Noel Carroll, film scholar and philosopher, offers the first serious look at the aesthetics of horror. In this book he discusses the nature and narrative structures of the genre, dealing with horror as a "transmedia" phenomenon. A fan and serious student of the horror genre, Carroll brings to bear his comprehensive knowledge of obscure and forgotten works, as well as of the horror masterpieces. Working from a philosophical perspective, he tries to account for how people can find pleasure in having (...) their wits scared out of them. What, after all, are those "paradoxes of the heart" that make us want to be horrified? (shrink)

Editorial preface to the fourth edition and modified translation -- The text of the Philosophische Untersuchungen -- Philosophische untersuchungen = Philosophical investigations -- Philosophie der psychologie, ein fragment = Philosophy of psychology, a fragment.

This chapter analyses Soren Kierkegaard's thoughts and opinions about ancient Greek philosophy. It examines the significance of Kierkegaard's references to Greek philosophy in his writings and suggests that his use of classical thought was part of his effort to define his own intellectual project. The chapter investigates how Greek philosophy influenced Kierkegaard's works and views about ethics, existential thought, Socratic faith, love, and virtue, and also considers what Kierkegaard believed was the legacy of ancient Greek philosophy.

In this paper I argue that Plato's Apology is the principal text on which Kierkegaard relies in arguing for the idea that Socrates is fundamentally an ironist. After providing an overview of the structure of this argument, I then consider Kierkegaard's more general discussion of irony, unpacking the distinction he draws between irony as a figure of speech and irony as a standpoint. I conclude by examining Kierkegaard's claim that the Apology itself is “splendidly suited for obtaining a clear concept (...) of Socrates' ironic activity,” considering in particular Kierkegaard's discussion of Socrates' remarks about death and his use of Friedrich Ast's commentary to help his readers to discover the irony that he contends runs throughout Socrates' defense speech. (shrink)

Abstract This paper offers an appraisal of Phillip Pettit's approach to the problem how a merely finite set of examples can serve to represent a determinate rule, given that indefinitely many rules can be extrapolated from any such set. I argue that Pettit's so-called ethnocentric theory of rule-following fails to deliver the solution to this problem he sets out to provide. More constructively, I consider what further provisions are needed in order to advance Pettit's general approach to the problem. I (...) conclude that what is needed is an account that, whilst it affirms the view that agents' responses are constitutively involved in the exemplification of rules, does not allow such responses the pride of place they have in Pettit's theory. (shrink)

In the first part of this essay (Sections I and II), I argue that Kierkegaard's work helps us to articulate and defend two basic requirements on searching for knowledge of one's own judgements: first, that searching for knowledge whether one judges that P requires trying to make a judgement whether P; and second that, in an important range of cases, searching for knowledge of one's own judgements requires attending to how one's acts of judging are performed. In the second part (...) of the essay (Sections III and IV), I consider two prima facie problems regarding this conception of searching for knowledge of one's own judgements. The first problem concerns how in general one can coherently try to meet both these requirements at once; the second, how in particular one can try to attend to one's own acts of judging. I show how Kierkegaard's work is alive to both these problems, and helps us to see how they can be resolved. (shrink)

Irony, humor and the comic play vital yet under-appreciated roles in Kierkegaard's thought. Focusing upon the Concluding Unscientific Postscript , this book investigates these roles, relating irony and humor as forms of the comic to central Kierkegaardian themes. How does the comic function as a form of "indirect communication"? What roles can irony and humor play in the infamous Kierkegaardian "leap"? Do certain forms of wisdom depend upon possessing a sense of humor? And is such a sense of humor thus (...) a genuine virtue? (shrink)

My central claim in this paper is that Kierkegaard’s Fear and Trembling is governed by the basic aim to articulate a real dilemma, and to elicit its proper recognition as such. I begin by indicating how Kierkegaard’s works are shaped in general by this aim, and what the aim involves. I then show how the dilemmaticstructure of Fear and Trembling is obscured in a recent dispute between Michelle Kosch and John Lippitt regarding the basic aims and upshot of the book. (...) Finally, I consider two critical questions: Why does Kierkegaard present his dilemmatic reasoning in the form of a “dialectical lyric”? And why does he write a book that aims only to articulate a dilemma, and not also to resolve it? (shrink)

This essay offers an account of Kierkegaard’s view of the limits of thought and of what makes this view distinctive. With primary reference to Philosophical Fragments, and its putative representation of Christianity as unthinkable, I situate Kierkegaard’s engagement with the problem of the limits of thought, especially with respect to the views of Kant and Hegel. I argue that Kierkegaard builds in this regard on Hegel’s critique of Kant but that, against Hegel, he develops a radical distinction between two types (...) of thinking and inquiry: the ‘aesthetic-intellectual’ and the ‘ethico-religious’. I clarify this distinction and show how it guides Kierkegaard’s conception of a form of philosophical practice that involves drawing limits to the proper sphere of disinterested contemplation. With reference to two rival interpretations of Kierkegaard’s approach to the limits of thought—which I call ‘bullet-biting’ and ‘relativizing’—I further show how my ‘disambiguating’ account can better explain how, and why, his work courts a form of self-referential incoherence, in which it appears that certain limits of thought are at once affirmed and violated. (shrink)

