Stages on Life's Way, the sequel to Either/Or, is an intensely poetic example of Kierkegaard's vision of the three stages, or spheres, of existence: the esthetic, the ethical, and the religious. With characteristic love for mystification, he presents the work as a bundle of documents fallen by chance into the hands of "Hilarius Bookbinder," who prepared them for printing. The book begins with a banquet scene patterned on Plato's Symposium. (George Brandes maintained that "one must recognize with (...) amazement that it holds its own in this comparison.") Next is a discourse by "Judge William" in praise of marriage "in answer to objections." The remainder of the volume, almost two-thirds of the whole, is the diary of a young man, discovered by "Frater Taciturnus," who was deeply in love but felt compelled to break his engagement. The work closes with a letter to the reader from Taciturnus on the three "existence-spheres" represented by the three parts of the book. Stages on Life's Way not only repeats themes, characters, and pseudonymous authors of the earlier works but also goes beyond them and points to further development of central ideas in Concluding Unscientific Postscript. (shrink)

Stages on Life's Way, the sequel to Either/Or, is an intensely poetic example of Kierkegaard's vision of the three stages, or spheres, of existence: the esthetic, the ethical, and the religious. With characteristic love for mystification, he presents the work as a bundle of documents fallen by chance into the hands of "Hilarius Bookbinder," who prepared them for printing. The book begins with a banquet scene patterned on Plato's Symposium. Next is a discourse by "Judge William" in (...) praise of marriage "in answer to objections." The remainder of the volume, almost two-thirds of the whole, is the diary of a young man, discovered by "Frater Taciturnus," who was deeply in love but felt compelled to break his engagement. The work closes with a letter to the reader from Taciturnus on the three "existence-spheres" represented by the three parts of the book.Stages on Life's Way not only repeats themes, characters, and pseudonymous authors of the earlier works but also goes beyond them and points to further development of central ideas in Concluding Unscientific Postscript. (shrink)

Bioethics and the stages on life's way -- Bioethical challenges in the new millennium -- The covenantal aspect of Christian marriage -- The use and abuse of human embryos -- The sacredness of newborn life -- On addictions and family systems -- The hope of glory : from a physical to a spiritual body -- Care in the final stage of life.

The International Kierkegaard Commentary-For the first time in English the world community of scholars systematically assembled and presented the results of recent research in the vast literature of Søren Kierkegaard. Based on the definitive English edition of Kierkegaard's works by Princeton University Press, this series of commentaries addresses all the published texts of the influential Danish philosopher and theologian. This is volume 11 in a series of commentaries based upon the definitive translations of Kierkegaard's writings published by Princeton University Press, (...) 1980ff. (shrink)

An unprecedented recollection -- A purportedly anonymous rhetorical flourish -- The major interruption in a minor key -- A taciturn commentary by the actual author -- An inconclusive word from the present reader.

I shall hear address the question of whether or not feminist philosophers should accept Kantian markers for the boundary between the aesthetic and nonaesthetic realms. I shall look at the way gender operates at the point in Kant's philosophy at which the aesthetic and ethical attitudes intersect: in the experience of the sublime. As we shall see, the later developments within the Kantian system mean that women fit comfortably neither side of the aesthetic/ethical divide and, indeed, fall outside personhood altogether.

Let’s say that an act requires Person-Affecting Justification if and only if some alternative would have been better for someone. So, Lucifer breaking Xavier’s back requires Person-Affecting Justification because the alternative would have been better for Xavier. But the story continues: While Lucifer evades justice, Xavier moves on and founds a school for gifted children. Xavier’s deepest values become identified with the school and its community. When authorities catch Lucifer, he claims no Person-Affecting Justification is needed: because the attack set (...) Xavier on his life’s path, it’s no longer true that the alternative would have been better by the standard of what Xavier now values most. An unappealingly paternalistic way to hold Lucifer to account is to discount Xavier’s preferences as merely adaptive. Instead, I propose understanding the persons of Person-Affecting Justification to be not persons but person stages. This allows us to hold Lucifer to account without having to discount Xavier’s actual preferences, and has interesting implications for compensatory justice, including making sense of reparations for historical wrongs. (shrink)

