central to moral psychology, moral social development, and ethics, in the Western tradition include: the relation between Reason and Passion, Emotion, Pleasure, Intuition, Attitude, Fate, Conscience, Personhood, Natural Law, the “State of Nature,” Responsibility, Rights, Justice, and Good Will. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:To Bear Man's Greatness:On the Moral-Theological Message of a Recent Document of the Congregation for the Doctrine of the Faith, Samaritanus Bonus1Andrzej KucinskiBackground and ObjectiveWhen, in 1582, Camillus de Lellis, the later-canonized founder of the Order of Camillians, the "servants of the sick," had the inspiration to found a society of men who would serve the sick for religious motives,2 the revolutionary nature of such a decision was clear. (...) An unprecedented hope broke into the world of the hopelessly marginalized, who did not have sufficient means to be cared for at home, and therefore had to go to hospitals, where they were often assisted only by untrained caregivers, who did so under obligation because they were either criminals or compelled by economic need to perform such menial service. This hope consisted in the message that the love of God urges the voluntary and sacrificial service of dedication to the sick, and especially to those who will not recover from their illness. However, this service should be holistic, because the welfare of the needy encompasses all the dimensions of the human person: the body and the soul, but also the spirit.The letter of the Congregation for the Doctrine of the Faith (CDF) Samaritanus Bonus, dated July 14, 2020—the liturgical day of commemoration of Camillus of Lellis—on the care of persons in the critical and [End Page 753] terminal phases of life, seeks to promote the same concern for comprehensive service to the sick out of respect for the divinely anchored dignity of the human person. The letter suggests that it is this dignity, and therefore the incomparable greatness of each human being, that makes it necessary, contrary to any logic of efficiency and a cost–benefit calculation, to persevere at the side of the (terminally) ill until their natural death.This article aims to highlight some (in the author's opinion) central elements of this letter, and to comment on them specifically against the background of the magisterial positions underlying the document. For this purpose, I will often quote Robert Spaemann, the German philosopher who died in 2018 and whose ethical views appear in parts as well suited to illuminate from the ethical point of view the foundations of thought of the universal Church magisterium with regard to the relevant topics and to prepare these foundations for a scientific discussion. However, it is explicitly not the aim here to engage in such a discussion or to analyze the already existing relevant contributions. Rather, it is to deepen the current Church teaching in certain aspects on the basis of this new document. In this sense, contributions from the press conference on its presentation on September 22, 2020, will also be drawn upon. After the exploration of what one could understand as "core" of the letter according to a certain reading of the document, some concretizations follow under the guiding perspective of the "Catholic" approach to the terminally ill.The Core of the DocumentThe structure of Samaritanus Bonus will be briefly described: An introduction, in which above all the need for magisterial intervention is justified, is followed by chapter 1, on the comprehensive character of the care which is always possible for persons in critical states, according to the principle that "the judgement that an illness is incurable cannot mean that care has come at an end" (8).3 Chapter 2 then further explicates the grounds of Christian hope in the face of approaching death, starting from the mystery of the Crucified, with special reference to those who stay around him at the moment of the Passion. Chapter 3 recalls the positive meaning of human life as an expression of inalienable human dignity and as the source of certain imperatives in dealing with it. A clear reference to the proclamation [End Page 754] of Pope Francis is made in chapter 4, which explains some "cultural obstacles" to the recognition of the "sacred value of every human life." Finally, chapter 5 (the longest) addresses individual bioethical, medical-ethical, legal, pastoral, and educational issues related to care at critical stages of life.In substance, the doctrine set forth in the new document... (shrink)

This essay provides a close reading of Kierkegaard’s later signed text, For Self-Examination. While many of Kierkegaard’s pseudonymous texts often are selected for their philosophically explicit engagements with Hegelian philosophy, I use Hegel’s dialectic of lordship and bondage to draw out how Kierkegaard circumvents it in this one. I first provide historical context, noting how Kierkegaard turned to earnest works after his public humiliation in the Copenhagen newspaper, undermining his ability to deploy irony effectively. Second, (...) I briefly develop Hegel’s lordship and bondage dialectic as a model for how selfhood is constituted through work and labor. Third, I dwell with a close reading of Kierkegaard’s book both in its composition and in its interpretation, bringing out how it donates grace rather than work (à la Hegel) to the reader’s attempt at self-realization. I conclude by noting one challenge to Kierkegaard’s ideal of addressing the “single individual” from the perspective of intersectional analysis. (shrink)

