In this essay, I examine the role of providence in Shakespeare’s The Tempest alongside the concept of history that Kierkegaard develops in Philosophical Fragments. I argue that the art of the play is contained in Prospero’s historical and loving engagement with the past. In short, I undertake to show that, in stark contrast to the Greek and Roman conception of time as fate, it is in viewing love as both the temporal origin and the eternal goal of existence that the (...) time of our lives is rendered providential, that is, meaningful and historical. (shrink)

This study is dedicated to examining how the principles and values that mark the difference between the ancient Greco-Roman and biblical traditions help us to think about what (and who) we look at when we look at art. We begin with the Bible's self-reflexive communication to its readers regarding the status of its own images and then consider works by Michelangelo, Tejo Remy, and Charles White—while also calling on Shakespeare, Hegel, and Kierkegaard—to show that art in the biblical tradition presupposes (...) and expresses love as the transformation of life's finite immediacies, the transformation of its finite givens, into the gift. We argue, overall, that the art of the biblical tradition demands that viewers pose the question of whether, where, and how deeply they find in those works—and in themselves—the principle of love as the redemption of finitude, the redemption of existence. (shrink)