The Past Masters Søren Kierkegaard : Samlede Vårker database is based on the third edition of Kierkegaard's complete works in Danish, and has been edited by Professor Alistair McKinnon of McGill University.

This article offers a typologically-driven and corpus-based analysis of the historical present (HP) “active participle” qātēl in Biblical Aramaic. The authors argue that qātēl instantiates the HP category quite neatly and provide three main arguments. First, qātēl complies with the definition of a progredient/propulsive HP that emerges from crosslinguistic literature: while, in its prototypical use, qātēl expresses some type(s) of present, it may also be employed in narrative to introduce past perfective events. Second, when used as an HP, qātēl exhibits (...) functions that are consistent with tendencies attested across languages: stylistically, the HP qātēl is often associated with expressivity, mirativity, and dramatism, while discourse-pragmatically, it is predominantly related to the progression (rarely, the climax) and atomization of the plot. Third, most other properties exhibited by the HP qātēl also harmonize with the behavior of HPs observed in linguistic typology; these concern types of clauses in which the HP qātēl appears, and subjects and verbs used. Overall, the HP qātēl can be viewed as a highlighting narrative device—subjective although linguistically constrained. (shrink)

Doebler's small oil portrait of Kant from the year 1791 ist the most important contemporary image that we have of him. The original was preserved by the Order of the Skull and Phoenix in Köngsberg. Various copies of it hung in the Kant-Museum and were held privately in Köngisberg: Stobbe , Petzenburg or Pützenburger and Jacobson , as well as two live-size copies, one that has been called “contemporary” and one from an unknown painter commissioned by the Immanuel Order , (...) although the latter two may stem from the same artist. The Kant-Museum also exhibited a Kant portrait by Heydeck based on Doebler's original, on loan from the art collection of Königsberger Castle. All of these works were destroyed in World War II or have gone missing since 1945. This essay discusses the two Kant portraits sold in auction in 1963 and 2000 and held by the Museum of the City of Königsberg in Duisburg, neither of which copies had been made. The author argues that the former painting is not so much a second work made by Doebler around 1791 as it is a contemporary copy made of it by another artist for the Kant pupil Kiesewetter in Berlin. The second is shown to be an original by Heydeck in 1872, made by observation of Doebler's work. Additionally, the author provides further details of the biographies of Doebler and Heydeck. (shrink)

A German writer's aphoristic, poetic, and difficult reflections on Heidegger's Being and Time. There is a beyond of reason and unreason. It is the human psyche. —Positive Nihilism Like many German intellectuals, Hartmut Lange has long grappled with Heidegger. Positive Nihilism is the result of a lifetime of reading Being and Time and offers a series of reflections that are aphoristic, poetic, and (appropriately, considering his object of study) difficult. Lange begins with an abyss (“There is an abyss of the (...) finite. It is temporality”) and proceeds almost immediately to extremity: “The twentieth century was governed by psychopaths. They collapsed the boundaries of moral reason and refuted Kant's analysis of consciousness.” He reflects further: “But who shall punish whom? One man's virtue is another man's crime. Thus Hitler could feel unwaveringly, as he wiped out entire populations, the starry sky above him and the moral law within him, as stipulated by Kant.” He considers the concept of civilization (“misleading”; “how should one oppose the remedies of civilization to the egomania, the murderous appetites of such outright psychopaths as Stalin or Pol Pot?”), the act of thinking (a fata morgana), the psyche, and Heidegger's Dasein. Positive Nihilism can be considered a pocket companion to Being and Time. “Heidegger's understanding of Being is nihilistic,” Lange writes, and then explains his assertion. He draws on Kant, Nietzsche, Kierkegaard, and Shakespeare's Othello for supporting arguments and illustrations. “Everyone is possessed of the courage to have angst about death. The question is whether this courage necessarily secures those vital advantages Heidegger alleges”–that “self-understanding [is] the mental anticipation of death.” Lange wrestles with Heidegger's position, calling on Tolstoy, Georg Trakl, Herman Bang, and Heinrich von Kleist to argue against it. (shrink)