In Badlands, Days of Heaven, The Thin Red Line, The New World, The Tree of Life, To the Wonder, and A Hidden Life, American director Terrence Malick has created cinematic works of art, films that are deeply philosophical. Philosophy, in fact, led Malick to film. He first studied with Stanley Cavell as an undergraduate at Harvard. A Rhodes Scholar at Oxford, Malick left without completing his studies there when Gilbert Ryle told Malick he could not write a thesis on Wittgenstein, Heidegger, and Kierkegaard—such figures were not real philosophy, Ryle is reported to have said. Returning to the States where he for a time taught philosophy at MIT, he translated a work of Martin Heidegger’s, while collaborating with Hubert Dreyfus. Soon, however, Malick left academic philosophy behind altogether, embarking instead on a directing career in film. Today, after nearly fifty years of pioneering filmmaking, it is time that Malick’s contribution to philosophy through film receive the systematic, careful attention it deserves. The essays herein contribute to that task.
Conscience: A Philosophical History
Conscience is central to the human condition and our understanding of that condition. What is its origin and purpose? What does it disclose? And how? Historically, it has been conceived in many ways, whether as an innate faculty responsible for the capacity to know right from wrong (the Hebrew Prophets), as voice of divine guidance (Socrates), as ontological hallmark of our individuality (Heidegger), or as internalization of society’s restrictive pressures and prejudices or parental admonishment (Freud). This rich reception raises many issues. It is, first, a matter of individual responsibility and morality. What, for example, does the capacity to draw moral judgments on its basis reveal about what it is to be the unique selves each of us is? It also, second, is a phenomenon of social, communal, and political significance. What, for example, does it mean to have our actions laid bare before others for moral and rational assessment as social and political beings? And, finally, it is a spiritual matter, too, as it discloses us before God. How, then, does conscience lay us bare before ourselves, others, and God? From Plato to Kant and Fichte, from Rousseau, Mill, Nietzsche and Freud, or the Prophets and Apostles to Heidegger, this book traces the history of the concept of conscience’s formation, highlighting how the capacity to hear and heed its voice forms the heart of man.
This book articulates an existence “in the Spirit” through a series of reflections on matters of basic human concern: love, hope, suffering, and death. With attention to the Bible and works of art (including Bellini, Caravaggio, Hopper, Kandinsky, Ossawa Tanner, Pissarro, Rembrandt, and Rodin), it explores the depths of the human experience. A contribution to the spiritualist tradition of edifying works by Fénelon, Kierkegaard, and Chrétien, In the Spirit celebrates the glory of being human in light of the Word of God.