On Despair in Kierkegaard's Thought

Total Page:16

File Type:pdf, Size:1020Kb

On Despair in Kierkegaard's Thought ON DESPAIR IN KIERKEGAARD'S THOUGHT BY STEVEN ROKOSZ DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Philosophy in the Graduate College of the University of Illinois at Urbana-Champaign, 2019 Urbana, Illinois Doctoral Committee: Associate Professor David Sussman, Chair Associate Professor Shelley Weinberg Assistant Professor Alexandra Newton Teaching Assistant Professor Jochen Bojanowski ABSTRACT Philosophers and religious believers have commonly held that suffering is a basic feature of human existence, while responding to this problem in different ways. Philosophers have often tried to mitigate suffering in their own lives through the pursuit of knowledge, virtue, and autonomy, but with penetrating insight, Kierkegaard argues that this offers no real escape from their affliction. Rather than depend on one's own efforts or understanding to resolve suffering, one ought to turn to Christianity with faith that one will attain salvation by receiving God's grace. In this study, I examine Kierkegaard's philosophical attempt to understand human suffering by analyzing his notion of despair, with the aim of determining why he thinks it should motivate the adoption of a religious way of life. He believes that a phenomenological investigation of human existence reveals that despair is central to our condition. In his view, it arises through the tension of being a free person situated in an impersonal world that operates coercively under principles of necessity, and thereby signifies our paradoxical nature as embodied spirits. Despair intensifies as our spiritual capacities of thought, imagination, and volition become realized over the course of our development. As freedom becomes realized, and we become more conscious of ourselves, we are likely to resist subordination to external forces beyond our control. Because freedom and the world that absorbs us are at odds, and both constitute us as human beings, despair is best understood as a state of disintegration in the person. Kierkegaard believes that to eliminate despair, the conflicting elements of our nature need to be harmonized so that integrity is achieved, but this is a paradoxical feat that cannot be accomplished without divine assistance. However, I challenge his claim that personal integrity requires religious faith, and argue that a person should be able to attain it on his own through an ethical way of life, which balances firmly held ideals and rational principles with concrete living. I also call into doubt his claim that despair is universal to humankind, and argue that he cannot consistently maintain that it is a state that the person brings upon himself through a misuse of will. His premises entail the disturbing conclusion that God brings it upon us in the process of creating us from nothing. ii TABLE OF CONTENTS LIST OF ABBREVIATIONS...................................................................................................iv INTRODUCTION......................................................................................................................1 CHAPTER 1: THE CONSTITUTION AND DIALECTIC OF THE SELF............................19 CHAPTER 2: THE SELF IN IGNORANCE...........................................................................87 CHAPTER 3: THE SELF IN RECOIL..................................................................................145 CHAPTER 4: THE SELF IN FLIGHT..................................................................................171 CHAPTER 5: THE SELF UNDER OBLIGATION..............................................................217 CHAPTER 6: THE SELF IN REBELLION..........................................................................286 CONCLUSION......................................................................................................................316 BIBLIOGRAPHY..................................................................................................................333 iii LIST OF ABBREVIATIONS Works of Søren Kierkegaard CD Christian Discourses CA The Concept of Anxiety CI The Concept of Irony CUP Concluding Unscientific Postscript EUD Eighteen Upbuilding Discourses EO Either/Or, 2 vols. (Hong Translation) FT Fear and Trembling FSE For Self-Examination & Judge For Yourself! REP Repetition JP Søren Kierkegaard’s Journals and Papers, 7 vols. MLW "The Moment" and Late Writings PF Philosophical Fragments PC Practice in Christianity SUD The Sickness Unto Death (Hong Translation) SLW Stages on Life's Way TA Two Ages UDVS Upbuilding Discourses in Various Spirits WOL Works of Love Full details of publications can be found in the Bibliography. iv Introduction A spirit of optimism tends to resonate throughout society in the West, despite being occasionally disrupted by a national calamity, or curbed by economic or political crises. While this general mood brings cheer to many of us, and encourages those who are weary to bear with their plight with the hope of better times ahead, there is reason to think that as a matter of fact, all is not well in the world. One does not have to probe too deeply into the human psyche to understand why many would question this attitude that is impressed on us in through popular culture from a young age. A cursory glance at the state of the world would reveal that poverty, disease, mental illness, maltreatment, oppression, and violence are rampant in human life, some of which seems eminently preventable. Although we have taken measures to mitigate sources of suffering through advancements in areas like