Word: kierkegaard
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...accident of history, are forced to develop individuality or at least strength, like Emperor Claudius and Harry Truman. There are, above all, the unremembered and unknown individuals who take their stand and suffer their small martyrdoms in all places and all ages. With them in mind, Kierkegaard said: "The truly extraordinary man is the truly ordinary...
...seems! Indeed, perhaps it is envy that leads to the contemporary stereotype of James--James viewed, that is, as a shallowly optimistic, money-before-truth philosopher. One need only turn to The Varieties of Religious Experience, however, to recall that the 1800's were the century of Kierkegaard as well as of Herbert Spencer. It was at the age of 27 that James contracted the following classic case of "existential dread...
...mainstream Marxism made his campus career; but Clem ("an Infantile Leftist") was the type who went to jail. Now Mark has burgeoned in his bogus beard as a TV-forum type, a voice of religiosity cum psychoanalytical fashion. Clem sneers at him as "Temple B'nai Kierkegaard...
Critics of two cultures have pronounced Kafka's novels both "pre-fascist" and "proto-Communist" Freudians have found in them classical symptoms of angst; theologians have seen a cold and brilliant statement of Kierkegaard's "either/or" maxim and Karl Earth's "theology of crisis.'' And like Freud's, his name has become an easy tag, employed by essayists and parlor annotators: Kafkaesque now suggests the small man confronted by a high and nameless menace, the humble man, anxious to cause no trouble, who finds that his heart has withered, the defeated man who wanders...
...loneliness of Kafka and his characters misleads Politzer in his conclusion that Kafka stands alone in literature too. He pays little attention to the insights Kafka gained from Nietzsche, Kierkegaard, Gogol and Poe, still less to the enormous influence of Kafka on such writers as Robbe-Grillet, Camus and Sartre. In a final chapter that judges Kafka against Camus (unfairly, and at Camus's great expense), he notes the obvious distinctions in the work of two writers often compared: what Camus says in Olympian detachment, Kafka says in nervous excitement ; where Camus needs crisis to show...