From Stage to Studio: Performances versus Recordings in Classical Music presents a cultural study of classical music-making through the analysis of live and studio performances of orchestral and operatic repertoire conducted by Sir Charles Mackerras. The close listening analysis is based on detailed research into Mackerras's private collection of over 600 reel-to-reel and cassette tapes containing recordings of over 1,000 live performances which he conducted between the 1950s and the late 1990s. This is contextualized with evidence collected during ethnographic fieldwork (...) observations, presenting the opinions of Sir Charles, orchestral musicians from major London orchestras and opera houses with whom he was working (Philharmonia, Orchestra of the Age of Enlightenment, Royal Opera House, English National Opera), and production team members working for recording industry leaders (such as Decca, EMI, and Chandos). This ethnography of classical music-making gives a voice to performers and music professionals, brings to light some important and heretofore hidden issues and explores a fascinating time of intense change in the recording industry. Including consideration of ways forward for performance, education, and recording, this book will be relevant to specialist practitioners, as well as music enthusiasts interested in concert life and recording studio habits, professional performers, recordists, music students, educators, and scholars interested in classical music. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Setting the Stage for a Dialogue:Aesthetics in Drama and Theatre EducationAlistair Martin-Smith (bio)For us, education signifies an initiation into new ways of seeing, hearing, feeling, moving. It signifies the nurture of a special kind of reflectiveness and expressiveness, a reaching out for meanings, a learning to learn.—Maxine Greene, Variations on a Blue Guitar1Examining the aesthetics of the complementary fields of educational drama and theatre is like looking through a (...) kaleidoscope. If you turn it one way, you see one colorful pattern; if you turn it the other way, you see yet another. The multiplicity of approaches to drama and theatre education, each with its own aesthetic pattern, often obscures the common ground they all share. As a result, in its unique emphasis on art, pedagogy, and society, each may have its own aesthetic pattern; yet only by looking closely at each distinct pattern can we understand more of the power of drama and theatre to develop human consciousness.In Western education, aesthetic learning seems incidental to the assessment of learning. How did this happen? For Descartes, whose Cartesian philosophy dissociated mind from body, aesthetic feelings are irrational, since they originate in the body's senses rather than in the mind. Theories of education focused on the primacy of cognition, denying feelings in the erroneous belief that learning is independent of its context. Conversely, aesthetic education is concerned with the quality of experience, how it is felt. Dewey believed that "learning by doing" was a "consummatory" experience for the learner; it was dramatic, dialogic, and felt. The confusion between subjective and objective aspects of the aesthetic experience makes aesthetic evaluation difficult, and this may be why cognitively dominated education has steered clear of aesthetics. Richard Courtney recognized that there is an important distinction to be made between aesthetic symbols and [End Page 3] artistic symbols: "Aesthetic symbols emphasize feeling; artistic symbols are context-dependent—they only have meaning in the context of art."2David Best argues that "the failure to recognise the distinction between the aesthetic and the artistic contributes largely to the trivialisation of the potential of the arts in education."3 He points out that "... it may often be necessary to take into account, at least implicitly, wider factors... in order to judge whether [an] appraisal was aesthetic or artistic."4 What are these wider factors, and how can audiences attend to them? As Christopher Havell reminds us,There is increasing pressure on drama teachers to use their teaching expertise purely for the development of social and life-skills training. This instrumental work may, at times, closely resemble the drama process, but the intentions will be confined to an experience that simulates or resembles those "real-life situations" that it is expected students will encounter. The aesthetic search for the "universal" at the centre of the particular will not be a relevant aim in any vocational training! One can only hope that the emerging interest in the aesthetic nature of drama and its place in a coherent arts education will encourage teachers and students to reflect on the final inadequacy of any instrumental view.5I believe that it is through the power of aesthetic education that audiences for drama and theatre will come to appreciate the artistic.In Caravaggio's painting David with the Head of Goliath (1606-10), the viewer is confronted with three time periods simultaneously. In his depiction of David, Caravaggio paints the shepherd-king of the Old Testament who prefigures Christ, but he is also modeled on Caravaggio's lover. David holds the severed head of Goliath down low in such a way as to engage the private viewer rather than to evoke the public spectacle.6 As I understood that the head of Goliath was actually a self-portrait of the painter not long before his death, I experienced a moment of instantaneity that shocked me into a new awareness of my own mortality, my relation to life and death. As it is Caravaggio's last journey, so is it our own. While Caravaggio's penultimate painting is recognized in terms of its artistic achievement, the moment of self-recognition on the part of the... (shrink)

Celebrated performer Giulio Caccini's life as a court musician throws light on the ways in which the soloist formulated and reformulated his/her own identity in order to fit within each of the spaces used for music. Tracing the documented performances associated with Caccini, one can map them onto a continuum of spaces from the most public to the most private. Caccini's successful passage into the more intimate spaces required him to re-form himself as the inheritor of the century-old tradition of (...) the intimate vocal improvvisatori, a stylistic and physical transformation that was, in a sense, his life's work. This performative conception of his musical work is a potent reminder of the ambiguous status of solo song at the beginning of the Seicento, perched between the abstract space of the printed score and the traditional space of the court chamber. (shrink)

When a human being comes into existence is crucial in bioethics. Conceptionism is the view that a human being comes into existence at conception. The twinning argument is an influential objection to this view. All versions of the twinning argument rely on a metaphysics of material objects, namely, endurantism. Given this, a strategy for defending conceptionism against the twinning argument is to deny endurantism and adopt an alternative metaphysics of material objects. A version of this strategy which has been debated (...) in this journal is to adopt perdurantism, or the ‘multiple occupancy view’, on which monozygotic twins share the zygote region as a temporal part. We present a novel version of this strategy: conceptionists can evade the twinning argument by adopting an exdurantist metaphysics of material objects. We suggest reasons for thinking that this is a plausible and, indeed, preferable way for conceptionists to avoid the twinning argument. (shrink)

“To hear silence is to find stillness in the midst of the restlessness that makes creative life possible and the inescapability of death acceptable.” So writes Mark C. Taylor in his latest book, a philosophy of silence for our nervous, chattering age. How do we find silence—and more importantly, how do we understand it—amid the incessant buzz of the networks that enmesh us? Have we forgotten how to listen to each other, to recognize the virtues of modesty and reticence, and (...) to appreciate the resonance of silence? Are we less prepared than ever for the ultimate silence that awaits us all? Taylor wants us to pause long enough to hear what is not said and to attend to what remains unsayable. In his account, our way to hearing silence is, paradoxically, to see it. He explores the many variations of silence by considering the work of leading modern and postmodern visual artists, including Barnett Newman, Ad Reinhardt, James Turrell, and Anish Kapoor. Developing the insights of philosophers, theologians, writers, and composers, Taylor weaves a rich narrative modeled on the Stations of the Cross. His chapter titles suggest our positions toward silence: Without. Before. From. Beyond. Against. Within. Between. Toward. Around. With. In. Recasting Hegel’s phenomenology of spirit and Kierkegaard’s stages on life’s way, Taylor translates the traditional Via Dolorosa into a Nietzschean Via Jubilosa that affirms light in the midst of darkness. Seeing Silence is a thoughtful meditation that invites readers to linger long enough to see silence, and, in this way, perhaps to hear once again the wordless Word that once was named “God.”. (shrink)