science and technology, we have hardly succeeded in controlling them completely. Without question, the call for racial and gender equality has made many of us more conscientious, and led to improvements in our situation as a whole, but political and economic injustice is still prevalent due to the radically unequal distribution of wealth. Those who are more globally conscious might be concerned about wars, famines, and exploitation of labor occurring overseas, even as the suffering experienced in these regions is difficult for most of us to imagine. Such anxieties call into question the overarching narrative of human progress and prosperity that is customarily accepted without serious questioning, and are prone to drive those affected by them to despair. It would be unfair to accuse those who doubt the popular narrative of stubborn faultfinding, or to discredit them by attributing their view to depression. Many raise these worries out of alarm for the human condition and a desire to set things aright, and not because they intend to spread gloom or be contrarians for the sake of it. Their pessimism might not be easily put to rest by the cool reassurance of others, who risk trivializing the issues in recommending confidence in our capacity to resolve the problems that continue to beleaguer us. At worst, these individuals might recommend blithe forgetfulness of them, which would only ensure that they would fail to be addressed adequately. Many of one's misgivings might be moral in nature and pertain to the actions of human beings, including one's own personal failings, but they might also stem from an awareness of danger and insecurity lurking in existence that none of us can get a firm handle on. For instance, death and adversity are uncomfortably at hand for 1 all of us, without us being able to do much about it. Some might respond to these worries by arguing that it is all a matter of perspective, and that the worldview of the unflagging optimist has just as much merit as that of someone more critical or pessimistic about the human condition or existence in general. Each side can offer reasons in defense of their view, but there remains the question of which evaluation is more truthful and has a preponderance of evidence on its side. Addressing this complex issue should be of concern to those who intend to approach life with honesty and insight into human existence, and so will likely be done by those want to live a good life. Life out of Balance Those who examine traditional sources of wisdom will likely conclude that sages and religious leaders have tended to side against the popular narrative in their reflections on human suffering and the ambiguities of life. A common refrain in major philosophical and religious circles has been that suffering is an elemental feature of human existence, regardless of nation or epoch. Many of the teachings propagated in the East intend to enlighten individuals about this phenomenon in hopes of liberating them from it, along with the despair that it can foster. Buddhists, for instance, believe that the first truth of existence is duhkha. This is a Sanskrit word often translated as 'dissatisfaction,' but with an etymology that suggests a wheel out of kilter.1 To get a sense of what this could mean, one might imagine riding in a carriage with a wheel that is out of alignment. A trip through the countryside might begin as pleasurable, but the wobbling and bouncing of the carriage eventually becomes irritating and disruptive, and eventually the trip is no longer very pleasing. Buddhists think that such a metaphor conveys a basic truth about human life. "Something basic and important isn't right. It bothers us, makes us unhappy, time after time ... no matter how hard we try to cultivate pleasure and keep it coming our way, eventually the pleasure recedes and the disturbance and vexation return. Nothing we do can keep them entirely at bay."2 Of course, Buddhists can appeal to the
Recommended publications
  • (Modern Philosophy) Part I: Fichte to Hegel 9. Walter Benjamin, Der
    Notes 1 Idealism and the Justification of the Image 1. J.G. Fichte, The Vocation of Man (New York: Bobbs Merrill, 1956), p.80 (adapted). 2. Idem, The Science of Knowledge (New York: Appleton, Century Crofts, 1970), p.188. 3. Fichte (1956), pp.81f. 4. Ibid., pp.98f. 5. Ibid., pp.124f. 6. Ibid., p.147. 7. For example, the so-called 'Atheismusstreit'. See: F. Copleston, A History of Philosophy, Vol. V, II (Modern Philosophy) Part I: Fichte to Hegel (New York: Doubleday, 1965), pp.lOOff. 8. Friedrich Schlegel, Kritische Schriften (Miinchen: Carl Hanser, 1956), p.46. 9. Walter Benjamin, Der Begriff der Kunstkritik in der Deutschen Romantik in Gesammelten Schriften 1:1 (Frankfurt am Main, 1972), p.26. 10. Quoted in Benjamin (1972), p.37. 11. F. Schlegel, Lucinde (Stuttgart: Reclam, 1963), p.35. 12. F.J.W. Schelling, System of Transcendental Idealism (Charlottesville: Uni­ versity of Viriginia Press, 1978), p.219. 13. Ibid., p.232. 14. Henrik Steffens, Inledning til Philosophiske Forelasninger i K9benhavn (1803) (New edn) K0benhavn: Gyldendal, 1905), p.21. 15. Ibid., pp.21f. 16. Ibid., p.22. 17. One of the best summaries of Grundtvig's thought in English remains E.L. Allen, Bishop Grundtvig: A Prophet of the North (London: James Clarke, 1949). James Clarke have also published (more recently) an anthology of Grundtvig's writings. A sign of increasing Anglo-Saxon awareness of Grundtvig's significance is the recently formed Anglo­ Danish conference Grundtvig and England. 18. Henning Fenger, Kierkegaard: The Myths and Their Origins (Newhaven: Yale University Press, 1980), p.84. 19.
