Fear and Trembling
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
How Has Your Understanding of Ambition and Identity Been Informed by Exploring the Connections Between Richard III and Looking for Richard?
How has your understanding of ambition and identity been informed by exploring the connections between Richard III and Looking for Richard? Ambition and identity are two contextually transcendent facets of the human condition. This becomes apparent through the comparison of Shakespeare’s King Richard III (RIII) and Al Pacino’s “Looking For Richard” (LFR) as both texts explore the dynamics of ego, villainy, self-identity and representation of gender, yet are structurally, technically and contextually unalike. RIII is an English play from the late sixteenth century written for the stage, whereas LFR takes the form of an American docudrama which reshapes these core values of RIII in a modern setting. My understanding of RIII is also supported by Dr. Ian Frederick Moulton’s paper “‘A Monster Great Deformed’: The Unruly Masculinity of RIII.” One aspect of identity employed by Richard to achieve his ambitions is gender identity. Richard’s own masculinity is exhibited as he indulges in a hubristic soliloquy after ‘winning’ Lady Anne: “Was ever woman in this humour wooed? Was ever woman in this humour won?” Anaphora and rhetorical questioning emphasises Richard’s growing ego and hypermasculine disregard of women. Richard further displays his masculine identity by feigning feminine vulnerability – using gender identity and the personification of ‘beauty’ as a means of manipulation: “Nay, do not pause, for I did kill King Henry, but ‘twas thy beauty that provokèd me.” Moulton expands on this, “By offering Anne his sword, [Richard] stages a calculated (and illusory) gender reversal”. In LFR, director Al Pacino deliberately selects specific scenes from RIII to assess the relevance of Shakespeare in twenty first century America. -
Søren Kierkegaard's View of Faith Found in Fear And
SØREN KIERKEGAARD’S VIEW OF FAITH FOUND IN FEAR AND TREMBLING AND PRACTICE IN CHRISTIANITY David Pulliam Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Master of Arts in the Department of Philosophy Indiana University September 2016 ii Accepted by the Graduate Faculty, Indiana University, in partial fulfillment of the requirements for the degree of Master of Arts. Master’s Thesis Committee __________________________________ Dr. Samuel J.M. Khan, PhD __________________________________ Dr. Cornelis de Waal, PhD __________________________________ Dr. David Pfeifer, PhD iii David Pulliam Søren Kierkegaard’s view of Faith found in Fear and Trembling and Practice in Christianity In this paper I discuss two key works written by Søren Kierkegaard, Fear and Trembling and Practice in Christianity, under the pseudonyms Johannes de Silentio and Anti-Climacus respectively. I focus on three questions: what is Johannes view of faith, what is Anti-Climacus’ view of faith and how are these Kierkegaard’s conclusions? I argue that stemming from Johannes’ and Anti-Climacus’ points of view, Kierkegaard’s view of faith is the aligning of the self in a trusting relationship with the God-man. One outside of faith can perceive faith to be a paradox or find faith offensive; one must have faith to avoid offense and overcome the paradox. Chapter 1 focuses on the connection between Kierkegaard and his pseudonyms using his work The Point of View. In this chapter I map out Kierkegaard’s method of communication and the purpose for his use of pseudonyms. Chapter 2 focuses on Johannes’ view of faith in Fear and Trembling. -
The Authenticity of Faith in Kierkegaard's Philosophy
The Authenticity of Faith in Kierkegaard’s Philosophy The Authenticity of Faith in Kierkegaard’s Philosophy Edited by Tamar Aylat-Yaguri and Jon Stewart The Authenticity of Faith in Kierkegaard’s Philosophy, Edited by Tamar Aylat-Yaguri and Jon Stewart This book first published 2013 Cambridge Scholars Publishing Layout and cover design by K.Nun Design, Denmark 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2013 by Tamar Aylat-Yaguri, Jon Stewart and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-4990-1, ISBN (13): 978-1-4438-4990-6 TABLE OF CONTENTS List of Contributors vi Introduction vii Acknowledgements xvi List of Abbreviations xvii Chapter One Jacob Golomb: Was Kierkegaard an Authentic Believer? 1 Chapter Two Shai Frogel: Acoustical Illusion as Self-Deception 12 Chapter Three Roi Benbassat: Faith as a Struggle against Ethical Self-Deception 18 Chapter Four Edward F. Mooney: A Faith that Defies Self-Deception 27 Chapter Five Darío González: Faith and the Uncertainty of Historical Experience 38 Chapter Six Jerome (Yehuda) Gellman: Constancy of Faith? Symmetry and Asymmetry in Kierkegaard’s Leap of Faith 49 Chapter Seven Peter Šajda: Does Anti-Climacus’ Ethical-Religious Theory of Selfhood Imply a Discontinuity of the Self? 60 Chapter Eight Tamar Aylat-Yaguri: Being in Truth and Being a Jew: Kierkegaard’s View of Judaism 68 Chapter Nine Jon Stewart, Kierkegaard and Hegel on Faith and Knowledge 77 Notes 93 CONTRIBUTORS Tamar Aylat-Yaguri, Department of Philosophy, Tel-Aviv University, Ramat-Aviv, P.O.B 39040, Tel-Aviv 61390, Israel. -