I argue for a Wittgensteinian reading of Judith Butler's performative conception of identity in light of Marilyn Frye's analysis of lesbian as nonexistent and Butler's analysis of abject. I suggest that the attempt to articulate a performative lesbian identity must take seriously the contexts within which abjection is vital to maintaining gender, exposing the intimate link between context and the formulation of intention, and shedding light on possible lesbian identities irreducible to abjection.

Introduction -- The truth that is true for me -- Aestheticism -- The ethical -- The knight of faith -- Truth is subjectivity -- Pseudonymity -- The present age -- Love -- The self -- World-weariness.

Soren Kierkegaard’s Lutheran existentialism represents a distinctively postmetaphysical philosophy of religion, focused in particular on a Christian vision of ethical authenticity. His philosophy continues to pose challenging questions for postmetaphysical philosophers in contemporary pluralistic settings. Focusing on specific works of Kierkegaard, this essay develops three such questions: (1) Can philosophy in a postmetaphysical vein still give advice for the pursuit of the good life, today’s diversity of life styles and values notwithstanding? (2) How can a postmetaphysical philosophy relate (...) to the ethical teachings and truth claims of religious doctrines? (3) Is postmetaphysical philosophy still capable of an “upbuilding and awakening” discourse that can induce and stabilize an ethical self-consciousness? (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Hume's Theory ofMotivation — Part 2 Daniel Shaw Introduction and Summary of Part 1 In an earlier paper of the same title1 1 defended a Humean theory of motivation against rationalist views ofB. Stroud and T. Nagel.2 In this paper I shouldlike to relate my theory tomore recent writings, explain its implications for the topic ofmoral motivation and provide further support for the main argument ofmy original paper. To (...) begin with, a summary of my previous discussion: while two critics of Hume's theory, B. Stroud and T. Nagel, disagree about the role ofreason inaction(Stroudaccepts, Nagelrejectsthe Humeanclaim thatreason alone can never produce action) theyboth agree inrejecting Hume's view thatmotivating desire essentially involves feelings which are identifiable by the agent, in his conscious experience, by introspection, as something extra, something over and above any purely rational considerations he may have for taking action. As an alternative to this Humean, experiential view ofmotivating desire, Stroud argues that the concept of motivating desire should be analysednotinterms ofanyintrinsic propertyknowablein experience, butratherin terms ofits function in leading, along withbelief, to action. In Stroud's words: "It might well be that to have a desire for or a propensity towards E is simply to be in a state such that when you come to believe that a certain action will lead to E you are moved to perform that action."3 In a similar spirit4 Nagel claims, contrary to Hume, that there do exist at least some cases (for example, actions motivated by a person's prudential consideration of his own future interests) in which reason alone—that is, the agent's grasp of certain purely rational considerations—is all that motivates action. In the context of these purely rationally motivated actions, Nagel argues, our talk of desire does not refef to anyadditional inclination towards, or preferences for, or sentiment about some goal that we have, but is either just another way of saying that the act is motivated, that is, that we are in some state which disposes us to do whatever we think will lead to a certain result, or else indicates some structural feature ofthe reasoningbehind our behaviour; for example, indicates the fact that in view of purely rational considerations which confront us, it would be irrational of us not to perform the act in question. Volume XVII Number 2 19 DANIEL SHAW Against any such account ofmotivating desire which denies the necessity of the experiential component (that is, of Hume's introspectible sentiment), I argued that all such accounts have a false implication. They all falsely imply that some purely rational consideration, a bare behef, could, all on its own (unaccompanied by any actual or potential pro- or con-attitude), motivate a purposive action. With the help ofa counter-example I argued5 that although it is logically possible for bare beliefs of that kind to produce overt behaviour, such pure rationalist 'action' never in fact happens; and, more importantly, ifwe carefully consider what such 'action' would be like ifit didhappen, we findit would not count as voluntary, purposive action, in the fullest sense. So Hume, I concluded, was right to maintain that motivating desire essentially involves introspectible feehngs. However, the standard interpretation of Hume's view about the relation between desires and feelings yields an indefensible theory of motivated action. On the standard reading, desires simply are feehngs, and the Humean is left with no adequate reply to the obvious objection that, often enough, for example, when acting after calm deliberation, or when performing routine habit-actions, we are not aware of the occurrence of any such feehng immediately prior to or at the time of action. Hume tells us that in all such cases there is—in addition to the operation of reason—a calm passion present—a passion so calm as to be readily confused with and mistaken for the determinations of reason. But on the standard reading of 'calm passions' as very faint or imperceptible feelings, this is a lame argument. As Stroud points out,6 not only is there no independent justification for the claim that in all such cases there always are such faint or imperceptible feehngs,7 but also that claim is inconsistent... