The Fullness of Time: Kierkegaardian Themes in Dreyer's Ordet
I offer an approach to Dreyer's film Ordet as a contribution to the phenomenology of a certain kind of religious experience. The experience in question is one of a moment that disrupts the chronological flow of time and that, in the lived experience of it, is charged with eternal significance....
Auteur principal: | |
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Type de support: | Électronique Article |
Langue: | Anglais |
Vérifier la disponibilité: | HBZ Gateway |
Journals Online & Print: | |
Fernleihe: | Fernleihe für die Fachinformationsdienste |
Publié: |
MDPI
[2019]
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Dans: |
Religions
Année: 2019, Volume: 10, Numéro: 1, Pages: 1-13 |
Sujets non-standardisés: | B
Dreyer
B Phenomenology B Spirituality B Film B Kierkegaard B Religion B Time B Eternity B Temporality B Philosophy |
Accès en ligne: |
Accès probablement gratuit Volltext (Verlag) Volltext (doi) |
Résumé: | I offer an approach to Dreyer's film Ordet as a contribution to the phenomenology of a certain kind of religious experience. The experience in question is one of a moment that disrupts the chronological flow of time and that, in the lived experience of it, is charged with eternal significance. I propose that the notoriously divisive ending of Ordet reflects an aim to provide the film's viewers with an experience of this very sort. I draw throughout on some central ideas in Kierkegaard's work, especially his category of the moment.' |
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ISSN: | 2077-1444 |
Contient: | Enthalten in: Religions
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Persistent identifiers: | DOI: 10.3390/rel10010058 |