Fear and Trembling, Translated and Introduced by Alastair Hannay (Penguin Classics, 1985)
Table of Contents Title Page Copyright Page Preface Attunement Speech in Praise of Abraham Problemata Preamble from the Heart Problema I Problema II Problema III Epilogue FOR THE BEST IN PAPERBACKS, LOOK FOR THE Søren Kierkegaard 1813-1855 PENGUIN BOOKS Published by the Penguin Group Penguin Group (USA) Inc., 375 Hudson Street, New York, New York 10014, U.S.A. Penguin Group (Canada), 90 Eglinton Avenue East, Suite 700, Toronto, Ontario, Canada M4P 2Y3 (a division of Pearson Penguin Canada Inc.) Penguin Books Ltd, 80 Strand, London WC2R 0RL, England Penguin Ireland, 25 St Stephen’s Green, Dublin 2, Ireland (a division of Penguin Books Ltd) Penguin Group (Australia), 250 Camberwell Road, Camberwell, Victoria 3124, Australia (a division of Pearson Australia Group Pty Ltd) Penguin Books India Pvt Ltd, 11 Community Centre, Panchsheel Park, New Delhi - 110 017, India Penguin Group (NZ), 67 Apollo Drive, Rosedale, North Shore 0745, Auckland, New Zealand (a division of Pearson New Zealand Ltd) Penguin Books (South Africa) (Pty) Ltd, 24 Sturdee Avenue, Rosebank, Johannesburg 2196, South Africa Penguin Books Ltd, Registered Offices: 80 Strand, London WC2R 0RL, England This edition published in Penguin Books (UK) 2005 Published in Penguin Books (USA) 2006 Translation copyright © Alastair Hannay, 1985 All rights reserved Reprinted from Fear and Trembling, translated and introduced by Alastair Hannay (Penguin Classics, 1985). Library of Congress Cataloging-in-Publication Data Kierkegaard, Søren, 1813-1855. [Frygt og bæven. English] Fear and trembling / Søren Kierkegaard; translated by Alastair Hannay. p. cm. — (Penguin great ideas) eISBN : 978-1-101-00714-3 1. Christianity — Philosophy. I. Hannay, Alastair. -
King Richard Iii/Looking for Richard
ENGLISH: KING RICHARD III/LOOKING FOR RICHARD Wherefore art thou Richard? There is no doubt that William Shakespeare’s King Richard III is relevant to twentieth century society; however, with changing contexts and values, its accessibility has been somewhat hindered. So, how do we solve this? Maise Smith explores this classic play in a contemporary environment. In his latest film, notable actor and director Al Pacino embarks on a quest in search of Richard, made famous as the Machiavellian of literary genius William Shakespeare’s King Richard III. Don’t know it? Read on. Looking for Richard follows Pacino as he questions the misunderstanding and disinterest surrounding Shakespeare’s collective work, and attempts to find contemporary meaning within King Richard III. It combines the general public’s opinion; experts conversing on Shakespeare’s context, meaning and use of techniques; and a filmic enactment of the original play. To understand the connections between the two texts, we must first look into Pacino’s purpose for creating a contemporary insight into such a classic play. The voxpops entwined throughout the movie depict the views of the American public, the overwhelming majority of whom possess a negative and ignorant perspective on his accessibility, and therefore relevance. Pacino takes it upon himself to counter this; to make Shakespeare accessible, and therefore relevant, aptly adopting the more prevalent medium of film to reflect his ideas. So, the question now evolves from “what are the connections between King Richard III and Looking for Richard?” to “what are the connections between King Richard III and the average, contemporary American viewer?” Answering the second aspect of the question invites a discussion of Pacino’s filmic choices. -
Advanced Paper 2 Module a - Elective 1: Exploring Connections
Advanced Paper 2 Module A - Elective 1: Exploring Connections Analyse how the central values portrayed in King Richard III are creatively reshaped in Looking for Richard. Prescribed texts: King Richard III, William Shakespeare, c. 1593 Looking for Richard, Al Pacino, 1996 Al Pacino states in his docudrama, Looking for Richard, that he wants his film to show that Shakespeare’s King Richard III is about “how we think Opens with a quotation from and feel today.” This idea of enduring values is reinforced in the interview the text that leads to a close with the homeless man, who believes that Shakespeare “instructed us” and consideration of reshaping and a we still have lessons to learn from him about feeling and understanding. thesis about the influence of The sub-title of the film is ‘A four hundred-year-old work in progress’, context on values (directly suggesting that for Pacino there are central values and ideas in the play that connecting with words in remain relevant for contemporary audiences. However, because of the question) profound changes from Elizabethan England to modern American society and the differences between Shakespearean drama and documentary films, some reshaping and re-interpretation of the original play are necessary. Some of the central ideas and values in King Richard III examine the nature Form and values are identified of authority, the acquisition of power and the extent to which decisions and as part of context in each text actions are the result of free will or determinism. Shakespeare expresses these ideas through poetry, with its reliance on motif and extended metaphor, through characterisation and through the idea of metadrama. -
