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This title was first published in 2001: Debate about the reality of God risks becoming an arid stalemate. An unbridgeable gulf seems to be fixed between realists, arguing that God exists independently of our language and beliefs, and anti-realists for whom God-language functions to express human spiritual ideals, with no reference to a reality external to the faith of the believer. Soren Kierkegaard has been enlisted as an ally by both sides of this debate. Kierkegaard, Language and the Reality of God presents a new approach, exploring the dynamic nature of Kierkegaard's texts and the way they undermine neat divisions between realism and anti-realism, objectivity and subjectivity. Showing that Kierkegaard's understanding of language is crucial to his practice of communication, and his account of the paradoxes inherent in religious discourse, Shakespeare argues that Kierkegaard advances a form of 'ethical realism' in which the otherness of God is met in the making of liberating signs. Not only are new perspectives opened on Kierkegaard's texts, but his own contribution to ongoing debates is affirmed in its vital, creative and challenging significance.
This text explores the complex existential worlds of Hamlet, Troilus and Cressida, and Antony and Cleopatra while using the philosophy, psychology and metaphysics of Soren Kierkegaard as its critical literary landscape, lending new understanding of their characters, triumphs and ignominies. The study of these works in reference to Kierkegaad is then looked at with regard to Shakespeare himself.
"Eric Ziolkowski's monumental study examines Kierkegaard's whole "prolix literature" - including the pseudonymous and the signed published writings as well as his private journals, papers, and letters - in relation to works by five other literary giants. Kierkegaard himself stresses the essentially literary as opposed to the strictly theological or philosophical nature of his writings. Uncovering this neglected aspect of Kierkegaard's oeuvre, Ziolkowski first considers the notions of aesthetics and the aesthetic as Kierkegaard adapted them, then his posture as a poet and his self-conception as "a weed in literature". After taking account of the history of the critical recognition of Kierkegaard as a literary artist, Ziolkowski looks at an important characteristic of Kierkegaard's literary craft that has received relatively little attention: the manner by which he and his pseudonyms read and quoted other authors. Ziolkowski explores the connections between the philosopher's writings and those of other literary masters who directly influenced him, such as Aristophanes, Cervantes, and Shakespeare, and those such as Wolfram von Eschenbach and Carlyle, who, while not direct influences, gave paradigmatic expression to some of the same aspects of aesthetic, ethical, and religious existence that Kierkegaard portrayed. A necessary resource for Kierkegaard scholars, philosophers, and students of religion and literature alike, 'The literary Kierkegaard' corrects a significant lack in our understanding of one of the most significant thinkers of the modern era." -- dust jacket.
This title was first published in 2001: Debate about the reality of God risks becoming an arid stalemate. An unbridgeable gulf seems to be fixed between realists, arguing that God exists independently of our language and beliefs, and anti-realists for whom God-language functions to express human spiritual ideals, with no reference to a reality external to the faith of the believer. Soren Kierkegaard has been enlisted as an ally by both sides of this debate. Kierkegaard, Language and the Reality of God presents a new approach, exploring the dynamic nature of Kierkegaard's texts and the way they undermine neat divisions between realism and anti-realism, objectivity and subjectivity. Showing that Kierkegaard's understanding of language is crucial to his practice of communication, and his account of the paradoxes inherent in religious discourse, Shakespeare argues that Kierkegaard advances a form of 'ethical realism' in which the otherness of God is met in the making of liberating signs. Not only are new perspectives opened on Kierkegaard's texts, but his own contribution to ongoing debates is affirmed in its vital, creative and challenging significance.
Kierkegaard and the Refusal of Transcendence challenges the standard view that Kierkegaard's God is infinitely other than the world. It argues that his work immerses us in the paradoxical nature of existence itself, and opposes any flight into another world.
Johannes Sløk stiller i denne bog skarpt på Shakespeare og Kierkegaards plads i den europæiske idehistorie og deres grundlæggende syn på menneskelivet. Herudfra ser han på, hvordan de to store skikkelser forholder sig til hinanden. Johannes Sløk (1916-2001) var en dansk teolog, filosof, idehistoriker og debattør. Han blev ansat som professor ved Det Teologiske Fakultet ved Aarhus Universitet i 1959 og blev sidenhen en af hovedkræfterne bag oprettelsen af Institut for Idehistorie ved Aarhus Universitet. Johannes Sløk var som filosof stærkt inspireret af Søren Kierkegaard og har skrevet flere bøger om hans tanker og eksistentialisme generelt. Gennem sit mangeårige akademiske virke nåede Johannes Sløk at skrive mere end 60 bøger om filosofi, teologi og idehistorie.
The Oxford Handbook of Kierkegaard brings together an outstanding selection of contemporary specialists and uniquely combines work on the background and context of Kierkegaard's writings, exposition of his key ideas, and a survey of his influence and heritage.
The A to Z of Kierkegaard's Philosophy provides a contextual introduction to Kierkegaard's 19th century world of Copenhagen, a chronology of events and key figures in his life, as well as definitions of the key systems of his thought-theology, existentialism, literature, and psychology. The extensive bibliographical section covers secondary literature and electronic materials of help to researchers. The appendix includes detailed information on his writings, along with a list of his pseudonyms. This book is useful not only as a guide for experienced scholars, but also as an introduction to new students of Kierkegaard's Philosophy.
The long period from the Renaissance to the nineteenth century supplied numerous sources for Kierkegaard's thought in any number of different fields. The present, rather heterogeneous volume covers the long period from the birth of Savonarola in 1452 through the beginning of the nineteenth century and into Kierkegaard's own time. The Danish thinker read authors representing vastly different traditions and time periods. Moreover, he also read a diverse range of genres. His interests concerned not just philosophy, theology and literature but also drama and music. The present volume consists of three tomes that are intended to cover Kierkegaard's sources in these different fields of thought. Tome III covers the sources that are relevant for literature, drama and music. Kierkegaard was well read in the European literature of the seventeenth and eighteenth century. He was captivated by the figure of Cervantes' Don Quixote, who is used as a model for humor and irony. He also enjoyed French literature, represented here by articles on Chateaubriand, Lamartine, and Mérimée. French dramatists were popular on the Danish stage, and Kierkegaard demonstrated an interest in, among others, Moliére and Scribe. Although he never possessed strong English skills, this did not prevent him from familiarizing himself with English literature, primarily with the help of German translations. While there is an established body of secondary material on Kierkegaard's relation to Shakespeare, little has been said about his use of the Irish dramatist Sheridan. It is obvious from, among other things, The Concept of Irony that Kierkegaard knew in detail the works of some of the main writers of the German Romantic movement. However, his use of the leading figures of the British Romantic movement, Byron and Shelley, remains largely unexplored terrain. The classic Danish authors of the eighteenth century, Holberg, Wessel and Ewald, were influential figures who prepared the way for the Golden Age of Danish poetry. Kierkegaard constantly refers to their dramatic characters, whom he often employs to illustrate a philosophical idea with a pregnant example or turn of phrase. Finally, while Kierkegaard is not an obvious name in musicology, his analysis of Mozart's Don Giovanni shows that he had a keen interest in music on many different levels.
This investigation of Kierkegaard as a political thinker with regard to the Danish context, and to his place in the history of political thought, deals with the more direct discussion of politics in Kierkegaard, and the ways in which political ideas are embedded in his literary, aesthetic, ethical, philosophical ,and religious thought.