This paper reexamines Kierkegaard's work with respect to the question whether truth is one or many. I argue that his famous distinction between objective and subjective truth is grounded in a unitary conception of truth as such: truth as self-coincidence. By explaining his use in this context of the term ‘redoubling’ [Fordoblelse], I show how Kierkegaard can intelligibly maintain that truth is neither one nor many, neither a simple unity nor a complex multiplicity. I further show how these points shed (...) much-needed light on the relationship between objective and subjective truth, conceived not as different kinds or species of truth but as different ways in which truth manifests itself as a standard of success across different contexts of inquiry. (shrink)

Based on the definitive English edition of Kierkegaard's works by Princeton University Press, this series of commentaries addresses all the published texts of ...

Swenson's discovery of Kierkegaard for himself led him to resolve to devote his career to the task of making Kierkegaard available in translation to the ...

Plato's Timaeus is one of the most influential and challenging works of ancient philosophy to have come down to us. Sarah Broadie's rich and compelling study proposes new interpretations of major elements of the Timaeus, including the separate Demiurge, the cosmic 'beginning', the 'second mixing', the Receptacle and the Atlantis story. Broadie shows how Plato deploys the mythic themes of the Timaeus to convey fundamental philosophical insights and examines the profoundly differing methods of interpretation which have been brought to bear (...) on the work. Her book is for everyone interested in Ancient Greek philosophy, cosmology and mythology, whether classicists, philosophers, historians of ideas or historians of science. It offers new findings to scholars familiar with the material, but it is also a clear and reliable resource for anyone coming to it for the first time. (shrink)

This volume is a study of the relationship between philosophy and faith in Søren Kierkegaard's Philosophical Fragments. It is also the first book to examine the role of Socrates in this body of writings, illuminating the significance of Socrates for Kierkegaard's thought. Jacob Howland argues that in the Fragments, philosophy and faith are closely related passions. A careful examination of the role of Socrates demonstrates that Socratic, philosophical eros opens up a path to faith. At the same time, the work (...) of faith - which holds the self together with that which transcends it - is essentially erotic in the Socratic sense of the term. Chapters on Kierkegaard's Johannes Climacus and on Plato's Apology shed light on the Socratic character of the pseudonymous author of the Fragments and the role of 'the god' in Socrates' pursuit of wisdom. Howland also analyzes the Concluding Unscientific Postscript and Kierkegaard's reflections on Socrates and Christ. (shrink)

The appearance of this translation is a major event in English-language Hegel studies, for it is more than simply a replacement for Wallace's translation cum paraphrase. Hegel's Prefaces to each of the three editions of the Enzyklopädie are translated for the first time into English. There is a very detailed Introduction translating Hegel's German, which serves not only as a guide to the translator's usage but also to Hegel's. Also included are a detailed bilingual annotated glossary, very extensive bibliographic and (...) interpretive notes to Hegel's text, an Index of References for works cited in the notes, a select Bibliography of recent works on Hegel's logic, and a detailed Index. The translation is guided by the principle that rendering Hegel’s logical thought clearly and consistently requires rendering his technical terms logically.... This ought immediately to become the standard translation of this important work. --Kenneth R. Westphal, in _Review of Metaphysics_. (shrink)

This new translation is an extremely welcome addition to the continuing Cambridge Edition of Kant’s works. English-speaking readers of the third Critique have long been hampered by the lack of an adequate translation of this important and difficult work. James Creed Meredith’s much-reprinted translation has charm and elegance, but it is often too loose to be useful for scholarly purposes. Moreover it does not include the first version of Kant’s introduction, the so-called “First Introduction,” which is now recognized as indispensable (...) for an understanding of the work. Werner Pluhar’s more recent translation, which does include the First Introduction, is highly accurate when it confines itself to rendering Kant’s German. However, it is often more of a reconstruction than a translation, containing so many interpretative interpolations that it is often difficult to separate out Kant’s original text from the translator’s contributions. Paul Guyer and Eric Matthews have provided a translation that compares to or exceeds Pluhar’s in its literal approach to the German, but that confines all interpretative material to footnotes and endnotes, so that the text itself, with all its unclarities and ambiguities, lies open to view. In addition, Guyer, as editor of the volume, has provided a great deal of valuable supplementary material. This includes an introduction with an outline of the work and details of the history of its composition and publication, and a wealth of endnotes offering clarifications of the text, background information, and, most strikingly, many references to related passages in Kant’s voluminous writings, particularly in connection with Kant’s earlier writings related to aesthetics. The edition also records differences among the first three editions of the work, and—of particular interest—erasures from and additions to Kant’s manuscript of the First Introduction. Although the introduction and endnotes reflect interpretative views that are sometimes disputable, this supplementary material makes the present edition into a valuable resource even for those able to read the text in German. (shrink)