    [Show full text]
  • A Selected Glance at How Kierkegaard Stages the Problem of What It Is to Become a Christian in His Initial Aesthetic Authorship
    University of Windsor Scholarship at UWindsor Electronic Theses and Dissertations Theses, Dissertations, and Major Papers 1-1-1970 A selected glance at how Kierkegaard stages the problem of what it is to become a Christian in his initial aesthetic authorship. Frank Schloegel University of Windsor Follow this and additional works at: https://scholar.uwindsor.ca/etd Recommended Citation Schloegel, Frank, "A selected glance at how Kierkegaard stages the problem of what it is to become a Christian in his initial aesthetic authorship." (1970). Electronic Theses and Dissertations. 6627. https://scholar.uwindsor.ca/etd/6627 This online database contains the full-text of PhD dissertations and Masters’ theses of University of Windsor students from 1954 forward. These documents are made available for personal study and research purposes only, in accordance with the Canadian Copyright Act and the Creative Commons license—CC BY-NC-ND (Attribution, Non-Commercial, No Derivative Works). Under this license, works must always be attributed to the copyright holder (original author), cannot be used for any commercial purposes, and may not be altered. Any other use would require the permission of the copyright holder. Students may inquire about withdrawing their dissertation and/or thesis from this database. For additional inquiries, please contact the repository administrator via email ([email protected]) or by telephone at 519-253-3000ext. 3208. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer.
    [Show full text]
  • Greek Sculpture and the Four Elements Art
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Greek Sculpture and the Four Elements Art 7-1-2000 Greek Sculpture and the Four Elements [full text, not including figures] J.L. Benson University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/art_jbgs Part of the History of Art, Architecture, and Archaeology Commons Benson, J.L., "Greek Sculpture and the Four Elements [full text, not including figures]" (2000). Greek Sculpture and the Four Elements. 1. Retrieved from https://scholarworks.umass.edu/art_jbgs/1 This Article is brought to you for free and open access by the Art at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Greek Sculpture and the Four Elements by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. Cover design by Jeff Belizaire About this book This is one part of the first comprehensive study of the development of Greek sculpture and painting with the aim of enriching the usual stylistic-sociological approaches through a serious, disciplined consideration of the basic Greek scientific orientation to the world. This world view, known as the Four Elements Theory, came to specific formulation at the same time as the perfected contrapposto of Polykleitos and a concern with the four root colors in painting (Polygnotos). All these factors are found to be intimately intertwined, for, at this stage of human culture, the spheres of science and art were not so drastically differentiated as in our era. The world of the four elements involved the concepts of polarity and complementarism at every level.
    [Show full text]
  • IN SEARCH of AUTHENTICITY: from Kierkegaard to Camus 1
    In Search of Authenticity ‘This man has, I repeat, no place in a community whose basic principles he flouts without compunction…’. I tried to explain that it was because of the sun, but I was only too conscious that it sounded nonsensical… I explained that I didn’t believe in God… I told him that I wasn’t conscious of any ‘sin’; all I knew was that I’d been guilty of a criminal offence… In Camus’s The Outsider, Meursault’s struggle with authenticity leads to his being judged more than just a criminal. Other fictional heroes, or anti-heroes, have been created by philosophers to explore certain ideas or theories: like Meursault, Kierkegaard’s Abraham, Nietzsche’s Zarathustra and Sartre’s Mathieu all embody the contradictions of trying to live outside society’s accepted norms. Jacob Golomb’s In Search of Authenticity examines these characters in his analysis of the ethics of authenticity. His own passionate commitment to the quest for such an ideal is clearly evident in his writing. Golomb is particularly concerned that postmodernism devalues the subjectivity and pathos that inextricably link an individual’s search for authenticity. He argues that this search is now all the more pertinent and relevant when set against the general disillusionment characterizing the mood of the late twentieth century. In Search of Authenticity provides invaluable insight into the heroes and anti-heroes of the great Continental philosophers. Like them it marries philosophy and literature by looking at the rational model of ethics compared with the romantic ideal of authenticity. Consequently, it will prove vital reading for students of both philosophy and literature.