When looked at under the perspective of hope, existential philosophers Albert Camus and Søren Kierkegaard are typically seen as inverted images of one another: Kierkegaard embraces hope, which for him is a religious sentiment that he describes at length in Fear and Trembling through the character of Abraham. Camus – on the other hand – rejects hope, seeing both Kierkegaard and Abraham as individuals who had committed what Camus terms a ‘philosophical suicide.’ Camus’ The Myth of Sisyphus can thus be (...) understood as an answer to Kierkegaard’s Abraham: Sisyphus – unlike Abraham – is an individual who had accepted the absurd nature of the world, rejected hope, and thus achieved happiness. In my paper, I will argue that Camus’ criticism of Kierkegaard and of Abraham is not final – I will argue that Camus, in fact, sees hope as an existentially important phenomenon. I will show that Camus does not reject hope in The Myth of Sisyphus but that he merely temporarily suspends it, only to return to it in his later writings. The Myth of Sisyphus is therefore only one of the many ‘stages on life’s way,’ and I will argue that hope is an important aspect of human existence not only for Kierkegaard but also for Camus. That said, Camus’ understanding of hope will not be the same as Kierkegaard’s; hope will exist not in relation to God, but in a relationship with other human beings. (shrink)

A profoundly original philosophical detective story tracing the surprising history of an anecdote ranging across centuries of traditions, disciplines, and ideas Red Sea-Red Square-Red Thread is a work of passages taken, written, painted, and sung. It offers a genealogy of liberty through a micrology of wit. It follows the long history of a short anecdote. Commissioned to depict the biblical passage through the Red Sea, a painter covered over a surface with red paint, explaining thereafter that the Israelites had already (...) crossed over and that the Egyptians were drowned. Clearly, not all you see is all you get. Who was the painter and who the first teller of the tale? Designed as a philosophical detective story, Red Sea-Red Square-Red Thread follows the extraordinary number of thinkers and artists who have used the Red Sea anecdote to make so much more than a merely anecdotal point. Leading the large cast are the philosophers, Arthur Danto and Søren Kierkegaard, the poet and playwright, Henri Murger, the opera composer, Giacomo Puccini, and the painter and print-maker, William Hogarth. Strange companions perhaps, until their use of the anecdote is shown as working its extraordinary passage through so many cosmopolitan cities of art and capital. What about the anecdote brings Danto's philosophy of art into conversation with Kierkegaard's stages on life's way, with Murger and Puccini's la vie de bohème, and with Hogarth's modern moral pictures? Lydia Goehr explores these narratives of emancipation in philosophy, theology, politics, and the arts. What has the passage of the Israelites to do with the Egyptians who, by many gypsy names, came to be branded as bohemians when arriving in France from the German lands of Bohemia? What have Moses and monotheism to do with the history of monism and the monochrome? And what sort of thread connects a sea to a square when each is so purposefully named red? (shrink)

Søren Kierkegaard, the nineteenth-century Danish philosopher rediscovered in the twentieth century, is a major influence in contemporary philosophy, religion, and literature. He regarded Either/Or as the beginning of his authorship, although he had published two earlier works on Hans Christian Andersen and irony. The pseudonymous volumes of Either/Or are the writings of a young man and of Judge William. The ironical young man's papers include a collection of sardonic aphorisms; essays on Mozart, modern drama, and boredom; and "The Seducer's Diary." (...) The seeming miscellany is a reflective presentation of aspects of the "either," the esthetic view of life. Part II is an older friend's "or," the ethical life of integrated, authentic personhood, elaborated in discussions of personal becoming and of marriage. The resolution of the "either/or" is left to the reader, for there is no Part III until the appearance of Stages on Life's Way. The poetic-reflective creations of a master stylist and imaginative impersonator, the two men write in distinctive ways appropriate to their respective positions. (shrink)

Søren Kierkegaard is well-known as an original philosophical thinker, but less known is his reliance upon and development of the Christian tradition of the Seven Deadly Sins, in particular the vice of acedia, or sloth. As acedia has enjoyed renewed interest in the past century or so, commentators have attempted to pin down one or another Kierkegaardian concept (e.g., despair, heavy-mindedness, boredom, etc.) as the embodiment of the vice, but these attempts have yet to achieve any consensus. In our estimation, (...) the complicated reality is that, in using slightly different but related concepts, Kierkegaard is providing a unique look at acedia as it manifests differently at different stages on life’s way. Thus, on this “perspectival account”, acedia will manifest differently according to whether an individual inhabits the aesthetic, ethical, or religious sphere. We propose two axes for this perspectival account. Such descriptions of how acedia manifests make up the first, phenomenal axis, while the second, evaluative axis, accounts for the various bits of advice and wisdom we read in the diagnoses of acedia from one Kierkegaardian pseudonym to another. Our aim is to show that Kierkegaard was not only familiar with the concept of acedia, but his contributions helped to develop and extend the tradition. (shrink)

Søren Kierkegaard published an extraordinary number of works during his lifetime, but he left behind nearly as much unpublished writing, most of which consists of what are called his "journals and notebooks." Volume 2 of this 11-volume edition of Kierkegaard's Journals and Notebooks includes materials from 1836 to 1846, a period that takes Kierkegaard from his student days to the peak of his activity as an author. In addition to containing hundreds of Kierkegaard's reflections on philosophy, theology, literature, and his (...) own personal life, these journals are the seedbed of many ideas and passages that later surfaced in Either/Or, Repetition, Fear and Trembling, Philosophical Fragments, The Concept of Anxiety, Stages on Life's Way, Concluding Unscientific Postscript, and a number of Edifying Discourses. (shrink)

