Blake and Kierkegaard : creation and anxiety, Edition: 1st by Rovira, James; Blake, William; Kierkegaard, Søren

By Rovira, James; Blake, William; Kierkegaard, Søren

This examine applies Kierkegaardian nervousness to Blake's production myths to provide an explanation for how Romantic period construction narratives are a response to Enlightenment versions of character

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Extra resources for Blake and Kierkegaard : creation and anxiety, Edition: 1st

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The point here is that the transition from mechanical to Romantic paradigms initially involved conflicts or tensions between competing religious phenomenologies, not between science and religion, over the sphere of nature and humanity’s place within it, expressed through a tension between the natural and the mechanical or artificial. These tensions about the nature of the physical universe reflect upon the creation of the physical universe and the nature of its creator, requiring that these tensions be taken into account in any discussion of creation anxiety.

These tensions about the nature of the physical universe reflect upon the creation of the physical universe and the nature of its creator, requiring that these tensions be taken into account in any discussion of creation anxiety. Blake, Kierkegaard, and the Cultural Tensions While the previous sections moved from historical contexts to descriptions of tensions between monarchy and democracy, science and religion, then nature and artifice, my ensuing analysis of Blake’s and Kierkegaard’s relationship to these cultural tensions will proceed in reverse order.

Body and soul relate to one another via spirit. In a state of innocence, spirit is “dreaming,” disturbing a body-soul relationship unaware of spirit’s presence even while it makes this relation possible. In a state of dreaming, spirit still acts because it is present, but because it is dreaming, it does not act intentionally. Haufniensis intends in this part of The Concept of Anxiety to explain how those in a traditionally Christian state of innocence can experience anxiety, but at the same time reveals significant characteristics of Kierkegaard’s notion of the self that is assumed by most of the pseudonymous authors.

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