Shakespeare on Film- Looking for Richard
SHAKESPEAREONFILM LOOKING FOR RICHARD Teachers’ Notes This study guide is aimed at students of GCSE English and Media, A’ level English Media and Film and GNVQ Media: Communication and Production. Areas investigated include Filming Shakespeare, Language, Documentary Styles and Representation. This series of study guides aims to provide teachers with valuableresource materials for the teaching of Shakespeare throughout the National Curriculum. Synopsis The American actor Al Pacino is the co-producer, director and star of the film ‘Looking For Richard’. His project intertwines the telling of the story of Shakespeare’s ‘Richard III’ with an intimate look at the actors’ and filmmakers’ processes as they come to grips with their characterisations and with translating their enthusiasm for the play onto film. The film ‘Looking For Richard’ follows their debates and revelations about the play, takes to the streets of New York to measure public opinion, visits the birthplace of Shakespeare and, finally, looks at a production of Richard III’. The film includes interviews with actors such as Kenneth Branagh and Vanessa Redgrave and seeks to prove that everyone can enjoy Shakespeare, and that his tales are timeless and universal. The completion of the film marks the culmination of a journey begun decades ago. when Pacino was touring colleges in the late 70’s talking to students who were reluctant to listen to Shakespeare and couldn’t see the relevance of his works. “But we would talk informally about the play and then I would read an excerpt” explains Pacino. Pacino notes, “By juxtaposing the day-to-day life of the actors and their characters with ordinary people, we attempted to create a comic mosaic - a very different Shakespeare. -
“The Farcical Tragedies of King Richard III”: the Nineteenth-Century Burlesques
Theatre Survey (2021), 62,25–50 doi:10.1017/S0040557420000460 ARTICLE “The Farcical Tragedies of King Richard III”: The Nineteenth-Century Burlesques Nicoletta Caputo English Literature, University of Pisa, Pisa, Italy Email: [email protected] Unlike other Shakespearean tragedies, King Richard III was never turned into a comedy through the insertion of a happy ending. It did, however, undergo a trans- formation of dramatic genre, as the numerous Richard III burlesques and travesties produced in the nineteenth century plainly show. Eight burlesques (or nine, includ- ing a pantomime) were written for and/or performed on the London stage alone.1 This essay looks at three of these plays, produced at three distinct stages in the his- tory of burlesque’s rapid rise and decline: 1823, 1844, and 1868. In focusing on these productions, I demonstrate how Shakespeare burlesques, paradoxically, enhanced rather than endangered the playwright’s iconic status. King Richard III is a perfect case study because of its peculiar stage history. As Richard Schoch has argued, the burlesque purported to be “an act of theatrical reform which aggres- sively compensated for the deficiencies of other people’s productions. [It] claimed to perform not Shakespeare’s debasement, but the ironic restoration of his compromised authority.”2 But this view of the burlesques’ importance is incom- plete. Building on Schoch’s work, I illustrate how the King Richard III burlesques not only parodied deficient theatrical productions but also called into question dra- matic adaptations of Shakespeare’s plays. In so doing, these burlesques paradoxi- cally relegitimized Shakespeare. Examining the burlesques of King Richard III is revealing in more than one respect. -
The Tragedy of King Richard III by William Shakespeare
1 Shakespeare – live The Tragedy of King Richard III by William Shakespeare Historical background The real-life Richard III was born in1485. He was Edward IV’s brother and Richard, Duke of York’s third son. Upon Edward’s death in 1483 he imprisoned his nephews in the Tower of London, announced that they had died there and proclaimed himself King of England. In 1485 Richard III was killed during the Battle of Bosworth Field, at the hand of Henry Tudor (Earl of 5 Richmond) who was later to become Henry VII. In the period after his death Richard was often portrayed negatively, attacked or defamed in literary and historical accounts, particularly Thomas More’s ‘History of Richard III’, which was also a source for Shakespeare’s play. Later historians have attempted to clear his name to some degree, notably Horace Walpole in his 10 ‘Historic Doubts on the Life and Death of Richard III’. However, Richard III remains one of the most controversial figures in English history. The play The Tragedy of King Richard III is considered a historical tragedy. After Hamlet, it is Shakespeare’s second longest drama and yet it is one of his most often performed plays. There are at least half a dozen film versions of the play, in which some of the stage’s best actors have played major roles. 15 The drama unfolds in five acts, beginning with the exposition and the complication of the plot within the first two acts. Typically, the climax comes at the end of Act III. The dénouement and the finale follow in the remaining two acts. -