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Collecting: An Unruly Passion: Psychological PerspectivesKevin MelchionneCollecting: An Unruly Passion: Psychological Perspectives, by Werner Muensterberger; 295 pp. New York: Harcourt, Brace & Company, 1994, $29.95 cloth, $13.00 paper.Due to the growth of museum studies, collecting practices are receiving more attention these days. Muensterberger’s book is one of the more ambitious of recent studies in this area. He applies classical psychoanalytic concepts to collecting. Cultural theorists often say that (...) collecting is dominated by neurotic, fetishistic, compulsive, or obsessional desires. Muensterberger is firmly in this camp, and his performance confirms rather than dispels the misgivings that nonpsychoanalytic students of culture have often expressed about the psychoanalytic approach.The first two parts of the book are an exposition of the psychoanalytic view. The third treats several “case studies” of lunatic barons and desperate social climbers whose unbridled accumulation drove their families to ruin. The tales make for good reading. The final part of the book aims at a cultural history of [End Page 524] collecting. This section strays farthest from Muensterberger’s theoretical turf and suffers from a certain confusion of purpose. Much of it reads like a selection of case studies taken from the past rather than a history of collecting. In all, Muensterberger’s cultural history of collecting does not compare favorably with the extensive work in art history on the origins of the museum. I will limit my discussion to his psychoanalytic account of collecting.Muensterberger’s psychoanalysis is starkly classical: collecting is essentially a compensation for prior disappointment and an illusory comfort in the face of an uncertain future. Collecting serves this role particularly well, it seems, because its repetitive structure allows the individual to repeat the tension-reducing act of acquisition when the satisfaction induced by the previous act fades. The meaning of the process of collecting resides in the “momentary undoing of frustrating neediness but is felt as an experience of omnipotence. Like hunger, which must be sated, the obtainment of one more object does not bring an end to the longing. Instead, it is the recurrence of the experience that explains the collector’s mental attitude. The compelling concern to go in search, to discover, to add to one’s store, or holding, or harem, is not generated by conscious planning. Rather, every new addition, whether found, given, bought, discovered, or even stolen, bears the stamp of promise and magical compensation” (p. 13). In a similar vein, Muensterberger locates the origins of the urge to collect in the child’s reliance upon objects as “symbolic substitutes” for the parent. The acquisitive bent of the collector is derivative of the “grasping and clinging” of the infant (p. 18–19).If this sounds like your generic caricature of psychoanalysis, then you have the picture. Muensterberger makes an effort to distinguish his own perspective from a facile reductionism, whereby collecting is no more than the sign of a pathological state of mind. But this is exactly what he is doing. According to the author, collectibles are simply “narcissistic supplies” (p. 234). Speaking of the noted Italian collector, Mario Praz, Muensterberger writes: “the inanimate objects’ function is essentially compensatory... they are being used not only as an attempt to disguise old wounds but at the same time to serve as reminders of past injuries and humiliations” (p. 43).The idea that cultural practices like collecting serve in some way to compensate for the frailty of the human spirit is deeply attractive. If only through repetition, Muensterberger’s insistence upon the essentially compensatory nature of collecting (and for that matter, all culture) begins to make one wonder if the compensatory view of culture has not, through an excess of intellectual scruple, received too little recognition. Unfortunately, he pursues standard Freudian explanations with a relentlessness that sinks to self-caricature. In this respect, the book is a missed opportunity. It is plausible to suggest that collecting temporarily eases all sorts of psychological and existential tensions in adults though I doubt that it does this better than eating, sex, or yoga. [End Page 525]But it is not just his brand of psychoanalysis that is simplistic. Muensterberger defines collecting as the “selecting, gathering, and keeping of... (shrink)

