Søren Kierkegaard''s work is teeming with images of earthquakes, floods, storms, volcanic eruptions, wildfires, burned down cities, and apocalyptic events that ''let the heavens fall and the stars change their places in the overturning of everything''. These disaster images are not just rhetorical packaging of the philosophical and theological content of his works. Rather, disasters play an important but largely understudied role in Kierkegaard''s analysis of human existence. Kierkegaard and Climate Catastrophe focuses on prophetic noir in Kierkegaard''s work: the sombre mood that is evoked when the shadow of future disaster falls upon the present. Isak Winkel Holm''s core contention is that the prophetic noir in Kierkegaard, modelled after the prophetic books of the Hebrew Bible, contributes to making his works urgently relevant today. From the vantage point of the contemporary world threatened by rapidly evolving climate catastrophes, Kierkegaard''s analysis of human existence emerges in a more sombre light, dimmed by the future disaster: to exist, in the emphatic sense Kierkegaard gave to that word, is to live a meaningful human life even if things are darkened by the coming calamity. Thus, a thorough analysis of the prophetic noir in Kierkegaard offers an existential perspective on living in a world threatened by environmental devastation.

Søren Kierkegaard''s work is teeming with images of earthquakes, floods, storms, volcanic eruptions, wildfires, burned down cities, and apocalyptic events that ''let the heavens fall and the stars change their places in the overturning of everything''. These disaster images are not just rhetorical packaging of the philosophical and theological content of his works. Rather, disasters play an important but largely understudied role in Kierkegaard''s analysis of human existence. Kierkegaard and Climate Catastrophe focuses on prophetic noir in Kierkegaard''s work: the sombre mood that is evoked when the shadow of future disaster falls upon the present. Isak Winkel Holm''s core contention is that the prophetic noir in Kierkegaard, modelled after the prophetic books of the Hebrew Bible, contributes to making his works urgently relevant today. From the vantage point of the contemporary world threatened by rapidly evolving climate catastrophes, Kierkegaard''s analysis of human existence emerges in a more sombre light, dimmed by the future disaster: to exist, in the emphatic sense Kierkegaard gave to that word, is to live a meaningful human life even if things are darkened by the coming calamity. Thus, a thorough analysis of the prophetic noir in Kierkegaard offers an existential perspective on living in a world threatened by environmental devastation.

Søren Kierkegaard's work is teeming with images of earthquakes, floods, storms, volcanic eruptions, wildfires, burned down cities, and apocalyptic events that 'let the heavens fall and the stars change their places in the overturning of everything'. These disaster images are not just rhetorical packaging of the philosophical and theological content of his works. Rather, disasters play an important but largely understudied role in Kierkegaard's analysis of human existence. Kierkegaard and Climate Catastrophe focuses on prophetic noir in Kierkegaard's work: the sombre mood that is evoked when the shadow of future disaster falls upon the present. Isak Winkel Holm's core contention is that the prophetic noir in Kierkegaard, modelled after the prophetic books of the Hebrew Bible, contributes to making his works urgently relevant today. From the vantage point of the contemporary world threatened by rapidly evolving climate catastrophes, Kierkegaard's analysis of human existence emerges in a more sombre light, dimmed by the future disaster: to exist, in the emphatic sense Kierkegaard gave to that word, is to live a meaningful human life even if things are darkened by the coming calamity. Thus, a thorough analysis of the prophetic noir in Kierkegaard offers an existential perspective on living in a world threatened by environmental devastation.

'Is reason then alone baptized, are the passions pagans?' By placing Edward Young's question on the frontispiece of Either/Or, Søren Kierkegaard announces a problem that runs throughout his authorship: what role do the affects play in human existence? His answer helps explain his enduring importance for modern philosophy. Across works such as Either/Or, The Concept of Anxiety, and The Sickness unto Death, Kierkegaard develops powerful accounts of affects such as irony, melancholy, anxiety, and despair, while also exploring the affective dimensions of philosophical writing itself. This Element examines Kierkegaard's treatment of affectivity across his writings and across individual affects. It argues that his account is organised around a tension between two forms of affective life: baptisable affects that can be transformed and integrated into the project of becoming a self, and non-baptisable affects that resist such transformation and threaten to derail it.

'Is reason then alone baptized, are the passions pagans?' By placing Edward Young's question on the frontispiece of Either/Or, Søren Kierkegaard announces a problem that runs throughout his authorship: what role do the affects play in human existence? His answer helps explain his enduring importance for modern philosophy. Across works such as Either/Or, The Concept of Anxiety, and The Sickness unto Death, Kierkegaard develops powerful accounts of affects such as irony, melancholy, anxiety, and despair, while also exploring the affective dimensions of philosophical writing itself. This Element examines Kierkegaard's treatment of affectivity across his writings and across individual affects. It argues that his account is organised around a tension between two forms of affective life: baptisable affects that can be transformed and integrated into the project of becoming a self, and non-baptisable affects that resist such transformation and threaten to derail it.

