“The Crisis:” A practical realization of Kierkegaard's aesthetic philosophy

This analysis of Kierkegaard's article The Crisis and a Crisis in the Life of an Actress (1848/1967) reveals his prodigious ability to deal synchronically with aesthetic philosophy of existence at both metaphysical and pragmatic levels. It also reveals his ability to view women as individuals in the realm of art. Here he is able to make the exception and grant women full equality in both the categories of eternity and temporality.     

Kierkegaardian Implications of Punishment, Guilt, and Forgiveness for Education

Students have to be punished if they have made a serious transgression. Avoidance of punishment will lead to serious complications. But punishment is inseparably linked with guilt and forgiveness. The inability of individuals to forgive themselves was regarded by Kierkegaard to be an emanation of individual false pride, a kind of vanity. This type of despair, a psychological and spiritual disorder, is a serious and debilitating problem. The inability to escape this despair of forgiveness can lead to a loss of genuine humanness. Unchecked, this despair can lead to unrelatedness of self to itself and fear of the possibility of freedom. Thus the self-knowledge attainable in despair over the forgiveness of an offense would lead to what we would call a successful rehabilitation of the individual and his or her conjunct reintegration into society. Kierkegaard's ideas on punishment are interesting — historically and philosophically speaking — because they represent a softening of a harsh view of punishment by stressing the humanizing aspects of guilt and forgiveness.     

Punishment and Forgiveness: A Phenomenological Analysis of Archetypal Leadership Patterns and the Implications for Educational Practice

Archetypal psychology suggests the possibility of a punishment archetype representing the unconscious preferences of human beings as a species about what constitutes appropriate ways for leaders (students, teachers and educational leaders) to correct followers who do harm to others. Mythological analysis compared God’s process of punishment, in the Abraham myth, with the theories of Scheler (1973), Kierkegaard (1987) and modern management theory about punishment. While modern theory focused on a contingent tit-for-tat relationship between doing harm and reprisal for it, God used punishment and forgiveness to reestablish effective moral relationships between the harm-doer and the harmed persons. God always forgave harm done to himself, and generally punished harm done to others but then forgave unilaterally, without waiting for Abraham to improve. If students and educators are unconsciously predisposed to expect that punishment is a long term educational activity intended to allow the harm-doer to atone, repent and re-establish effective working relationships with harmed persons, then the focus of modern punishment theory on intimidation will be ineffective and generate unconscious resistance.     

The impact of intellectual capital management on company competitiveness and financial performance

Knowledge Management Research & Practice - Most of the existing research on intellectual capital (IC) has concentrated on identifying the key intangible resources and measuring their level in...     

Kierkegaard,musical performance,and the relation and differentiation of the sexes

This paper is a critical evaluation of what is believed by the author to be Kierkegaard's subjective, ambivalent, and arbitrary stereotyping of women. In particular, the paper examines the Kierkegaardian notion of equality, essential feminine characteristics, and finitude. The result is an attempt to apply Kierkegaard's ideas to those issues pertaining to inequality in musical performance; as well, a plea is made for the demystification of the notion of woman as whore or Madonna.     

Horowitz and the enigma of art

Horowitz was arguably the greatest exponent of the art of subjectivity in live musical performance. Specifically this approach involves the importance of coauthorship of a score and the extent to which it is possible to deviate from it — that empirical object or blueprint of a composer's intentions — in a subjective manner. In particular, the ideas ofRemembering Horowitz and the philosopher Collingwood, as a foil, will be examined in light of these concerns. Relying on the so-called objective approach as the sole catalyst in the performance of live musical performance can only result in its eventual exhaustion and boredom.