Introduction 1 -- Ancient Greece -- Reason and the irrational : Sophocles' Oedipus tyrannus -- Psuchê : literature and moral psychology from Homer to Sophocles -- Aristotle's poetics : Oedipus and the problem of tragedy -- Psuchê redux : philosophy and the new psychology -- Psychologizing Oedipus : reason and unreason in Aristotle's ethics -- Golden age denmark -- Kierkegaard's retrieval of Greek tragedy -- Tragedy as historical idea : either/or ancient drama reflected in the modern -- Stages on (...) life's way : Hamartia in the wake of modernity -- Fear and trembling : tragedy, comedy, and the heroism of Abraham -- The concept of anxiety : fate and the tragic logos of a second ethics -- Beyond eudaimonism : tragic virtue and the practice of eternity -- Moral psychology in the pseudonyms, search for a method ethicscontra ethics : Climacus on eternal happiness and tragic virtue -- Kierkegaard and the tragedy of authorship. (shrink)

Reidar Thomte's Kierkegaard's Philosophy of Religion is an excellent read for students beginning their study of one of the greats of nineteenth and twentieth century philosophy. Thomte directly appropriates Kierkegaard's insightful language and discussion of the theological and philosophical issues that stimulated him, all of which are still alive and well today. This approach has the happy result that readers seeking an introduction do not have to be led through technical debates in order to approach Kierkegaard's thought. Thomte is a (...) master of incisive summary; his presentations of crucial distinctions are level-headed and to the point. Kierkegaard's categories such as the stages on life's way (the aesthetic, the ethical, Religiousness A, and Religiousness B), the individual, subjectivity, the Paradox, the varieties of love, faith and knowledge, etc., are provocative and illuminating. Not only is this book a good a starter, it is also a comprehensive review of the principal issues in Kierkegaard's philosophy of religion. (by Robert L. Perkins, Editor, International Kierkegaard Commentary). (shrink)

For Kierkegaard the ‘psychological experiment’ is a literary strategy. It enables him to dramatize an existential conflict in an experimental mode. Kierkegaard’s aim is to study the source of movement that animates the existing individual (this is the psychological part). However, he is not interested in the representation of historical individuals in actual situations, but in the construction of fictional characters that are placed in hypothetical situations; this allows him to set the categories in motion “in order to observe completely (...) undisturbed what these require” without caring to what extent someone has met this requirement or is able to meet it (this is the experimental part). -/- The ‘psychological experiment’ is a category of indirect communication that is developed most extensively by Frater Taciturnus, the pseudonymous author of the third part of Stages on Life’s Way. (I) Taciturnus introduces the psychological experiment as a new trajectory in modern literature that offers an alternative to poetry and speculative drama. He develops this new trajectory in praxis (in the novella ‘“Guilty?”/“Not Guilty?” A Story of Suffering: A Psychological Experiment by Frater Taciturnus’) as well as in theory (in the ‘Letter to the Reader’ that accompanies his novella). (II) Two other pseudonymous authors further enrich the conceptual field of the psychological experiment. Constantin Constantius develops the notion ‘experimenting psychology’; Johannes Climacus reflects on the reader’s contemporaneity with the character. (shrink)

The objective list account of wellbeing is usually taken to say that the same set of goods is relevant to wellbeing for any person, regardless of age. Coupled with reasonable assumptions about how goods are distributed over the lifespan, that leads to a picture of wellbeing as higher in midlife and lower in childhood and old age. I argue that a stage-relativized objective list theory is more plausible, after exploring several ways to understand the concept of a life stage. On (...) the stage-relativized view, lists of goods that define wellbeing vary in the sense that there are shifting thresholds and subcategories relevant to different stages of life, but also because there are goods that count at one stage and count less or not at all at others. After exploring the list of goods for old age, I argue that the old age form of wellbeing can be welcomed even if the goods it offers are not superior to midlife goods. (shrink)

Class Acts examines two often neglected aspects of Jacques Derrida's work as a philosopher, his public presentations at lectures and conferences and his teaching, along with the question of the "speech act" that links them. What, Michael Naas asks, is one doing when one speaks in public in these ways? The book follows Derrida's itinerary with regard to speech act theory across three public lectures, from 1971 to 1997, all given, for reasons the book seeks to explain, in Montreal. In (...) these lectures, Derrida elaborated his critique of J. L. Austin and his own subsequent redefinition of speech act theory. The book then gives an overview of Derrida's teaching career and his famous "seminar" presentations, along with his own explicit reflections on pedagogy and educational institutions beginning in the mid-1970s. Naas then shows through a reading of three recently published seminars-on life death, theory and practice, and forgiveness-just how Derrida the teacher interrogated and deployed speech act theory in his seminars. Whether in a conference hall or a classroom, Naas demonstrates, Derrida was always interested in the way spoken or written words might do more than simply communicate some meaning or intent but might give rise to something like an event. Class Acts bears witness to the possibility of such events in Derrida's work as a pedagogue and a public intellectual. (shrink)

My aim is to relate Søren A. Kierkegaard’s early theory of stages as described basically in “Either-Or” to the theory of interest underlying the two process model of cognition of the Canadian psychologist Keith E. Stanovich with regard to the question of the highest formal goal we can pursue in our life. On the basis of Stanovich’s distinction between type 1 and type 2 processing and Kierkegaard’s distinction between an esthetical and an ethical stage of life, I argue for (...) an extension of Stanovich’s understanding of the goal structure of type 2 processing, for Kierkegaard’s ethical stage of life being a natural expression of our cognitive faculties and for a critical approach to Kierkegaard's idea of a religious stage as hinted at in “Fear and Trembling”. (shrink)

The Corsair affair has been called the "most renowned controversy in Danish literary history." At the center is Søren Kierkegaard, whose pseudonymous Stages on Life's Way occasioned a frivolous and dishonorable review by Peder Ludvig Møller. Møller was associated with The Corsair, a publication notorious for gossip and caricature. The editor was Meïr Goldschmidt, an acquaintance of Kierkegaard's and an admirer of his early work. Kierkegaard struck back at not only Møller and Goldschmidt but at the paper as (...) a whole. The present volume contains all of the documents relevant to this dispute, plus a historical introduction that recapitulates the sequence of events surrounding the controversy. Parts I and II contain articles both signed by and attributed to Kierkegaard in response to the affair. A supplement includes writings pertaining to the Corsair affair by Goldschmidt and Møller, as well as unpublished pieces by Kierkegaard from his journals and papers. Although the immediate occasion was literary, for Kierkegaard the issues as well as the consequences were ethical, social, philosophical, and religious. Howard Hong argues that the most important consequence was wholly unexpected and unintended: the second phase of Kierkegaard's authorship. (shrink)

The prelims comprise: Half‐Title Page Wiley Series Page Title Page Copyright Page Table of Contents Preface List of Abbreviations.