This paper re-examines Kierkegaard's work with respect to the question whether truth is one or many. I argue that his famous distinction between objective and subjective truth is grounded in a unitary conception of truth as such: truth as self-coincidence. By explaining his use in this context of the term ‘redoubling’ [ Fordoblelse ], I show how Kierkegaard can intelligibly maintain that truth is neither one nor many, neither a simple unity nor a complex multiplicity. I further show how these (...) points shed much-needed light on the relationship between objective and subjective truth, conceived not as different kinds or species of truth but as different ways in which truth manifests itself as a standard of success across different contexts of inquiry. (shrink)

Socrates is an flusive figure, Sarah Kofman asserts, and he is necessarily so since he did not write or directly state his beliefs. Kofman suggests that Socrates' avowal of ignorance was meant to be ironic. Later philosophers who interpreted his text invariably resisted the profoundly ironic character of his way of life and diverged widely in their interpretations of him. Kofman focuses especially on the views of Plato, Hegel, Kierkegaard, and Nietzsche.

Arguing that Kierkegaard (1813-55) can and should be taken seriously as a philosopher even in today's postmodern climate, Strawser (philosophy, Folkuniversitetet, Helsingborg, Sweden) offers evidence that in marking the juncture between objective philosophy and philosophy that recognized its subjective and provisional nature, he represents not a break between the aesthetic and the religious but a bridge between them. Paper edition (unseen), $17.00. Annotation copyrighted by Book News, Inc., Portland, OR.

The explicit topic of Fear and Trembling's third Problema (the longest single section, accounting for a third of the book's total length), the theme of Abraham's silence stands not far in the background in every other section, and its importance is flagged by the pseudonym—Johannes de silentio—under which Kierkegaard had the book published. Here I aim to defend an interpretation of the meaning of the third Problema's central claim—that Abraham cannot explain himself, 'cannot speak'—and to argue on its basis for (...) an interpretation of the work as a whole. (shrink)

In §50 of Philosophical Investigations Wittgenstein wrote the sentence, “There is one thing of which one can say neither that it is one metre long, nor that it is not one metre long, and that is the standard metre in Paris.” Although some interpreters have claimed that Wittgenstein’s statement is mistaken, while others have proposed various explanations showing that this must be correct, none have questioned the fact that he intended to assert that it is impossible to describe the standard (...) meter as being a meter long. Given that Wittgenstein introduces this sentence as analogous to the claim that “existence cannot be attributed to an element,” and that the preceding passages discuss a language-game the simples of which can be described by their own names, there is good reason to think that Wittgenstein did not intend to assert this infamous sentence. (shrink)

This paper aims to understand Hegel’s claim in the introduction to his Philosophy of Mind that mind is an actualization of the Idea and argues that this claim provides us with a novel and defensible way of understanding Hegel’s naturalism. I suggest that Hegel’s approach to naturalism should be understood as ‘formal’, and argue that Hegel’s Logic, particularly the section on the ‘Idea’, provides us with a method for this approach. In the first part of the paper, I present an (...) interpretation of Hegel’s method in which life plays a central role. In the second part of the paper, I develop Hegel’s method by providing a reading of Hegel’s Subjective Spirit, focusing on the sections ‘Anthropology’ and ‘Phenomenology’ in particular, arguing that they display the dialectic between life and cognition outlined by Hegel’s Idea. (shrink)

This paper challenges the general approach to Kierkegaard ’ s engagement with imitation, which privileges a strictly religious reading. Heretofore imitation has been apprehended as a coherent concept shaped within the context of imitatio Christi in the devotio moderna. I locate Kierkegaard ’ s writings in the broader context of mimesis. Analysing particular mimetic structures woven into the text, I show that a plurality of imitative models that are different fromChrist occurs therein. Addressing the distinction between the religious and the (...) aesthetic in Kierkegaard, I inquire into the status of these imitative models. Referring to the term “ Mellembestemmelserne ” and “ ekphrasis ”— the rhetorical de- vice of aesthetics — I show that the other models of imitation exhibit supportive roles to the highest type of prototype (Christ) and therefore question the solely religious rendering of mimesis and the aesthetic confines of Kierkegaard ’ s concept of aesthetics. (shrink)

This book is an examination of nineteenth-century interpretations of Socrates by Hegel, Kierkegaard, and Nietzsche in the light of the contemporary debates over rationality in the modern world. These interpretations of Socrates have fundamentally influenced modern and postmodern thought, and their complexity reflects both an attraction to, and a fear of, the peculiarly modern concept of reason that Socrates is read as embodying. Socrates is seen in this book as an emblematic figure through which the constitutive tensions between enlightenment and (...) romanticism in modern thought can be understood. In the concluding chapter, Harrison analyzes the claims of discursive reason versus those of deconstruction in the postmodern conflict over the figure of Socrates. (shrink)

Discusses Soren Kierkegaard's use of irrationality in his pseudonymous writings to bolster important truths about rationality.