In 1911, Franz Kafka encountered the Kaiser Panorama: a stereoscopic peep show offering an illusion of three-dimensional depth. After the experience, he began to emulate the apparatus in his literary sketches, developing a style we might call "stereoscopic," juxtaposing, like the optical stereoscope, two images of the same object seen from slightly different perspectives.Isak Winkel Holm argues that Kafka’s stereoscopic style is crucial to an understanding of the relation between literature and politics in Kafka's work. At the level of content, the stereoscopic style offers a representation of the basic order of a specific community. At the level of form, the stereoscopic style is structured as the juxtaposition of two dissimilar images of the same community. At the level of function, finally, the style provokes a reconsideration, and perhaps even a reconfiguration, of the social order itself. With insights from literary studies, philosophical aesthetics and political theory, Kafka’s Stereoscopes offers a detailed but highly readable argument for the relevance of Kafka's literary works in today’s political reality.

In 1911, Franz Kafka encountered the Kaiser Panorama: a stereoscopic peep show offering an illusion of three-dimensional depth. After the experience, he began to emulate the apparatus in his literary sketches, developing a style we might call "stereoscopic," juxtaposing, like the optical stereoscope, two images of the same object seen from slightly different perspectives.Isak Winkel Holm argues that Kafka's stereoscopic style is crucial to an understanding of the relation between literature and politics in Kafka's work. At the level of content, the stereoscopic style offers a representation of the basic order of a specific community. At the level of form, the stereoscopic style is structured as the juxtaposition of two dissimilar images of the same community. At the level of function, finally, the style provokes a reconsideration, and perhaps even a reconfiguration, of the social order itself. With insights from literary studies, philosophical aesthetics and political theory, Kafka's Stereoscopes offers a detailed but highly readable argument for the relevance of Kafka's literary works in today's political reality.

In 1911, Franz Kafka encountered the Kaiser Panorama: a stereoscopic peep show offering an illusion of three-dimensional depth. After the experience, he began to emulate the apparatus in his literary sketches, developing a style we might call "stereoscopic," juxtaposing, like the optical stereoscope, two images of the same object seen from slightly different perspectives.Isak Winkel Holm argues that Kafka's stereoscopic style is crucial to an understanding of the relation between literature and politics in Kafka's work. At the level of content, the stereoscopic style offers a representation of the basic order of a specific community. At the level of form, the stereoscopic style is structured as the juxtaposition of two dissimilar images of the same community. At the level of function, finally, the style provokes a reconsideration, and perhaps even a reconfiguration, of the social order itself. With insights from literary studies, philosophical aesthetics and political theory, Kafka's Stereoscopes offers a detailed but highly readable argument for the relevance of Kafka's literary works in today's political reality.

Søren Kierkegaard''s work is teeming with images of earthquakes, floods, storms, volcanic eruptions, wildfires, burned down cities, and apocalyptic events that ''let the heavens fall and the stars change their places in the overturning of everything''. These disaster images are not just rhetorical packaging of the philosophical and theological content of his works. Rather, disasters play an important but largely understudied role in Kierkegaard''s analysis of human existence. Kierkegaard and Climate Catastrophe focuses on prophetic noir in Kierkegaard''s work: the sombre mood that is evoked when the shadow of future disaster falls upon the present. Isak Winkel Holm''s core contention is that the prophetic noir in Kierkegaard, modelled after the prophetic books of the Hebrew Bible, contributes to making his works urgently relevant today. From the vantage point of the contemporary world threatened by rapidly evolving climate catastrophes, Kierkegaard''s analysis of human existence emerges in a more sombre light, dimmed by the future disaster: to exist, in the emphatic sense Kierkegaard gave to that word, is to live a meaningful human life even if things are darkened by the coming calamity. Thus, a thorough analysis of the prophetic noir in Kierkegaard offers an existential perspective on living in a world threatened by environmental devastation.

Søren Kierkegaard''s work is teeming with images of earthquakes, floods, storms, volcanic eruptions, wildfires, burned down cities, and apocalyptic events that ''let the heavens fall and the stars change their places in the overturning of everything''. These disaster images are not just rhetorical packaging of the philosophical and theological content of his works. Rather, disasters play an important but largely understudied role in Kierkegaard''s analysis of human existence. Kierkegaard and Climate Catastrophe focuses on prophetic noir in Kierkegaard''s work: the sombre mood that is evoked when the shadow of future disaster falls upon the present. Isak Winkel Holm''s core contention is that the prophetic noir in Kierkegaard, modelled after the prophetic books of the Hebrew Bible, contributes to making his works urgently relevant today. From the vantage point of the contemporary world threatened by rapidly evolving climate catastrophes, Kierkegaard''s analysis of human existence emerges in a more sombre light, dimmed by the future disaster: to exist, in the emphatic sense Kierkegaard gave to that word, is to live a meaningful human life even if things are darkened by the coming calamity. Thus, a thorough analysis of the prophetic noir in Kierkegaard offers an existential perspective on living in a world threatened by environmental devastation.

