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  1. Arthur Cools (ed.) (2008). The Locus of Tragedy. Brill.
    This book wants to open a contemporary philosophical perspective on the tragic. What is the locus of tragedy?
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  2. Miguel de Beistegui & Simon Sparks (eds.) (2000). Philosophy and Tragedy. Routledge.
    Philosophy and Tragedy is a compelling contribution to that oversight and the first book to address the topic in a major way. Eleven new essays by internationally renowned philosophers clearly show how time and again, major thinkers have returned to tragedy in many of their key works. Philosophy and Tragedy asks why it is that thinkers as far apart as Hegel and Benjamin should make tragedy such and important strand of philosophy should present itself tragically. From Heidegger's reading of Sophocles' (...)
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  3. Alison Denham (2014). Tragedy Without the Gods: Autonomy, Necessity and the Real Self. British Journal of Aesthetics 54 (2):141-159.
    The classical tragedies relate conflicts, choices and dilemmas that have meaningful parallels in our own experience. Many of the normative dimensions of tragedy, however, rely critically on the causal and motivational efficacy of divine forces. In particular, these narratives present supernatural interventions invading their characters’ practical deliberations and undermining their claims to autonomous agency. Does this dynamic find any analogy in a contemporary, secular conception of moral agency? It does, but it is an analogy that challenges certain standard philosophical accounts (...)
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  4. Harry Edwin Eiss (2008). Insanity and Genius: Masks of Madness and the Mapping of Meaning and Value. Cambridge Scholars Pub..
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  5. Joaquín Esteban Ortega (ed.) (2009). Cultura Contemporánea y Pensamiento Trágico. Universidad Europea Miguel de Cervantes, Servicio de Publicaciones.
    Durante el año 2008, el Seminario de Sociedad y Cultura Contemporáneas de nuestra universidad quiso celebrar un ciclo de conferencias sobre la actualidad de lo trágico. Nuestra convicción era que la cultura contemporánea volvía a necesitar la voz y la energía del pensamiento de la tragedia, después de que estas hubieran sido interesadamente neutralizadas en los últimos tiempos. Para este proyecto, se contó con la presencia de toda una autoridad mundial en esta área, Sergio Givone, así como con reputados profesores (...)
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  6. N. Georgopoulos (ed.) (1993). Tragedy and Philosophy. St. Martin's Press.
    Is philosophy, as the love of wisdom, inherently tragic? Must philosophy abolish its traditional modes of thinking if it is to attain the wisdom of tragedy? Sharing a common origin, even direction, does philosophy move beyond tragedy, epitomizing it? Is the action of tragedy analogous to the activity of philosophy? Have Hegel and Nietzsche distorted the tragic? Can there be a philosophy of the tragic? It is with such questions that the essays of this volume become involved, coming up with (...)
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  7. James R. Hamilton (2014). Notes on the Experience of Tragedy. British Journal of Aesthetics 54 (2):255-265.
    Gregory Currie offers a statement of an interesting problem about tragedy: ‘(1) We want the fiction be such that something, E, occurs in it; [yet] (2) we react in ways which make it tempting to say we want E not to occur.’ He argues for one way to make (2) more precise with regard to what it is we are tempted to say. I argue he should not so readily have accepted (1). More significantly, however, I argue both that Currie (...)
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  8. James R. Hamilton (2009). Drama. In Higgins Davies (ed.), Blackwell Companion to Aesthetics.
    Hamilton explains why "drama" is a category of literature rather than of theater, even though it is appropriate to describe many theatrical performances as "dramatic." Consideration of the possibilities of theatrical performance are especially important to this category of literature, but need not be (and often are not) decisive in constraining interpretations of dramatic works.
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  9. George W. Harris (2006). Reason's Grief: An Essay on Tragedy and Value. Cambridge University Press.
    In Reason's Grief, George Harris takes W. B. Yeats's comment that we begin to live only when we have conceived life as tragedy as a call for a tragic ethics, something the modern West has yet to produce. He argues that we must turn away from religious understandings of tragedy and the human condition and realize that our species will occupy a very brief period of history, at some point to disappear without a trace. We must accept an ethical perspective (...)
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  10. Malcolm Heath (2014). Aristotle and the Value of Tragedy. British Journal of Aesthetics 54 (2):111-123.