In a recent article in The European Legacy, Mark Cortes Favis argued that the figure of Kierkegaard expressed a tension between two aspects of writing—the Socratic and the Platonic. While Favis is correct to see a duality in Kierkegaard's writing, his article does not fully answer the problem of how we can account for our interpretation of this tension. Given that the duality within Kierkegaard's writing transgresses the boundaries of author and reader, we cannot easily circumscribe any (...) claims on his writing without considering its effect on our reading. Rather, the characteristic duality of his authority manifests itself in a number of ways in the task of identifying the philosophical meaning of his texts. Kierkegaard's relationship to Socrates is thus symptomatic of a number of figural dualities that pervade interpretations of his work. By surveying the ways in which these interpretations draw on the axiom of duality in order to ascribe an authority to Kierkegaard's texts, I suggest Favis's argument that Kierkegaard's writing expresses both Socratic and Platonic aspects should be placed within the wider duality at work in the interpretation of Kierkegaard's work. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Neither/Nor:Ruminating on the Metanoetic Pharmakon in Nietzsche and Other BuddhasTakeshi Morisato (bio)A Compliment to the Philosopher Chef and His table d'hôte intellectuelleIf a book title were comparable to the name of a restaurant, the table of contents would be their menu. Jason Wirth's Nietzsche and Other Buddhas (hereafter NOB) initially reminded me of a fusion restaurant with a strong "Asian" flavor, an ambiguous genre that we would see anywhere (...) in continental Europe. As one could easily imagine, this is not necessarily a compliment to the chef. By integrating various ingredients and different techniques from diverse culinary traditions, a fusion restaurant might claim to create a new dish or a unique course that transcends the conventional categories of our dietary practice. Like what Kant says about the uniqueness of nonsense, however, their end product could fail to be original or, what is worse, could even be offensive to those who are very familiar with any of the specific culinary traditions. If what comes after comparative philosophy results in this kind of "fusion philosophy," its success will have to feed on our ignorance of intellectual histories.1 Our feeding frenzy in this new, fashionable modus operandi may starve us to death of philosophy rather than liberate us from the hunger that has propelled us into a philosophical search in the first place. To borrow Wirth's use of the "felicitous analogy from Kierkegaard," it might as well be that "the last thing that we need is more food. Rather we need to lose something, to shed our gluttony. We need a medicinal poison to take away an unhealthy poison."2As you can see, I was initially skeptical about the soundness of a philosophical menu that mixes Zen, Schopenhauer, Hakuin, James, Pure Land, Shinran, Tanabe, Deleuze, Dōgen, and Nishida (in order of appearance) with an explosive spice or the deadly meat, Nietzsche. Could this be a process of ventriloquizing Nietzsche through Asian philosophical traditions? Or are we washing down the strong aftertaste of reading Nietzsche or Schopenhauer with Pure Land or Zen water? How could we stomach all of these thinkers and traditions in one setting without causing serious indigestion in our hearts-and-minds? To my surprise, Wirth's text gives a performative proof that they can indeed be read together and examined with the purpose of giving us food for thought. What makes NOB particularly successful in referring to different thinkers is its emphasis on "rumination." It [End Page 1070] self-reflectively questions what it is to read any text philosophically and what it means to integrate texts into one's process of thinking such that its creative insight points toward the nutrients that it has found in the process of digesting ideas from diverse intellectual traditions.This philosophical process of "rumination" is not merely an external comparison of ideas from different philosophical traditions. Nor is it an imposition of one tradition over another. Rather, by harmoniously fusing together various insights, the author's very process of understanding the cultural, linguistic, and historical milieu of his existence delves into fundamental issues concerning our human condition in the world today. NOB, in this sense, renders a final form of "comparative philosophy," where a thinker is liberated from conventional categories of philosophizing (especially in reference to the almost obsolete distinction between "East and West") and proves that what philosophers can stomach and integrate into their process of (self-)understanding should count as "philosophy." That is to say, depending on the capacity of the thinker to deal with a variety of intellectual resources, some intellectual traditions or a combination of ideas that are seemingly counterintuitive to most scholars in the field of philosophy could generate a tremendous force that accelerates the (re)new (ed) sense of philosophy.3 The "philosophy of food" in chapter 5 especially demonstrates this excellence, and we should anticipate a longer sequel that would mark Wirth's original contribution to the history of philosophy.Two Counterfeit NegativesA food critic, however, must entertain the possibility of some improvement, even when the dish is well prepared and its overall presentation is exquisite. I would like to draw our attention to two... (shrink)