This chapter contains sections titled: “The Category of my Whole Authorship” “The Father of Existentialism” “Becoming a Subject” “Stages on Life's Way”.

What is it about a person's becoming an adult that makes it generally inappropriate to treat that person paternalistically any longer? The Standard View holds that a mere difference in age or stage of life cannot in itself be morally relevant, but only matters insofar as it is correlated with the development of capacities for mature practical reasoning. This paper defends the contrary view: two people can have all the same general psychological attributes and yet the mere fact that one (...) person is at the beginning of a life and another in the middle of one can justify treating the younger person more paternalistically than the older one. Recognising the moral relevance of age, moreover, is crucial if one is to accommodate both the liberal moral ideal of respect for autonomy and our demanding educational aims, given that these otherwise come into conflict with one another. (shrink)

Eliseo Vivas's intellectual life started at the political left and within the tradition of American naturalism, and has ended up somewhere to the political right and with some form of anti-naturalism. Vivas also started "with a great deal of cocksure confidence about his knowledge of the ills of society and the nature of the universe" and ended up recognizing that "he knew very little besides the fact that he did not know, because genuine knowledge about these matters does not exist". (...) This book, written in the form of a biography of one Alonzo Quijano, is an intimate intellectual memoir of the changes in political attitude and philosophical conviction that went between. A flirtation with communism in the thirties and various political squabbles within academia are presented as stages on life's way, and serve as background for freely rambling discussions of naturalism, liberalism, the origin of man, ethical and aesthetic values, ultimate mysteries, and the nature and limits of philosophy. (shrink)

From Clouds to Corsair: Kierkegaard, Aristophanes, and Socrates -- The pure fool and the knight of faith: Wolfram's Parzival and the stages of existence -- From romantic aesthete to Christian analogue: Don Quixote's sallies in Kierkegaard's authorship -- Saying not quite "everything just as it is": Shakespeare on life's way -- "Sorrow's changeling": irony, humor, and laughter in Kierkegaard and Carlyle.

"All life upon the stage"; the Theatrum Mundi. In this volume, a seventeenth century metaphor is revisited and is seen as applying to all art in all times. In the "magic mirror of art" the human being discerns the hidden spheres of human life and commemorates and celebrates its glorious victories and mourns its ignominious defeats. Let us rediscover Art as a witness to the human predicament as well as a celebrant of humanity's most sublime moments. This is the invitation (...) of this collection of studies by A-T. Tymieniecka, Hanna Scolnicov, Muella Erkilic, Matt Landrus, Patricia Trutty-Coohill, Monika Bakke, David Brubaker, Tammy Knipp, Howard Pearce, Ellen J. Burns, G. Backhaus, Ethan J. Leib, Lawrence Kimmel, Ingrid Scheibler, Gottfried Scholz, L.F. Werth, A. Carillo, M. Statkiewicz, K. O'Rourke, B. Meyler, H. Meltzer, Jiuan Heng, W.V. Davies. Art as mirror of life, human life as participating in a stage play, corresponds to the fervent search human being of the causes, reasons, puzzles of our existence which elude us in the concrete life. This XVII c. conception of Theatrum Mundi opens as this volume shows a fascinating field of investigation for our times. (shrink)

As we know, the whole system of Hegel 's thought is based totally on the self-development process of the Geist. In other words, according to dialectical scheme of neoplatonism which Proclus systematized as a triad, μονή-πρόοδος-ἐπιστροφή, Hegel says that the Geist remains in himself, comes out from himself, and then returns to himself. With this process of self-development of the Geist, Hegel tries to explain the realities in general such as nature, history, art, religion, and philosophy. This process of the (...) development of the Geist makes a circle mode with the triadic way of an sich - für sich - an und für sich, but itself as the final destination of the Geist after finishing the whole process, is not a mere itself at the beginning, but the completed itself filled with the self-consciousness and freedom in full bloom. The last moment when the Geist returns to itself, Hegel says it is ‘Ruhe in Gott’. This is the final moment which the Geist as reality of the world and the history arrives and also the conclusion of his philosophy. Then, what happens to this final stage of the return of the Geist to itself, and what does it mean? Most of all, Hegel saw that, as the goal of world history is the achievement of self-consciousness of the Geist on its freedom and the realization of the freedom, this goal was achieved in the self-return of the Geist. And he has seen that the finite and the infinite, which showed constant opposition in the history of Western thought, are united here. According to Hegel, the infinite and finite in the bad concept that came out of the intellect(Verstand) are confronted with each other, and existence and non-existence are substantially separated. However, in the true concept of the infinite derived from reason(Vernunft), is formed the unified moment, in which the confrontations of both parties has been resolved and everything had been included in itself. The transcendence that he advocates is not a transmundane transcendence that is separated absolutely from the finite sensory world in existence and then unreachable absolutely, but a ‘right transcendence’ in which the finite and the infinite are really inseparable and remain as moments of the process of the Geist. In his view, the former which Platonism represents in Western philosophy, is an 'empty transcendence,' but the transcendence that he speaks is a 'full transcendence' that encompasses all moments of the finite in itself. The return of the absolute idea to itself means not only the sublation (Aufhebung) of the finite but also the the sublation of the reality, of the other, of the outwardness, of the abandonment of history, and secures the opposites to those such as ideality, self-identity, inwardness, and trans-historicity. Hegel's Geist as returning to itself has self-consciousness recognizing that it negates and rules the world and the history at the same time. In other words, it is honored and then the glorifying of God has been achieved in the consciousness of itself as the Absolute that it has been the only subject and the sole ruler of world history. According to Hegel, this glorifying of God is the most valuable object of the Geist and history. The Geist that has completed the process of self-development in the return to the itself enjoys the serenity, which is not a 'vacant serenity' but a ‘full serenity’ integrating the finite and the infinite into its inner simplicity. Hegel regarded the transition from the other to being self-internal as a transition from necessity to freedom, and in this serenity the Geist enjoys the freedom that it has in its own nature, as possible as it can. That is to say, in this serenity, the Geist becomes absolutely free and became itself, negating and sublating all other-being(Anderssein). In his view, the "Serenity in God," where the Geist becomes itself and its absolute freedom is obtained, is the ultimate goal of the Geist, and the omega point of the history. (shrink)

