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By Kierkegaard, Søren <>; Shmuëli, Adi; Kierkegaard, Søren

Kierkegaard's philosophy is the outline of the constitution and behaviour of human attention. Adi Shmüeli reconstructs that philosophy via displaying that it usually displays the constitution in query, and hence presents an invaluable key to Kierkegaard's work.

Mr. Shmüeli techniques his activity through reading first the cultured, moral, and non secular phases of existence as successive steps within the sluggish awakening of recognition. He then describes the alienation of awareness, of which Kierkegaard speaks in all his works, and discusses Kierkegaard's thought of oblique communique, philosophical motion whose objective is to rouse recognition with the intention to rescue it from alienation. learning Kierkegaard's observations on Christianity as oblique communique, Professor Shmüeli bargains additionally along with his reflections at the philosophical challenge of fact. His concluding bankruptcy discusses the temporality and historicity of human attention. Quotations, taken essentially from obtainable English translations, are generously supplied to place the reader in direct touch with Kierkegaard's personal words.

Originally released in 1971.

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Man therefore experiences a painful feeling of failure, as described in Repetition. Constantius tells the story of a young man tormented by the fact that the whole of his love and his romantic dreams cannot be realized in the particular image of the young woman he loves. The young man seeks "repetition," which can lead him to transcendent existence. Constantius, too, seeks this repetition, but naturally, does not find it. No immanent activity, whether it be romantic dreaming or philosophical contemplation like that of Constantius, can ever attain transcendent existence.

His consciousness has become mood-like, resembling an empty abstraction that the following text describes very clearly. The estheticist in Either/Or, who is melancholy as well, tells us: The result of my life is simply nothing, a mood, a single color. My result is like the painting of the artist who was to paint a picture of the Israelites crossing the Red Sea. T o this end, he painted the whole wall red, explaining that the Israelites had already crossed over, and that the Egyptians were drowned.

In the ethical stage, one is aware only of the finite as possible, and not of the finite as real. The latter, which is a positive determinant, is attainable only through faith. Kierkegaard calls it "ulterior immediacy," by which he means 47 Chapter 3 that it is not a primitive "given," but it is secondary, an immediacy after reflection. "For faith is not the first immediacy but a subsequent immediacy. The first immediacy is the esthetical. . "26 The three stages, so well known in Kierkegaard's pages, constitute therefore three steps in the gradual awakening of consciousness.

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