Have you ever wondered what is behind the UFO/alien phenomenon? Where did they come from? Are these beings from some distant galaxy or somewhere closer? How did they get here? Have they taken up residence on Planet Earth? What if you could travel in a space between dimensions and be present to both the seen and the unseen? What would you learn? These are questions Art, author Donielle Ingersolls, main character in the book, Absolute Choice: The Infinity Trilogy Book One faces. Art accidentally discovers how to travel between the seen and unseen worlds. With the power of absolute choice, he can travel backward and forward in time, visit parallel universes, and witness the others that are among us without being observed. He can create things out of his thoughts, making millions of dollars with new technology. He could control the world if he only realized it. The Infinity Project is only on loan to him, and he better make the best use of the clock as it is winding down. When it stops, so does absolute choice. Or does it? Absolute Choice: The Infinity Trilogy Book One merges reality and imagination into a world many would find appealing. But would you make the right decisions and in time?

An argument that what is usually dismissed as the “mystical shell” of Hegel's thought—the concept of absolute knowledge—is actually its most “rational kernel.” This book sets out from a counterintuitive premise: the “mystical shell” of Hegel's system proves to be its most “rational kernel.” Hegel's radicalism is located precisely at the point where his thought seems to regress most. Most current readings try to update Hegel's thought by pruning back his grandiose claims to “absolute knowing.” Comay and Ruda invert this deflationary gesture by inflating what seems to be most trivial: the absolute is grasped only in the minutiae of its most mundane appearances. Reading Hegel without presupposition, without eliminating anything in advance or making any decision about what is essential and what is inessential, what is living and what is dead, they explore his presentation of the absolute to the letter. The Dash is organized around a pair of seemingly innocuous details. Hegel punctuates strangely. He ends the Phenomenology of Spirit with a dash, and he begins the Science of Logic with a dash. This distinctive punctuation reveals an ambiguity at the heart of absolute knowing. The dash combines hesitation and acceleration. Its orientation is simultaneously retrospective and prospective. It both holds back and propels. It severs and connects. It demurs and insists. It interrupts and prolongs. It generates nonsequiturs and produces explanations. It leads in all directions: continuation, deviation, meaningless termination. This challenges every cliché about the Hegelian dialectic as a machine of uninterrupted teleological progress. The dialectical movement is, rather, structured by intermittency, interruption, hesitation, blockage, abruption, and random, unpredictable change—a rhythm that displays all the vicissitudes of the Freudian drive.

Either/Or is Kierkegaard's first major work and arguably his most virtuosic. It introduces many of the most important philosophical themes that define the rest of his authorship and showcases - through its several pseudonyms and genres - Kierkegaard's prodigious literary scope. In this Critical Guide, a diverse group of scholars strike new ground in our understanding of both this work, and Kierkegaard's authorship as a whole. Their essays highlight the text's philosophical range, with substantial discussions of issues in aesthetics, epistemology, ethics, metaphysics, phenomenology, and philosophy of religion. The volume will be essential reading for any person seeking to deepen their understanding of Either/Or and Kierkegaard's work more generally.

For thousands of years philosophers and theologians have grappled with the problem of evil. Traditionally, evil has been seen as a weakness of sorts: the evil person is either ignorant, or weak-willed. But in the most horrifying acts of evil, the perpetrators are resolute, deliberate, and well aware of the pain they are causing. Here David Roberts painstakingly details the matrix of issues that evolved into Kierkegaard's own solution. Kierkegaard's psychological understanding of evil is that it arises out of despair - a despair that can become so vehement and ferocious that it lashes out at existence itself. Roberts shows how the despairing self can become strengthened and intensified through a conscious and free choice against the Good. This type of radical evil is neither ignorant nor weak.

While the concept of place remains undertheorized in Kierkegaard research, this study argues that place is at the center of Kierkegaard’s thinking. The first part of the book shows that Kierkegaard’s notion of situatedness as being-placed in a socio-historical situation conditioned by a situation prior to situatedness points to a realist position and a flat ontology. Secondly, the book develops a detailed analysis of the ontological structure of the existential place (the place we ourselves are) and concrete places (the places where we are). Place opens a qualified space within bounds (the existence-sphere), an atmosphere of elemental attunement and attuned elementality. Finally, the book collects the dots from part one and two in a topological realist approach to Kierkegaard’s theology and three main definitions of God: God is love, God is that everything is possible, and God is the middle term. The book concludes that Kierkegaard’s existential topography reveals a realist position: where we are is never exhausted by being the place where we are.

First published in 1999. This book, in compliance with the aims of the series, attempts to provide a comprehensive and critical account of Kierkegaard's thought. In the case of a writer so complex, prolix, and so little concerned with the logical presentation of his own thought, it is perhaps inevitable that the exegetical side of this task should overshadow the critical.

“Kabishev Alexander Konstantinovich (K.A.K.) is a poet and writer, an artist of a new direction in literature and art - choism. Volunteer journalist of the magazine “”POET””, active participant and director of the magazine at the foundation “”LIFE LINE OF EVERY CHILD””, founder and head of the international creative and cultural project “”DEMO GOG””, editor-in-chief of the magazine “”HUMANITY””, author of the collection of short stories “”NIGHTMARE””, collection of poems “”DANCE OF POETRY””, the novel “”RED CORAL””. Curator and organizer of collections of modern prose and poetry “”SILICON AGE”” (2 volumes), the collection “”WHISPER IN THE WIND””, the first Russian-Vietnamese collection “”DAWN””, the first Russian-Serbian collection “”FRIENDSHIP””. Director of a documentary about the charity “”ECLF””. Founder and mentor of the world record project – HYPERPOEM. President of the Youth Writers’ Union. Member of the Writers’ Union of North America. Winner of the 3rd degree of the international literary award “”Not a day without a line””. Coauthor of many collections and publications in magazines and online media. A number of his author’s works have been translated and published in Spanish, Arabic, Italian, Vietnamese, French, English, Hindi, Portuguese, Serbian, Greek, Tagalog and other languages (Russia, the city of St. Petersburg). Alexander. Tamikio L. Dooley is a multi award-winning author and poet. She writes fiction, nonfiction, poetry, short stories, articles, journals, and essays. The author received certificates and awards for her poetry, short stories, articles, and essays published in Ukiyoto Publishing anthologies, Bard’s Day Key Anthology, Multinational Pen Soldiers Anthology, and other anthologies. She is the nominee and winner of the World Literary Award, International Poetry Stage Bangladesh Award, “Zheng Nian Cup” National Literature (second place prize) award, and won her first crystal trophy award. She is a member of International Culture Day and Culture for Peace Worldwide Organization, The Dream Equality Organization, and International Affairs Secretary of World Wide Writer’s Association.”