Kierkegaard's Top Ten Hits #1 Fear and Trembling Do You Remember
Kierkegaard’s Top Ten Hits #1 Fear and Trembling Do you remember the Biblical story of Abraham taking his son Isaac to be sacrificed to God? Isn’t it shocking to think that God commanded his most faithful servant to commit filicide? And have you ever wondered why Abraham never let Sarah in on his intention to kill their son or why he even obeyed God in the first place? According to Johannes de silentio (John of Silence), the pseudonym under which the book was published, Abraham can be seen either as a delusional murderer or the father of faith. This text extrapolates on the ethical issues of the story, tackling whether Abraham’s actions can be justified and whether there is an Absolute Duty to God. #2 Concept of Anxiety Every human being has experienced what is commonly referred to as anxiety. The word anxiety acts as an umbrella term, referring to a certain state of being. Whether one is experiencing PTSD, a panic attack, or insomnia, these are all anxious states. In this book, Kierkegaard does not go into the specific forms of anxiety, but rather tackles the concept as a whole. He defines it as the actualization of freedom as the possibility for possibility. Although it is treated as a mental illness in modern medicine, the Danish philosopher believed that “pills and powders” cannot erase this fundamental aspect of the human condition. “Anxiety is the dizziness of freedom,” he writes. “Whoever has learned to be anxious in the right way has learned the ultimate.” #3 The Sickness Unto Death Death can be defined, in biological terms, as the moment in which the electrical activity of the brain ceases. -
Durham E-Theses
Durham E-Theses Existentialist themes in the interpretation of faith: by Bultmann and Tillich Rees, Anthony John How to cite: Rees, Anthony John (1976) Existentialist themes in the interpretation of faith: by Bultmann and Tillich, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/9886/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk EXISTENTIALIST THEMES IN THE INTERPRETATION OF "FAITH" BY BULTMANN AND TILLICH ABSTRACT The aim of this thesis is to assess the influence of existentialism on the interpretation of faith presented by Bultmann and Tillich and evaluate their use of this existentialist thought. First, we show that the general character of existentialism may be classified into two broad themes: the Place of the Individual, which shows his concern for his understanding of himself and his relation to others; and Existentialia, which describe the various modes of existence of the individual, his feelings and experiences. -
The Knight of Faith
Faith and Philosophy: Journal of the Society of Christian Philosophers Volume 7 Issue 4 Article 1 10-1-1990 The Knight of Faith Robert Merrihew Adams Follow this and additional works at: https://place.asburyseminary.edu/faithandphilosophy Recommended Citation Adams, Robert Merrihew (1990) "The Knight of Faith," Faith and Philosophy: Journal of the Society of Christian Philosophers: Vol. 7 : Iss. 4 , Article 1. DOI: 10.5840/faithphil19907433 Available at: https://place.asburyseminary.edu/faithandphilosophy/vol7/iss4/1 This Article is brought to you for free and open access by the Journals at ePLACE: preserving, learning, and creative exchange. It has been accepted for inclusion in Faith and Philosophy: Journal of the Society of Christian Philosophers by an authorized editor of ePLACE: preserving, learning, and creative exchange. THE KNIGHT OF FAITH Robert Merrihew Adams The essay is about the "Preliminary Expectoration" of Kierkegaard's Fear and Trembling. It argues that "the absurd" there refers primarily to the prac tical paradox that in faith (so it is claimed) one must simultaneously renounce and gladly accept a loved object. In other words it is about a problem of detachment as a feature of religious life. The paper goes on to interpret, and discuss critically, the views expressed in the book about both renunciation (infinite resignation) and the nature of faith. One of the many attractions of Kierkegaard's Fear and Trembling is its tan talizing talk of "the absurd." "The movement of faith," we are told, "must continually be made by virtue of the absurd" (p. 37).1 The knight of faith "does not do even the slightest thing except by virtue of the absurd" (p.