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....
| Autor principal: | |
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| Tipo de documento: | Electrónico Artículo |
| Lenguaje: | Inglés |
| Verificar disponibilidad: | HBZ Gateway |
| Journals Online & Print: | Gargar...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Publicado: |
MDPI
[2019]
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| En: |
Religions
Año: 2019, Volumen: 10, Número: 1, Páginas: 1-13 |
| Otras palabras clave: | B
Dreyer
B Phenomenology B Spirituality B Película B Religión B Kierkegaard B Time B Eternity B Temporality B Philosophy |
| Acceso en línea: |
Presumably Free Access Volltext (Verlag) Volltext (doi) |
| Sumario: | 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 |
| Obras secundarias: | Enthalten in: Religions
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| Persistent identifiers: | DOI: 10.3390/rel10010058 |