    [Show full text]
  • Kress Fellowship Provenance Research
    Kress Fellowship Provenance Research 1995.70 2002.73 Alexander Archipenko Alexander Archipenko Ukrainian, active in France and the U.S.A., 1887-1964 Ukrainian, active in France and the U.S.A., 1887-1964 Standing Woman Combing Her Hair Geometric Statuette Also called: Statuette, Standing also called: Statuette, Woman; Barth 55 Woman; Schmoll-Heilmann 30 a (original plaster); ed. 6/8F (undescribed ed. of 4); Barth 63 1914 (model, casting date unknown) (original plaster); ed. 1/4; ed. 1/4 Cast bronze 1915 (model, edition date unknown) Without base: 27 1/4 x 9 x 6 in. (69.2 x Polished cast bronze 22.9 x 15.2 cm) 14 1/2 x 2 1/2 in. (36.8 x 6.4 cm) With base: 29-1/8 x 9 x 6 in. (74 x 22.9 Diameter of marble base: 2-1/8 x 3-3/4 x 15.2 cm) in. (5.4 x 9.5 cm) Gift of Paul and Susan Freehling in Gift of the Joel and Carole Bernstein memory of Mrs. Edna Freehling Family Collection 1974.226 1977.99 Hans (Jean) Arp Louis-Ernest Barrias French, born in Germany, 1886-1966 French, 1841-1905 Concrete Sculpture: Mirr Joan of Arc as a Prisoner 1/5 after 1892 1936 Cast bronze Cast bronze Height: 13 3/4 in. (34.9 cm) Overall: 7 3/8 x 5 x 6 3/4 in. (18.7 x Gift of Mrs. William Drews 12.7 x 17.2 cm) The Joel Starrels, Jr. Memorial Collection 1984.6 1987.15 Louis-Ernest Barrias Louis-Ernest Barrias French, 1841-1905 French, 1841-1905 Nature Unveiling Herself to Science Nature Unveiling Herself to Science after 1899 after 1899 Cast bronze with partial dore Cast bronze with partial gilt patination patination Height: 16 3/4 in.
    [Show full text]
  • Tangents 1 Publishing Notes Letter from the Editors
    summer 2006 the journal of the master of liberal arts program at stanford university in this issue... Essays by Jennifer Swanton Brown, Jennifer Burton, John Devine, Nancy Krajewski, Denise Osborne, Loren Szper, and Bryon Williams Fiction by Andy Grose Poems by Jennifer Swanton Brown, Tamara Tinker, and Mason Tobak summer 2006 the journal of the master of liberal arts program at stanford university volume 5 in this issue... 4 The Silk Horse Andy Grose 10 A Flood of Misborrowing: Sin and Deluge in Atrahasis and Genesis Bryon Williams 17 Three Poems of Love-Gone-Bad Mason Tobak 20 William James Observes San Francisco’s Reliance John Devine 27 The Burghers of Calais: A Personal Viewing Experience Jennifer Burton 31 Dionysus at Sea Tamara Tinker 32 Marriage in The Odyssey: An Intimate Conversation Jennifer Swanton Brown 34 A Deadly Agent of Change: The 1832 Parisian Cholera Epidemic and the French Public Health Movement Loren Szper 39 On the Path to the Pond Jennifer Swanton Brown 40 Kierkegaard in Wyoming: Reflections on Faith and Freedom in the High Mountains Nancy Krajewski 44 Do Laws Govern the Evolution of Technology? Denise Osborne 48 Contributors tangents 1 Publishing Notes letter from the editors This is a publication featuring the w ork of students and We are proud to present this issue of Tangents, the journal of the Stanfor d Master alumni of the Master of Liberal Arts Program at of Liberal Arts Program. For the fifth edition we ha ve chosen a diverse gr oup of Stanford University. works by students and alumni, including: Editor Oscar Firschein A story about two brothers and a powerful horse Assistant Editor Three quite varied poems Lindi Press Reviewers To celebrate the centenary, William James’s observations about the Oscar Firschein San Francisco earthquake Mary MacKinnen Lindi Press Some thoughts about marriage in The Odyssey Faculty Advisor A discussion of the 1832 Parisian Cholera epidemic Dr.