Three Discourses on Imagined Occasions was the last of seven works signed by Kierkegaard and published simultaneously with an anonymously authored companion piece. Imagined Occasions both complements and stands in contrast to Kierkegaard's pseudonymously published Stages on Life's Way. The two volumes not only have a chronological relation but treat some of the same distinct themes. The first of the three discourses, "On the Occasion of a Confession," centers on stillness, wonder, and one's search for God--in contrast to (...) the speechmaking on erotic love in "In Vino Veritas," part one of Stages. The second discourse, "On the Occasion of a Wedding," complements the second part of Stages, in which Judge William delivers a panegyric on marriage. The third discourse, "At a Graveside," sharpens the ethical and religious earnestness implicit in Stages's "'Guilty'/'Not Guilty'" and completes this collection. (shrink)

This paper compares Pierre Hadot’s work on the history of philosophy as a way of life to the work of Albert Camus. I will argue that in the early work of Camus, up to and including the publication of The Myth of Sisyphus, there is evidence to support the notions that, firstly, Camus also identified these historical moments as obstacles to the practice of ascesis, and secondly, that he proceeded by orienting his own work toward overcoming these obstacles, and thus (...) toward a modern rehabilitation of ascesis. Moreover, in contrast to Hadot’s Platonism, Camus located the source of this practice in the pre-philosophical stage of Athenian tragedy. This points to a further contrast between these two figures, which has historical and cultural precedents, in the distinction between this pre-Platonic form of ascesis - favoured by Camus - and the latter Christian form of asceticism - favoured by Hadot, with the status of Platonic ascesis rendered in terms of prefiguring this Christian form of asceticism. (shrink)

In the early twentieth century, the life philosophy of Henri Bergson summoned the _élan vital_, or vital force, as the source of creative evolution. Bergson also appealed to intuition, which focused on experience rather than discursive thought and scientific cognition. Particularly influential for the literary and political Négritude movement of the 1930s, which opposed French colonialism, Bergson's life philosophy formed an appealing alternative to Western modernity, decried as "mechanical," and set the stage for later developments in postcolonial theory and vitalist (...) discourse. Revisiting narratives on life that were produced in this age of machinery and war, Donna V. Jones shows how Bergson, Nietzsche, and the poets Leopold Senghor and Aimé Césaire fashioned the concept of life into a central aesthetic and metaphysical category while also implicating it in discourses on race and nation. Jones argues that twentieth-century vitalism cannot be understood separately from these racial and anti-Semitic discussions. She also shows that some dominant models of emancipation within black thought become intelligible only when in dialogue with the vitalist tradition. Jones's study strikes at the core of contemporary critical theory, which integrates these older discourses into larger critical frameworks, and she traces the ways in which vitalism continues to draw from and contribute to its making. (shrink)

This article critically examines two central concepts in normative theory—ethical life and morality—by comparing the pragmatist approach with that of Critical Theory. This is done by way of a close scrutiny of Axel Honneth’s reading of the pragmatist philosophers John Dewey and George H. Mead. This focus on Honneth’s use of pragmatism serves as a port of entry to provide a comparative analysis of pragmatism and Critical Theory’s approaches to normativity. As I intend to show, Honneth’s troubles with making sense (...) of the pragmatist approach to normativity are a litmus test of some persistent ambiguities at the heart of his understanding of normativity. I set the stage by reconstructing Honneth’s reading of Dewey and Mead. That will provide the background against which to set up a comparison between the pragmatist conception of normativity and that of Critical Theory, with a view to assessing their relative validity. I then relate Honneth’s reading of the pragmatists to his own philosophical project and to the important place occupied in it by the same dualism of ethical life and morality. (shrink)

This chapter contains sections titled: The Philosophical Tale.

Advanced directives and living wills have improved our ability to dictate end-of-life care, but even these cannot guarantee that we will be allowed the dignity of a natural death. Designed by two sisters-one a doctor, one a lawyer-and drawing on their decades of experience, the five-step Compassion Protocol outlined in A Better Way of Dying offers a simple and effective framework for leaving caretakers concrete, unambiguous, and legally binding instructions about your wishes for your last days. Meant for people in (...) every walk of life-from the elderly, to those in the early stages of mentally degenerative diseases like Alzheimer's, to healthy young people planning for an unpredictable future-this book creates space for a discussion we all must have if we wish to ensure comfort and control at the end of our lives.." -- from publisher's website. (shrink)

The Journals, 1834-1842 -- Either/Or -- Two edifying discourses -- Fear and trembling -- Repetition -- Philosophical fragments -- Stages on life's way -- Concluding unscientific postscript -- The present age -- Edifying discourses in various spirits -- The works of love -- The point of view for my work as author -- The sickness unto death -- Training in Christianity -- Two discourses at the Communion on Fridays -- The Journals, 1850-1854 -- The attack upon "Christendom" -- (...) The unchangeableness of God. (shrink)

