A nineteenth century Danish philosopher and theologian, Søren Kierkegaard was a major influence on the development of existentialism and Protestant theology. He attacked the literary, philosophical and ecclesiastical establishments of his day for misrepresenting the highest task of human existence—becoming oneself in an ethical and religious sense. His critical works on organised religion, Christianity, morality, ethics and psychology reveal a fondness for metaphor, irony and parables. Many of his philosophical essays deal with how one lives as a “single individual”, giving priority to concrete human reality over abstract thinking, while highlighting the importance of personal choice. This eBook presents Kierkegaard’s collected works, with numerous illustrations, rare translations, concise introductions and the usual Delphi bonus material. (Version 1) * Beautifully illustrated with images relating to Kierkegaard’s life and works * Concise introductions to the treatises * All the major essays, with individual contents tables * Images of how the books were first published, giving your eReader a taste of the original texts * Excellent formatting of the texts * Rare translations by David F. Swenson, Lillian Marvin Swenson and Walter Lowrie, digitised here for the first time * Includes the seminal autobiography– available in no other collection * Features a bonus biography – discover Kierkegaard’s intriguing life * Ordering of texts into chronological order and genres CONTENTS: The Books Either/Or (1843) Fear and Trembling (1843) Repetition (1843) Upbuilding Discourses (1844) Philosophical Fragments (1844) The Concept of Dread (1844) Three Discourses on Imagined Occasions (1845) Stages on Life’s Way (1845) Works of Love (1847) Christian Discourses (1848) The Lilies of the Field and the Birds of the Air (1849) Three Discourses at the Communion on Fridays (1849) The Sickness unto Death (1849) Selections from the Writings of Kierkegaard (1923) The Autobiography The Point of View for my Work as an Author (1851) The Biography Introduction to Kierkegaard (1923) by Lee M. Hollander

First published in 1848, Christian Discourses is a quartet of pieces written and arranged in contrasting styles. Parts One and Three, "The Cares of the Pagans" and "Thoughts That Wound from Behind--for Upbuilding," serve as a polemical overture to Kierkegaard's collision with the established order of Christendom. Yet Parts Two and Four, "Joyful Notes in the Strife of Suffering" and "Discourses at the Communion on Fridays," are reassuring affirmations of the joy and blessedness of Christian life in a world of adversity and suffering. Written in ordinary language, the work combines simplicity and inwardness with reflection and presents crucial Christian concepts and presuppositions with unusual clarity. Kierkegaard continued in the pattern that he began with his first pseudonymous esthetic work, Either/Or, by pairing Christian Discourses with The Crisis, an unsigned esthetic essay on contemporary Danish actress Joanne Luise Heiberg.

ATTENTION: The novels Eternity - The awakening of a new world and Cicadas Code differ only in the title. The content is identical! With this novel, Thomas H. Huber takes his readers to the edge of the universe and back to a long forgotten, mystical time. "The ideal reading for vacationers on Crete! - because the largest Greek island is at the center of this imaginative story. The Story: Samuel and Sarah Kramer are on their way to Crete for a relaxing beach vacation. But shortly after their arrival, they are plunged into a nightmare that pushes them to the limits of their sanity. The trigger is a short vacation video that Sam sends to his friend Jack Stern via WhatsApp. The movie shows Sarah looking down at the south coast from the highest point of the mountain road. All you can hear in the background is the wind and the chirping of thousands of cicadas. Stern, an encryption expert for the US Army, believes he has discovered a code in the cicadas' chirping. This brings in the mysterious William Sutherford, who sees a connection between the cicadas' code and the fate of mankind. Sam, his wife Sarah, and ten other people join him on a bizarre adventure. Who do you think loves you unconditionally? It can only be one person, yourself! No one will ever love you, trust you or acknowledge you if you can't do it yourself. All is one, one is all! The whole matrix only exists because you can't believe that you are all that exists! Think deeper than you have ever thought before. Then you will not only see the light at the end of the tunnel, you will be it! (Thomas H. Huber)

