Nietzsche and Sartre are oftentimes compared as “atheistic existentialists” in the world of philosophy. One similarity between the two would have to be their use of in-depth analyzation for determining the process of life. Nietzsche, in “The Gay Science”, discusses the concept of Amor fati or “love of fate”, which is essentially Nietzsche’s definition of
Introducing the hierarchy of religious beliefs, as basically defined by Crispian Jago. It’s fairly easy to read, with the most harmless at the bottom and the most harmful at the top. The hierarchy argues that an individual or institution cannot make their way up the pyramid without hitting all the levels below. It can be described, simply, as a ladder. Everyone, as individuals, or every collection of institutions, as a society, starts at the very bottom and will accordingly adjust towards the environment surrounding them and the emotions within them.
The movie “God is Not Dead” is about a stereotypical do-nothing-wrong, goodie-two-shoes Christian student who is forced by an equally stereotypical cold-hearted and mean-spirited atheist to admit that “God is Dead” in a philosophy class. I’ve watched this movie twice — once because I had nothing better to do (Netflix is a wonderful time waster) and once more to actually make sure the morals and meanings of the story were what they presented themselves to be throughout my first experience.
At birth, there is an introduction. A heavenly beacon of light to start it all. The world opens, and we begin to live. It all seems so wonderful, magical, and sensible. The first few chapters are great, and we all cling onto our chairs as we witness the stages of life develop right before our very eyes. In the middle, we learn. We turn into madmen – cynical to life’s wonders. I call this character development. At death, the story ends. Some end abruptly, others with a bang that allow them to stand out against countless other stories.