In the Theological-Political Treatise, published in 1670, Spinoza asked why people “fight for their servitude as if for salvation.” In doing so, he foregrounded the affective dimension of despotism, putting forward the idea that servitude is not just passively endured but passionately strived for—something people want and will. Three hundred years later, Gilles Deleuze and Félix Guattari repeated this formula in Anti-Oedipus, arguing that it was the central question of political philosophy. They read Spinoza through Wilhelm Reich, stating that the (...) astonishing thing is that “those who are exploited are not continually out on strike.” In doing so they shifted the political question from domination to exploitation. Following Deleuze and Guattari, I argue for an updated version of the question, asking why people fight for exploitation as if it were rebellion. Asking this question involves reexamining the way in which the critique of religion is the antechamber of the critique of political economy in Marx, and is the thread connecting Spinoza to Marx. Finally, I argue that reframing the question in terms of rebellion and exploitation is useful in making sense of contemporary forms of right populism that present themselves as rebellion, but actually deepen the domination of capitalism over our lives. (shrink)

Christian philosophers have always been interested in clarifying the relationship between God and ethics. The theories presented on this topic can be divided into two kinds: “divine command” and “other.” In this paper I evaluate two interesting but ultimately incompatible versions of the “other” variety: one by George Mavrodes and one by Søren Kierkegaard. In the course of my analysis I argue that anyone who reads Kierkegaard’s Works of Love as presenting a divine command theory is mistaken.

In this book, Chris Boesel argues that Derrida’s misreading of Fear and Trembling is the source of a blind spot in deconstructive engagements with “confessional faith,” erasing the Kierkegaardian possibility of a “deconstructive deconstructibility” that disrupts human mastery over God and neighbor and calls for concrete commitments to justice.

Critics of empathy—the capacity to share the mental lives of others—have charged that empathy is intrinsically biased. It occurs between no more than two people, and its key function is arguably to coordinate and align feelings, thoughts, and responses between those who are often already in close personal relationships. Because of this, critics claim that empathy is morally unnecessary at best and morally harmful at worst. This paper argues, however, that it is precisely because of its ability to connect people (...) by coordinating and aligning their feelings, thoughts, and responses, that empathy is especially well suited to perform one particular moral task that has been largely overlooked in moral philosophical discussions. That is, helping people, including those who are antagonistically opposed on matters of moral, social, and political importance—what I call antagonistic moral opponents—find common ground: a set of shared beliefs, attitudes, values, or experiences that lays the requisite ground for even minimally positive relationships. Doing so can contribute to a number of morally, practically, and epistemically important outcomes, including resolving fraught disagreements, mitigating antagonism, promoting cooperation, learning from differences, and even forging positive relationships of various sorts. Contra critics, I therefore maintain that empathy is important for at least one area of the moral life. (shrink)

