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)

Secular moral philosophy has devoted little attention to the nature and significance of faith. Perhaps this is unsurprising. The significance of faith is typically thought to depend on the truth of theism, and so it may seem that a careful study of faith has little to offer non-religious philosophy. But I argue that, whether or not theism holds, certain kinds of faith are centrally important virtues, that is, character traits that are morally admirable or admirable from some broader perspective of (...) human flourishing. I discuss three varieties of faith that a virtuous person has in people: faith in herself, faith in people to whom she bears certain personal relationships, and faith in humanity. Coming to understand the nature of these forms of faith and the roles they play in human life promises to deepen our understanding of aspects of moral life and aspects of human flourishing that are poorly grasped. Beyond this, it makes valuable contributions to the literature on self-trust and the literature on epistemic partiality in friendship, and it helps us better understand the relation between our epistemic and practical ideals. (shrink)

Paradox is a complex notion that has assumed a diverse range of forms within philosophy, and Søren Kierkegaard contributes one of the more interesting variations by employing a fairy tale to introduce what he identifies as the absolute paradox of the Incarnation. Despite this, more recent discussion on paradox has given little attention to Kierkegaard and has largely bracketed out any interaction with paradox that does not fit within the general analytic framework. In this paper, I evaluate the different characterizations (...) of paradox offered by Kierkegaard and representative thinkers in the analytic tradition. I argue that the non-bracketing of Kierkegaard’s fairy tale as a valid form of paradox discourse not only provides a fuller account of paradox but also offers a critique of the attempt to exclude any form of paradox from philosophical discussion that does not already conform to the restrictions of the analytic approach. (shrink)

The Disney movie Frozen is the fifth highest grossing movie of all time. In order to better understand this phenomenon and to hypothesize as to why the movie resonated so strongly with audiences, we have interpreted the movie using psychodynamic theory. We pay particular attention to the themes of puberty, adolescence and sibling relationships and discuss examples of ego defenses that are employed by the lead character in relation to these concepts.

This edition replaces the earlier translation by Walter Lowrie that appeared under the title The Concept of Dread. Along with The Sickness unto Death, the work reflects from a psychological point of view Søren Kierkegaard's longstanding concern with the Socratic maxim, "Know yourself." His ontological view of the self as a synthesis of body, soul, and spirit has influenced philosophers such as Heidegger and Sartre, theologians such as Jaspers and Tillich, and psychologists such as Rollo May. In The Concept of (...) Anxiety, Kierkegaard describes the nature and forms of anxiety, placing the domain of anxiety within the mental-emotional states of human existence that precede the qualitative leap of faith to the spiritual state of Christianity. It is through anxiety that the self becomes aware of its dialectical relation between the finite and the infinite, the temporal and the eternal. (shrink)

This essay considers recent criticism of the use of inclusive language within Christian discourse, particularly the reference to God as “Mother.” The author argues that these criticisms fail to establish that the supplemental usage of “God the Mother,” in addition to the traditional usage of “God the Father,” is inappropriate for Christian God-talk. Some positive reasons for referring to God as “Mother” are also offered, not the least of which is its helpfulness in overcoming overly restrictive conceptions of God.

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)

Early Polemical Writings covers the young Kierkegaard's works from 1834 through 1838. His authorship begins, as it was destined to end, with polemic. Kierkegaard's first published article touches on the theme of women's emancipation, and the other articles from his student years deal with freedom of the press. Modern readers can see the seeds of Kierkegaard's future career these early pieces. In "From the Papers of One Still Living," his review of Hans Christian Andersen's novel Only a Fiddler, Kierkegaard rejects (...) the notion that environment is decisive in determining the fate of genius. He also puts forward his belief that each person needs a life-view or life for which and by which to live, a thought he explores further in the comic play The Battle between the Old and the New Soap-Cellars. (shrink)