    [Show full text]
  • Rodin / Themuseum of Modern Art,Newyork
    RODIN / THEMUSEUM OF MODERN ART,NEWYORK ~\ MoMAExh_0721_MasterChecklist CATALOGUE OF THE EXHIBITION April 30 throJlgll September 8,1963 The dates given for each work generally refer to the 3 The Walking Man, Enlarged version. Plaster 1900 tp3.'U",Z original version in plaster. When two dates arc given, (Goldschcider), I905 (Elsen); bronze 1907 (Elsen); the first designates the original plaster, and the second chis cast 1962, no. 6 of 12, S3%" high. "Georges the date of the fmc castingin bronze (which, however, Rudier IFondeur. Paris." (Grappe 3S). Musee may not be that of the cast exhibited). References are Rodin, Paris given to Georges Crappe's catalogue of the Musce 4 St. Johll lite Baptist Prcachillg (St. Jett/I-Baptiste ~1.SS Rodin (r944 edition) whenever the works are listed priJclwl/t). (IS7S-S0). Bronze (IS80), 7S%" high. in that catalogue (although not necessarily in the same "Alexis RudierjFondeur Paris." (Grappe 40). The medium or scale). Certain dates have been revised by Museum of Modern Art, New York. Mrs. Simon Mme Cecile Goldscheider, Curator of the Musco Guggenheim Fund Rodin, Paris and Albert E. Elsen, author of the mono- graph, Rodin, published by The Museum of Modem MONUMENTS An in conjunction with this exhibition. According to Mine Goldscheider, Rodin's accounts have not been 5 Thc Call to Arll1s (L'Appcl aux arlilcs) (La DeJellse). fJ>3.4~O preserved and it is generally not possible to determine (1878). Bronze, 44%" high. "Alexis RodierI ~ the date of the first casting. It is hoped, however, that Pondeur. Paris." (Grappe 42). The Rodin Museum, J~~'1 further study and research now in progress may yield Philadelphia (See note) more accurate dates.
    [Show full text]
  • Matisse & Rodin
    Caterina Y. Pierre exhibition review of Matisse & Rodin Nineteenth-Century Art Worldwide 9, no. 2 (Autumn 2010) Citation: Caterina Y. Pierre, exhibition review of “Matisse & Rodin,” Nineteenth-Century Art Worldwide 9, no. 2 (Autumn 2010), http://www.19thc-artworldwide.org/autumn10/matisse- a-rodin. Published by: Association of Historians of Nineteenth-Century Art. Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. Pierre: Matisse & Rodin Nineteenth-Century Art Worldwide 9, no. 2 (Autumn 2010) Matisse & Rodin Musée Rodin, Paris, France October 23, 2009 – February 28, 2010 Matisse & Rodin Contributions from Louis Mézin, Dominique Viéville, Claude Duthuit, Nadine Lehni, Marie- Thérèse Pulvenis de Seligny, Antoinette Le Normand-Romain, Isabelle Monod-Fontaine and Hélène Pinet. Paris : Éditions du musée Rodin and Réunion des musées nationaux, 2009. 160 pp. with color and B&W illustrations, bibliography, chronology, and exhibition checklist. 35 € ISBN: 978-2-7118-5612-1 (Paris : Réunion des musées nationaux) ISBN: 978-2-35377-012-0 (Paris : Éditions du musée Rodin) Whether or not one agrees that Auguste Rodin (1840-1917) was the greatest sculptor at the turn of the century, one cannot deny that he was certainly the most influential sculptor of his day. Every young sculptor in 1900 either wanted to be Rodin or to symbolically obliterate him. By that year, he was a powerful force in the art world, fresh from the success of his private retrospective held at the Pavillon de l'Alma in Paris. Rodin's art was irrefutably the measure by which all contemporary sculpture was being judged.
    [Show full text]
  • Kierkegaard's Theory of Boredom and the Development of Personality
    University of Kentucky UKnowledge Theses and Dissertations--Philosophy Philosophy 2020 Kierkegaard's Theory of Boredom and the Development of Personality Luke Wadhams University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2020.225 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Wadhams, Luke, "Kierkegaard's Theory of Boredom and the Development of Personality" (2020). Theses and Dissertations--Philosophy. 25. https://uknowledge.uky.edu/philosophy_etds/25 This Doctoral Dissertation is brought to you for free and open access by the Philosophy at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Philosophy by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies.