Søren Kierkegaard's work is teeming with images of earthquakes, floods, storms, volcanic eruptions, wildfires, burned down cities, and apocalyptic events that 'let the heavens fall and the stars change their places in the overturning of everything'. These disaster images are not just rhetorical packaging of the philosophical and theological content of his works. Rather, disasters play an important but largely understudied role in Kierkegaard's analysis of human existence. Kierkegaard and Climate Catastrophe focuses on prophetic noir in Kierkegaard's work: the sombre mood that is evoked when the shadow of future disaster falls upon the present. Isak Winkel Holm's core contention is that the prophetic noir in Kierkegaard, modelled after the prophetic books of the Hebrew Bible, contributes to making his works urgently relevant today. From the vantage point of the contemporary world threatened by rapidly evolving climate catastrophes, Kierkegaard's analysis of human existence emerges in a more sombre light, dimmed by the future disaster: to exist, in the emphatic sense Kierkegaard gave to that word, is to live a meaningful human life even if things are darkened by the coming calamity. Thus, a thorough analysis of the prophetic noir in Kierkegaard offers an existential perspective on living in a world threatened by environmental devastation.

'Is reason then alone baptized, are the passions pagans?' By placing Edward Young's question on the frontispiece of Either/Or, Søren Kierkegaard announces a problem that runs throughout his authorship: what role do the affects play in human existence? His answer helps explain his enduring importance for modern philosophy. Across works such as Either/Or, The Concept of Anxiety, and The Sickness unto Death, Kierkegaard develops powerful accounts of affects such as irony, melancholy, anxiety, and despair, while also exploring the affective dimensions of philosophical writing itself. This Element examines Kierkegaard's treatment of affectivity across his writings and across individual affects. It argues that his account is organised around a tension between two forms of affective life: baptisable affects that can be transformed and integrated into the project of becoming a self, and non-baptisable affects that resist such transformation and threaten to derail it.

'Is reason then alone baptized, are the passions pagans?' By placing Edward Young's question on the frontispiece of Either/Or, Søren Kierkegaard announces a problem that runs throughout his authorship: what role do the affects play in human existence? His answer helps explain his enduring importance for modern philosophy. Across works such as Either/Or, The Concept of Anxiety, and The Sickness unto Death, Kierkegaard develops powerful accounts of affects such as irony, melancholy, anxiety, and despair, while also exploring the affective dimensions of philosophical writing itself. This Element examines Kierkegaard's treatment of affectivity across his writings and across individual affects. It argues that his account is organised around a tension between two forms of affective life: baptisable affects that can be transformed and integrated into the project of becoming a self, and non-baptisable affects that resist such transformation and threaten to derail it.

In 1911, Franz Kafka encountered the Kaiser Panorama: a stereoscopic peep show offering an illusion of three-dimensional depth. After the experience, he began to emulate the apparatus in his literary sketches, developing a style we might call "stereoscopic," juxtaposing, like the optical stereoscope, two images of the same object seen from slightly different perspectives.Isak Winkel Holm argues that Kafka’s stereoscopic style is crucial to an understanding of the relation between literature and politics in Kafka's work. At the level of content, the stereoscopic style offers a representation of the basic order of a specific community. At the level of form, the stereoscopic style is structured as the juxtaposition of two dissimilar images of the same community. At the level of function, finally, the style provokes a reconsideration, and perhaps even a reconfiguration, of the social order itself. With insights from literary studies, philosophical aesthetics and political theory, Kafka’s Stereoscopes offers a detailed but highly readable argument for the relevance of Kafka's literary works in today’s political reality.

In 1911, Franz Kafka encountered the Kaiser Panorama: a stereoscopic peep show offering an illusion of three-dimensional depth. After the experience, he began to emulate the apparatus in his literary sketches, developing a style we might call "stereoscopic," juxtaposing, like the optical stereoscope, two images of the same object seen from slightly different perspectives.Isak Winkel Holm argues that Kafka's stereoscopic style is crucial to an understanding of the relation between literature and politics in Kafka's work. At the level of content, the stereoscopic style offers a representation of the basic order of a specific community. At the level of form, the stereoscopic style is structured as the juxtaposition of two dissimilar images of the same community. At the level of function, finally, the style provokes a reconsideration, and perhaps even a reconfiguration, of the social order itself. With insights from literary studies, philosophical aesthetics and political theory, Kafka's Stereoscopes offers a detailed but highly readable argument for the relevance of Kafka's literary works in today's political reality.

In 1911, Franz Kafka encountered the Kaiser Panorama: a stereoscopic peep show offering an illusion of three-dimensional depth. After the experience, he began to emulate the apparatus in his literary sketches, developing a style we might call "stereoscopic," juxtaposing, like the optical stereoscope, two images of the same object seen from slightly different perspectives.Isak Winkel Holm argues that Kafka's stereoscopic style is crucial to an understanding of the relation between literature and politics in Kafka's work. At the level of content, the stereoscopic style offers a representation of the basic order of a specific community. At the level of form, the stereoscopic style is structured as the juxtaposition of two dissimilar images of the same community. At the level of function, finally, the style provokes a reconsideration, and perhaps even a reconfiguration, of the social order itself. With insights from literary studies, philosophical aesthetics and political theory, Kafka's Stereoscopes offers a detailed but highly readable argument for the relevance of Kafka's literary works in today's political reality.