The focus of the study is the problem of “entry” or “penetration” of pre-revolutionary philosophy into Soviet philosophy. On the example of the oeuvre of E.K. Gertsyk, the au­thor of “Memoirs” on the philosophers and writers of the religious and philosophical re­vival at the turn of the 19th–20th centuries, the translator of the works of F. Nietzsche, J. Huysmans, F. von Baader and others, the thinker who created her own version of the philosophy of life, it is shown how a (...) representative of the culture of the Silver Age managed to reconcile with the Soviet reality. The article traces Gertsyk’s creative evolu­tion from the philosophy of the phenomenon, presented in her dissertation essay on the problem of the real world in the Kant’s philosophy (1904), to the philosophy of life; her interpretation of Kant’s epistemology is considered; the concept of a path (a key one in Gertsyk’s work) was analyzed on the basis of works written in the early Soviet years (the hagiographic treatise “On the Ways” (1917–1918), the essay “Edgar Poe” (1918–1927)); the influences of decisive importance for Gertsyk’s philosophical searches are considered (I. Kant, F. Nietzsche, L. Shestov, N. Berdyaev, V. Ivanov, A. Bergson and etc). The article focuses on the transitional stage of Gertsyk’s oeuvre, when there was an increase in religiosity and apocalyptic moods in her mindset, which in the 1930s was replaced by a departure from Christianity as a stronghold of the old culture and old values, justification and apologia for the new social reality, demonstrated by Gertsyk in the well-known letters “from there”, i.e. from the Soviet Russia, published on the pages of the Parisian journal “Sovremennye zapiski” and caused a mixed reaction in the emigrant community. The article shows what ideological attitudes allowed the par­ticipant of the decadent meetings and the interlocutor of Russian religious philosophers to accept the Soviet reality. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:In Search of the Good: A Life in Bioethics by Daniel Callahan, and: Why the Church Needs Bioethics: A Guide to the Wise Engagement with Life’s Challenges ed. by John F. Kilner, and: Respecting Life: Theology and Bioethics by Neil MesserAndrea Vicini SJIn Search of the Good: A Life in Bioethics By Daniel Callahan (edited by Arthur Caplan) CAMBRIDGE, MA: MIT PRESS, 2012. XVII + 206 PP. $29.00Why (...) the Church Needs Bioethics: A Guide to the Wise Engagement with Life’s Challenges Edited by John F. Kilner GRAND RAPIDS: ZONDERVAN, 2011. 304 PP. $26.99Respecting Life: Theology and Bioethics By Neil Messer LONDON: SCM PRESS, 2011. XI + 236 PP. $36.20With their specific styles, targeted readerships, and overall goals, these three volumes provide diverse but synergic ways to articulate and expand bioethical reflection in today’s society. Daniel Callahan is undoubtedly one of the founders of the field of bioethics. In Search of the Good: A Life in Bioethics is a fascinating memoir where, in a very engaging and personal way, Callahan unveils his intellectual development, career, and major interests. At the same time, he provides a critical lens to examine the history of bioethics in the United States. It shows his “abiding fascination with the human nature, scope, and validity of ethics as part of human life, and a similar strong interest in the ways that the scientific knowledge of medicine influences how we think about our health and mortality and shapes the ways we live our lives” (xvi). In particular, he describes how his philosophical training, and philosophical mind, led him to address the burgeoning ethical questions in biology and medicine and, thereby, to contribute to the founding of today’s bioethics.By sharing his intellectual journey with great honesty and transparency, Callahan guides his readers from his initial philosophical questioning to the later critical developments that have shaped bioethics as a theoretical and practical discipline in the last forty years. The list of topics that he has studied is impressive—from birth control to heart transplants, from end-of-life issues to embryonic stem cell research, and from market-driven health care to medical rationing. Drawing on his time as editor of the famous liberal Catholic magazine Commonweal in the 1960s, Callahan narrates his 1969 founding of the Hastings Center in cooperation with the author and psychiatrist Willard Gaylin. He describes the [End Page 196] stages in the life of this first bioethics research institution in the world, focusing on the years of its success (1980–86) and then on the routinization of its charisma (1986–96). More recent years have seen Callahan questioning medical progress and stressing the urgency of critically examining the goals of today’s medicine, even including discussion topics that are often avoided.Bioethics scholars and students will enjoy In Search of the Good. They will be able to integrate their own historical study of this discipline with Callahan’s personal memoir, which gives a human face to issues and debates. Moreover, bioethicists will be stimulated to reassess their own intellectual engagement and reflect on the future developments of this interdisciplinary discipline whose “roots lie in the humanities” (167).John Kilner, director of bioethics programs and professor of bioethics and contemporary culture at Trinity Evangelical Divinity School, takes a broader approach in Why the Church Needs Bioethics. The volume includes contributions from an interdisciplinary group of thirty-one Christian leaders with diverse expertise, ranging from medicine, business, and law to biblical studies, theology, counseling, and intercultural and pastoral ministry. Nineteen leaders contributed essays, and twelve offered their critiques to earlier drafts. This collaborative effort is praiseworthy, but at the same time it leaves readers desiring more cohesive reflections and a synthetic theological voice.The volume considers three cases emblematic of major human quests: reproductive technologies for a better birth; enhancing drugs for a better life; and end-of-life care for a better death. Each case is discussed by experts from three different disciplines—biblical theology, practical theology, and other secular professions (business, law, or health care)—followed by a specifically bioethical essay. The volume ends with two conclusive contributions discussing how preaching and wisdom... (shrink)

