By Søren Kierkegaard
Stages on Life's Way, the sequel to Either/Or, is an intensely poetic instance of Kierkegaard's imaginative and prescient of the 3 phases, or spheres, of lifestyles: the esthetic, the moral, and the spiritual. With attribute love for mystification, he provides the paintings as a package of records fallen accidentally into the palms of "Hilarius Bookbinder," who ready them for printing. The booklet starts with a dinner party scene patterned on Plato's Symposium. (George Brandes maintained that "one needs to realize with amazement that it holds its personal during this comparison.") subsequent is a discourse via "Judge William" in compliment of marriage "in resolution to objections." the rest of the quantity, virtually two-thirds of the full, is the diary of a tender guy, came upon by way of "Frater Taciturnus," who used to be deeply in love yet felt forced to wreck his engagement. The paintings closes with a letter to the reader from Taciturnus at the 3 "existence-spheres" represented via the 3 elements of the book.
Stages on Life's Way not just repeats subject matters, characters, and pseudonymous authors of the sooner works but additionally is going past them and issues to additional improvement of critical principles in Concluding Unscientific Postscript.
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Additional info for Stages on Life's Way (Kierkegaard's Writings, Volume 11)
We seek to enact the agency of multiple identities while simultaneously offering new identities through our teaching of accepted literacies that are best able to operate within the institutions of power in our society. material conditions of identity politics 25 COMPOSITION AND IDENTITY POLITICS: TRANSFORMATIVE AGENCY OR IDENTITY FORMATION? This seeming paradox of difference within sameness is one in which composition is deeply implicated. Composition has consistently attempted to take seriously the mandate of equality through a shared language while simultaneously respecting difference and diversity.
COMPOSITION, AS A FIELD, has taken seriously the challenges posed by recent theories of discourse and subjectivity. Depending on the pedagogy, we have employed varying theories of the subject to guide our understanding of how identity might explain the writer’s agency. What we still know less about, however, is how our students come to understand their own identities within postmodern culture. Our students, and all citizens for that matter, are offered multiple positions out of which to construct identity, positions created through the conflicts and convergences in public, media, experiential, and institutional discourses.
But other voices, other selves, are still available to me and I still perform (am) them. The languages available to me, the rhetoricity through which I am/be, are as much Rich’s, Bob’s, Eartha’s, Bridget’s, the MacDonald’s, Larry’s, my parents’, my brother’s, my Boston students’ as they are my colleagues’ and the Brady Bunch. To be American, even though we rarely see it in white folk (or even in “white trash,” a term from my youth that I’ve decided to embrace), is to be afforded the possibility of being multicultural, or if we happen to occupy a white body, to become Marcia Brady.