This thesis argues that Dame Iris Murdoch’s writings portray a dialectical picture of morality that invites the reader to acknowledge the presence of evil and reflect upon the necessarily ‘opposing forces’ of good and evil. Murdoch’s engagement with both historical and contemporary discussions of evil is traced through close reading of both her published texts, including fiction and philosophy, and her unpublished and recently published texts and resources, including annotations, interviews and letters. These close readings are focused on the (...) theological, psychological and literary aspects of the contemporary problem of evil. The perspectives offered within this study all transcend the focus on goodness invited by Murdoch’s fiction and philosophy, thus challenging the biased perspective of scholars of the late-twentieth century who sought to elevate Murdoch’s good characters by drawing equations between her moral philosophy and her fiction. This study begins, first, by demonstrating how Murdoch’s writings engage with the problem of evil, with the theological attempt to reconcile goodness with the presence of evil and suffering in the world, by drawing on her allusions to the Book of Job and to the writings of Simone Weil and Dame Julian of Norwich, all of which assert the necessary presence of evil and suffering in the moral life. Second, I interrogate the inconsistencies between Murdoch’s fictional and philosophical pictures of evil to illustrate how her fictional and philosophical engagement with Saint Paul’s writings reveals that she adopted the same dialectical picture of morality for which she critiqued Jung in her moral philosophy. For her, Jung’s picture of morality merges aspects of dualism and monism, both of which, traditionally speaking, offer two countervailing ways in which to picture the moral life, where evil represents, respectively, either an independent moral force separate from the good or a failure to carry out the moral iii ideals of goodness. Third, I identify and develop a link between contemporary moral, psychological and sociological discourses on psychopathy and the evil characters, both male and female, within Murdoch’s novels: not only do her antagonists and demons, often called ‘enchanter’ figures by scholars, echo the psychopath’s moral psychology, but so too do her saintly figures. Such an ambiguous picture resonates with contemporary interpretations of psychopathy, such as those offered by Robert D. Hare, Kevin Dutton, or Simon Baron- Cohen, which highlight the complex role of compassion, empathy and emotion on the individual’s moral awareness, whether they are saintly or psychopathic. In the final chapter, I argue that Murdoch’s dialectical picture of morality is indebted to Blake, whose The Songs of Innocence and of Experience and The Marriage of Heaven and Hell illustrates the necessity of the ‘contrary’ pairs of innocence and experience, reason and passion, and good and evil. While Murdoch may praise goodness, her complex engagement with evil reveals a dialectical task for the moral agent in which they have to appreciate the complexity of the moral life, with its inherently ambiguous mixtures of emotion and rationality, the saintly and the psychopathic, and goodness and evil. (shrink)

A Special Issue of the Journal of Philosophy of Education, 2005, issue 2, contains an interesting ‘Philosophy of the Teacher’ by Nigel Tubbs. It rejects attempts in pedagogical traditions to ignore or avoid the contradiction between the teacher as master and as servant, and ends with an interpretation of ‘upbuilding’, a central concept in Søren Kierkegaard’s writings. According to Tubbs’ reading, the teacher’s patient struggle with herself in doubt is the basic condition for upbuilding, whereby the eternal’s perfect (...) gift of love is given to the students. I maintain that the original Danish text does not fully support this interpretation and defend an alternative reading. The text says that the condition for receiving the perfect gift is itself a gift of God. Doubt is necessary, but if our doubt were sufficient, we could manage our lives without God, the condition for receiving the gift would not be a gift, and the possibility for receiving the gift would be spoiled both for teachers and students. (shrink)

In this article, I probe the extent of Kierkegaard's skepticism and irrationalism by examining the nature and limits of his “objective” and “approximate” knowledge. I argue that, for Kierkegaard, certain objective knowledge of contingent being is impossible and “approximate” knowledge of the same is funded by the volitional passion of belief. But, while Kierkegaard endorses severe epistemic restrictions, he rejects wholesale skepticism, allowing for genuine “approximate” knowledge of mind-independent reality. However, I further argue that we cannot ignore (...) his criticisms of such knowledge because of its intrinsic dangers, and because epistemic limitations are crucial in developing religious selfhood before God. (shrink)