This paper aims to explore the characteristic of religious and moral thinking in stage 7 in Kohlberg’s theory. The main question is why he considered and suggested stage 7 beyond stage 6 of justice in the scheme of moral stages. As it is known, there are three levels –preconventional, conventional, postconventional morality- in which six stages are divided in moral development. In Kohlberg’s scheme, the main goal of moral development is to realize that an agent decides to think (...) and do right in the postconventional and principled level. Here the ethical principle of justice is universalized and adapted among the members beyond the boundary of relativism. In his view, it is the theory of justice in John Rawls that enables them to find out the principle in stage 6. In addition, Rawlsian adaptation of moral development is connected with the supererogatory perspective of the sense of justice. In religious life and culture, the development of faith is the boundary of ethical development; however, in his view, it is possible when the principle of morality is formally operated. This means that the principle of morality is not against religious thinking, but leads to the development of the love of mankind. At that point, the conception of self-denial as the resource of reversibility and equilibrium is taken and developed into the ordinary practices of the process of each stage in the moral education at schools. (shrink)

The many problems we face in today's world -- among them war, environmental destruction, religious and racial intolerance, and inappropriate technologies -- demand that we carefully re-evaluate such issues as our relation to the environment, the nature of progress, ultimate purposes, and human values. These are all issues, Robert Carter explains, that are intimately linked to our perception of life's meaning. While many books discuss life's meaning either analytically or prescriptively, Carter addresses values and ways of meaningful living (...) from a broader perspective, using Japanese philosophy to augment his investigation. He examines Martin Heidegger's distinction between "dwelling" and existing in the world, Lawrence Kohlberg's "stage seven" of human moral development, and the works of Viktor Frankl, Carol Gilligan, and Nel Noddings. He applies hermeneutic and deconstructionist theory to the question of meaning, and explores the feminist contribution to ethics and its relation to the interconnectedness of things celebrated in Zen and Shinto thought. Bridging various dichotomies such as East/West, reason/emotion, male/female, and caring/justice, Carter shows that ethics, environmental concern, caring, and joy in living are dependent on the growth and transformation of the self. Only by becoming aware of the interrelatedness of things, Carter reveals, can we become as supple and as strong as the bamboo tree, long the symbol of longevity and constancy. (shrink)

Free Will: Art and Power on Shakespeare's Stage is a study of theatre and sovereignty that situates Shakespeare's plays in the contraflow between two absolutisms of early modern England: the aesthetic and the political. Starting from the dramatist's cringing relations with his princely patrons, Richard Wilson considers the ways in which this 'bending author' identifies freedom in failure and power in weakness by staging the endgames of a sovereignty that begs to be set free from itself. The arc of Shakespeare's (...) career becomes in this comprehensive new interpretation a sustained resistance to both the institutions of sacred kingship and literary autonomy that were emerging in his time. In a sequence of close material readings, Free Will shows how the plays instead turn command performances into celebrations of an art without sovereignty, which might 'give delight' but 'hurt not', and 'leave not a rack behind'. Free Will is a profound rereading of Shakespeare, art and power that will contribute to thinking not only about the plays, but also about aesthetics, modernity, sovereignty and violence. (shrink)

Introduction: Maintaining patient dignity in a caregiving environment is one of the most important moral responsibilities for caregivers. Nonetheless, there are vulnerable groups, specifically teenagers, who in their final stages of life are prone to their dignity being threatened. Moreover, dignity is an abstract concept and there is no studies done on teenagers’ dignity in the final stages of life available in Iran.Purpose: The purpose of this study is to describe the caregivers’ experiences regarding teenagers’ dignity in the (...) final stages of life.Research design: This study is a descriptive phenomenological qualitative research project. The data was collected using deep individual and semi-structured interviews as well as taking notes. The Colaizzi analysis method was used to analyze the data.Participants and research context: 22 caregivers working with teenagers in the final stages of life in a public health centers in Iran who had the criteria to enter the study were selected using a purposeful sampling method and invited to join the study from August 2018 to June 2019. The sampling continued until data saturation.Findings: The findings of the present study were presented in the form of three main themes including “private,” “respecting individual identity,” and “attention to teenagers’ needs” and an additional eight categories.Ethical Considerations: The study’s protocol was approved by the Research Ethics Committee of the Shiraz University of Medical Sciences and all ethical principles were followed throughout the study.Discussion and conclusion: Based on the present study from the caregivers’ point of view, teenagers in their final stages of life required to be cared for and taught in an environment that their privacy was maintained and their individual identity was respected as well as getting attention from the caregivers and companions. In such situations, the teenagers felt calm and their dignity was maintained; therefore, providing a cultural, professional, and organizational setting where all the components of maintaining dignity in teenagers are supported and prioritized is necessary. (shrink)

The many problems we face in today's world -- among them war, environmental destruction, religious and racial intolerance, and inappropriate technologies -- demand that we carefully re-evaluate such issues as our relation to the environment, the nature of progress, ultimate purposes, and human values. These are all issues, Robert Carter explains, that are intimately linked to our perception of life's meaning. While many books discuss life's meaning either analytically or prescriptively, Carter addresses values and ways of meaningful living (...) from a broader perspective, using Japanese philosophy to augment his investigation. He examines Martin Heidegger's distinction between "dwelling" and existing in the world, Lawrence Kohlberg's "stage seven" of human moral development, and the works of Viktor Frankl, Carol Gilligan, and Nel Noddings. He applies hermeneutic and deconstructionist theory to the question of meaning, and explores the feminist contribution to ethics and its relation to the interconnectedness of things celebrated in Zen and Shinto thought. Bridging various dichotomies such as East/West, reason/emotion, male/female, and caring/justice, Carter shows that ethics, environmental concern, caring, and joy in living are dependent on the growth and transformation of the self. Only by becoming aware of the interrelatedness of things, Carter reveals, can we become as supple and as strong as the bamboo tree, long the symbol of longevity and constancy. (shrink)