In Philosophical Fragments the pseudonymous author Johannes Climacus explored the question: What is required in order to go beyond Socratic recollection of eternal ideas already possessed by the learner? Written as an afterword to this work, Concluding Unscientific Postscript is on one level a philosophical jest, yet on another it is Climacus's characterization of the subjective thinker's relation to the truth of Christianity. At once ironic, humorous, and polemical, this work takes on the "unscientific" form of a mimical-pathetical-dialectical compilation of ideas. Whereas the movement in the earlier pseudonymous writings is away from the aesthetic, the movement in Postscript is away from speculative thought. Kierkegaard intended Postscript to be his concluding work as an author. The subsequent "second authorship" after The Corsair Affair made Postscript the turning point in the entire authorship. Part One of the text volume examines the truth of Christianity as an objective issue, Part Two the subjective issue of what is involved for the individual in becoming a Christian, and the volume ends with an addendum in which Kierkegaard acknowledges and explains his relation to the pseudonymous authors and their writings. The second volume contains the scholarly apparatus, including a key to references and selected entries from Kierkegaard's journals and papers.

The savior of the world can’t be late for class—or the apocalypse—in this celestial supernatural sequel from the author of Fallen Angel. When Ellie and Michael discover they’re destined to play a part in the upcoming Armageddon, they have to keep it to themselves. That would just start the End Times countdown. It’s not easy going through the motions of schoolwork and football practice in the face of impending doom, especially when the seven seals start to break . . . Earthquakes are the first sign. To stop each catastrophe, Ellie and Michael will have to destroy the remaining fallen angels. Their secret weapon is a real angel, straight from heaven above. He’s teaching Ellie and Michael the flying techniques and sword skills they’ll need to prevail. That is if the Nephilim don’t get to Ellie first. Because whoever controls Ellie, controls the world.

While some see the comic as trivial, fit mainly for amusement or distraction, Søren Kierkegaard disagrees. This book examines Kierkegaard’s earnest understanding of the nature of the comic and how even the triviality of comic jest is deeply tied to ethics and religion. It rigorously explicates terms such as “irony,” “humor,” “jest,” and “comic” in Kierkegaard, revealing them to be essential to his philosophical and theological program, beyond aesthetic interest alone. Drawing centrally from Kierkegaard’s most concentrated treatment of these ideas, Concluding Unscientific Postscript (1846), this account argues that he defines the comic as a “contradiction” or misrelation that is essentially (though not absolutely) painless because it provides a “way out.” The comic lies in a contradiction between norms and so springs from one’s viewpoint, whether ethical or religious. “Irony” and “humor” play essential transitional roles for Kierkegaard’s famous account of the stages of existence because subjective development is closely tied to one’s capacity to perceive the comic, making the comic both diagnostic of and formative for one’s subjective maturity. For Kierkegaard, the Christian is far from humorless, instead having the maximal comic perception because he has the highest possible subjective development. The book demonstrates that the comic is not the expression of a particular pseudonym or of a single period in Kierkegaard’s thinking but is an abiding and fundamental concept for him. It finds his comic understanding even outside of Postscript, locating it in such differing works as Prefaces (1844), Upbuilding Discourses in Various Spirits (1847), and the Corsair affair (c.1845-1848). The book also examines the comic in contemporary Kierkegaard scholarship. First, it argues that Deconstructionists, while accurately perceiving the widespread irony in Kierkegaard’s corpus, incorrectly take the irony to imply a lack of earnest interest in philosophy and theology, misunderstanding Kierkegaard on the nature of irony. Second, it considers two theological readings to argue that their positions, while generally preferable to the Deconstructionists’, lack the same attentiveness to the comic’s role in Kierkegaard. Their significant theological arguments would be strengthened by increased appreciation of the legitimate power of the comic for cultivating ethics and religion.