Gene Fendt Livres

The book explores a theory of comedy that is believed to align with Aristotle's lost second book of "Poetics." It challenges formalist and intellectual interpretations, proposing that understanding comedy requires examining its ultimate purpose, particularly in relation to tragedy's role in eliciting catharsis through pity and fear. This perspective offers a fresh lens on the interplay between comedy and tragedy, emphasizing the emotional and philosophical dimensions of both genres.

Exploring the intersection of philosophy and politics, Gene Fendt reveals how Plato's Republic serves as a means of liturgical purification for both political and psychological delusions. The narrative parallels Socrates' interactions during the festival of Bendis, emphasizing the transformative power of dialogue and philosophical inquiry. Through this lens, readers are invited to confront their own misconceptions and engage in a deeper understanding of the self and society.

Rooted in personal reflection during a time of loss, this work explores the Book of Job through the lens of medieval lectio divina. The author, Dr. Fendt, combines scholarly insights with meditative practices, inviting readers to engage deeply with the text. Each chapter encourages contemplation and prayer, fostering a connection to the enduring tradition of monastic spirituality. This book serves as an invitation to explore the profound themes of suffering and faith, allowing readers to weave their own reflections into the timeless dialogue of Job.

"A year into the global pandemic, Gene Fendt repositions the attention of the Western world on a literary classic that bears a vital perspective. Presently, civilization cannot allow itself to think about being better. First it has to survive. Referencing Thomas Merton’s claim that Camus’ fictional account is actually a “modern myth about the destiny of man” and indication of the blight of “ambiguous and false explanations, interpretations, conventions, justifications, legalizations, evasions which infect our struggling civilization,” Fendt makes the case that “modernity itself is a time of plague.” Fendt asserts that perhaps “the originality of the modern plague is that most people admit of no symptoms.” This chilling likeness to the asymptomatic Covid-19 victim is but one of the images of what the plague stands for in both the novel and contemporary society. The existentialist fiction of Camus is unwrapped by Fendt’s fidelity to realism and Camus’ motivations as an artist. As Camus calls nihilistic art and culture “barbaric,” Fendt calls the barbarian a natural slave. If we are moved by the forces of powers that be without sense or knowledge of a proper end, we too have been rendered worse than ignorant. Beyond the presentation of The Plague as a myth, Fendt also provides generous insight into elements of this work that give an autobiographical portrait of Albert Camus´ artistic development. He provides an intelligent challenge to labeling Camus an atheist, if Camus is truly the artist Fendt believes him to be. It is also an unlikely but important contribution to the political philosophical study of solidarity."--Provided by publisher

For What May I Hope? is a dramatic exhibition of the place of hope in Philosophy. It presents hope's centrality in Kant's philosophy and dramatizes its final breakdown. It then shows how hope plays in various characters of Kierkegaard's authorship. The text dramatizes, as well, the hopes of writing - especially philosophical and scientific writing - and plays on the hopes of readers.