This chapter contains sections titled: Kierkegaard's Socratic Stance: “I am Not a Christian” Socratic Ignorance Kierkegaard as Writer and Thinker.

This paper aims to understand Hegel’s claim in the introduction to his Philosophy of Mind that mind is an actualization of the Idea and argues that this claim provides us with a novel and defensible way of understanding Hegel’s naturalism. I suggest that Hegel’s approach to naturalism should be understood as ‘formal’, and argue that Hegel’s Logic, particularly the section on the ‘Idea’, provides us with a method for this approach. In the first part of the paper, I present an (...) interpretation of Hegel’s method in which life plays a central role. In the second part of the paper, I develop Hegel’s method by providing a reading of Hegel’s Subjective Spirit, focusing on the sections ‘Anthropology’ and ‘Phenomenology’ in particular, arguing that they display the dialectic between life and cognition outlined by Hegel’s Idea. (shrink)

This chapter examines Soren Kierkegaard's thoughts about the concept of irony. It provides an overview of the different forms of irony in Kierkegaard's work and evaluates how the pervasive negativity of irony plays different roles in different contexts. The chapter analyses how Kierkegaard understood irony as a rhetorical tool and how he used it throughout his authorship, suggesting that most of his discourses about irony can be found in On the Concept of Irony and Concluding Unscientific Postscript.

What place do imagination and art have in Christian existence? This paper examines this question through the writings of Kierkegaard's pseudonym Anti‐Climacus: The Sickness Unto Death and Practice in Christianity. I focus on the latter work in particular because it best illustrates the importance of imagination in following after (Efterfølgelse) Christ in imitation, which Anti‐Climacus presents as the proper task of faithful Christian existence. After outlining both his critique and his affirmation of the imagination, I then consider what role the (...) notion of ‘Christian art’ might play in his account of the imitation of Christ. Anti‐Climacus gives a severe critique of Christian art, insofar as it disposes the viewer to detached observation and admiration – rather than imitation – of Christ. However, an earlier passage in the same text gives a provocative yet cryptic indication of the sort of art that would not succumb to this danger. Taking a cue from the phenomenology of Jean‐Luc Marion, I draw out this suggestion and argue for the important role that visual art can play in imitating Christ. The final section illustrates this point briefly with three paintings: Matthias Grünewald's Crucifixion, Hans Holbein's The Body of the Dead Christ in the Tomb, and Albrecht Dürer's Self‐Portrait (1500). (shrink)

I defend an interpretation of Kierkegaard's Fear and Trembling according to which that text's discussion of the "teleological suspension of the ethical" is merely one part of a larger project, and cannot be properly understood outside the context of that project. I argue that the question of the rightness of Abraham's action is embedded in a larger question, that of what way of life is exemplified by Abraham; and that this larger question is embedded in yet another, that of whether (...) we are to take Abraham as an exemplar to be admired and emulated; and that this question is embedded in still another, that of what it is to take someone as an exemplar with moral authority. ;I defend this interpretation largely by showing the ways in which the text highlights the relations between its pseudonymous author, Johannes de silentio, and its ostensible subject, Abraham. I attempt to show that the literary structure of the text--in which de silentio explicitly represents, not only Abraham, but himself in the process of struggling to interpret Abraham and come to a decision regarding his authority--reinforces its philosophical concern with the relation between exemplar and observer. I begin with the narrow question of the rightness of Abraham's action, arguing that the text's treatment of that question reveals important asymmetries between the vantage point of the agent, and that of the spectator, in the moral assessment of action. I then turn to the question of the way of life exemplified by Abraham. Focusing on de silentio's interpretation of Abraham, I articulate the conceptions of commitment and trust that he sees as expressed in Abraham's life. Focusing on his attempt to arrive at a decision concerning Abraham's authority, I discuss the problems raised by the text regarding how one comes to a decision concerning a putative moral exemplar, and what the appropriate expression of such a decision is. Throughout, I argue for the relevance of the text's accounts of commitment, trust, the asymmetries between the agent's and the spectator's point of view, and the nature of moral exemplars, to contemporary moral philosophy. (shrink)