    [Show full text]
  • Cellini's Perseus and Medusa: Configurations of the Body
    CELLINI’S PERSEUS AND MEDUSA: CONFIGURATIONS OF THE BODY OF STATE by CHRISTINE CORRETTI Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Dissertation Advisor: Professor Edward J. Olszewski Department of Art History CASE WESTERN RESERVE UNIVERSITY January, 2011 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the dissertation of Christine Corretti candidate for the Doctor of Philosophy degree.* (signed) Professor Edward J. Olszewski (chair of the committee) Professor Anne Helmreich Professor Holly Witchey Dr. Jon S. Seydl (date) November, 2010 *We also certify that written approval has been obtained for any proprietary material contained therein. 1 Copyright © 2011 by Christine Corretti All rights reserved 2 Table of Contents List of Illustrations 4 Abstract 9 Introduction 11 Chapter 1 The Story of Perseus and Medusa, an Interpretation 28 of its Meaning, and the Topos of Decapitation Chapter 2 Cellini’s Perseus and Medusa: the Paradigm of Control 56 Chapter 3 Renaissance Political Theory and Paradoxes of 100 Power Chapter 4 The Goddess as Other and Same 149 Chapter 5 The Sexual Symbolism of the Perseus and Medusa 164 Chapter 6 The Public Face of Justice 173 Chapter 7 Classical and Grotesque Polities 201 Chapter 8 Eleonora di Toledo and the Image of the Mother 217 Goddess Conclusion 239 Illustrations 243 Bibliography 304 3 List of Illustrations Fig. 1 Benvenuto Cellini, Perseus and Medusa, 1545-1555, 243 Loggia dei Lanzi, Florence, Italy. Fig. 2 Donatello, Judith and Holofernes, c. 1446-1460s, Palazzo 244 Vecchio, Florence, Italy. Fig. 3 Heracles killing an Amazon, red figure vase.
    [Show full text]
  • RODIN: TRUTH, FORM, LIFE Selections from the Iris and B
    Fairfield University DigitalCommons@Fairfield RODIN: TRUTH, FORM, LIFE: Selections from the Iris and B. Gerald Cantor Collections - RODIN: TRUTH, FORM, LIFE: Selections from Ephemera the Iris and B. Gerald Cantor Collections Spring 2020 RODIN: TRUTH, FORM, LIFE Selections from the Iris and B. Gerald Cantor Collections Wall Labels Fairfield University Art Museum Follow this and additional works at: https://digitalcommons.fairfield.edu/rodin-cantor-ephemera This item has been accepted for inclusion in DigitalCommons@Fairfield by an authorized administrator of DigitalCommons@Fairfield. It is brought to you by DigitalCommons@Fairfield with permission from the rights- holder(s) and is protected by copyright and/or related rights. You are free to use this item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses, you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. When Rodin sat for this photograph in ca. 1880, he was about 40 years old and about to begin work on The Gates of Hell and The Burghers of Calais. Rodin in his studio in Meudon, about 1902. A study for the Monument to Balzac is on the right in the photo. Rodin’s studio at Meudon about 1900, with the plaster version of The Gates of Hell. Balzac in Dominican Robe Modeled 1893, cast 1981 Georges Rudier Foundry (published by Musée Rodin, edition of 12, numbered 9/12) Bronze Lent by Iris Cantor In this sculpture, Rodin elongates Balzac’s fgure and also introduces some indications of his life and career in the monk’s robe (his preferred apparel when writing), and the pile of books and papers at his feet.
    [Show full text]
  • L'enfant Prodigue
    L’Enfant Prodigue - The Prodigal Son Auguste Rodin’s sculpture “The Prodigal Son” is a vivid new interpretation of a biblical story that has inspired artists throughout the ages and up to the present day. The parable of the prodigal son is found in the New Testament, Luke 15:11. A man had two sons. The younger of the two asks his father for his share of their inheritance, which the father grants him. Shortly thereafter, he leaves his father’s house and has soon squandered what he was given. In deepest need, he has no choice but to return to his father and ask his forgiveness. The parable has many meanings, but in simple terms it is the story of how man can lose everything through carelessness but if he returns to God (his father’s house) he will find charitable redemption. The great drama surrounding the moment of return has inspired many artists, and both Rembrandt and Brancusi have portrayed the scene. There are also countless paintings and illustrations of the return of the prodigal son. Auguste Rodin’s “Prodigal Son” is a masterly sculptural scene in bronze: the deep despair of the son, his tense, tormented body forming an arc rising from the heavy mass, seemingly in an endless movement. The dramatic subject, the return of the prodigal son, is usually portrayed with both father and son present, but Auguste Rodin’s sculpture features only the son and his anguish. It is a remarkably vivid and slightly impressionist sculpture, where the presence of the father is merely implied.
    [Show full text]