    This article explores Aristotle’s understanding of the value of tragedy. The primarily technical analyses of the Poetics are not sufficient for this purpose: they must be read in the context of Aristotle’s philosophical anthropology. An outline of Aristotle’s understanding of the structure of human motivation provides a framework within which to interpret his discussion of the uses of music, and in particular of music’s status as an intrinsically valuable component of cultivated leisure. Applying that model to tragedy requires an explanation (...)
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  11. P. Livingston (2013). Du Bos' Paradox. British Journal of Aesthetics 53 (4):393-406.
    What is now generally known as the paradox of art and negative affect was identified as a paradox by the Abbé Jean-Baptiste Du Bos in 1719. In his attempt to explain how people can admire and enjoy representational works that ‘afflict’ them, Du Bos claims that such representations give rise to ‘artificial’ emotions, provide a pleasurable relief from boredom, and offer us epistemic, artistic, and moral rewards. The paper delineates Du Bos’ proposal, considers the question of Du Bos’ originality, and (...)
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  12. Andrea Mariotti Geuna (2010). L'attualità Del Tragico: Un Percorso Filosofico. Alboversorio.
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  13. Patchen Markell (2003). Tragic Recognition: Action and Identity in Antigone and Aristotle. Political Theory 31 (1):6-38.
  14. Claire Elizabeth McEachern (2014). Two Loves I Have: Of Comfort and Despair in Shakespearean Genre. British Journal of Aesthetics 54 (2):191-211.
    A consideration of the differences between Shakespearean comedy and tragedy in light of the historically particular inflection of dramatic irony in the English Reformation. The essay compares classical and humanist understandings of literary response and then proposes that we consider that response as a function of knowledge with respect to (and hence feelings about) a protagonist and his plight. The essay compares the structures of suspense in Sophocles’ and Seneca’s Oedipus plays, and then goes on to examine the ways in (...)
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  15. A. Merivale (2011). Mixed Feelings, Mixed Metaphors: Hume On Tragic Pleasure. British Journal of Aesthetics 51 (3):259-269.
    The principle with which Hume accounts for the seemingly unaccountable pleasure that we take in tragic drama is placed in its theoretical context, and the various metaphors that Hume uses in describing this principle are examined. These metaphors are then brought to bear on an interpretative controversy concerning the result of Hume's principle for the subordinate passion. It is argued that, while Hume's considered position should have been that this passion is destroyed at the end of the process, it is (...)
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  16. Bruno Moroncini (2004). Il Sorriso di Antigone: Frammenti Per Una Storia Del Tragico Moderno. Filema.
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  17. M. Murelli (2013). The Smile of Tragedy: Nietzsche and the Art of Virtue. British Journal of Aesthetics (4):ays089.
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  18. Herman Rapaport (1997). Is There Truth in Art? Cornell University Press.
    'Is There Truth in Art?' includes chapters on atonal music, environmental art, modern German and French poetry, contemporary French fiction, experimental French ...
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  19. Volnei Edson dos Santos (ed.) (2004). O Trágico E Seus Rastros. Eduel.
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  20. Sandra Shapshay & Steven Wagschal (2014). Contemporary Cinematic Tragedy and the 'Silver-Lining' Genre. British Journal of Aesthetics 54 (2):161-174.
    Although much recent work in Anglo-American aesthetics on tragedy has focused exclusively on the ‘problems’ of tragic pleasure, in the long tradition of reflection on tragedy philosophers have focused more on tragedy as a genre of particular moral and political-philosophical significance. In this paper, we investigate the tragedy of our day in light of these latter concerns in order to determine what works of this genre reveal about the sense of the terrible necessities or near-necessities with which our contemporary Western (...)
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  21. Peter Szondi (2002). An Essay on the Tragic. Stanford University Press.
    Peter Szondi´s pathbreaking work is a succinct and elegant argument for distinguishing between a philosophy of the tragic and the poetics of tragedy espoused by Aristotle. The first of the book´s two parts consists of a series of commentaries on philosophical and aesthetic texts from twelve thinkers and poets between 1795 and 1915: Schelling, Hölderlin, Hegel, Solger, Goethe, Schopenhauer, Vischer, Kierkegaard, Hebbel, Nietzsche, Simmel, and Scheler. The various definitions of tragedy are read not so much in terms of their specific (...)
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  22. Jiangsong Wang (2009). Bei Ju Zhe Xue de Dan Sheng: Cong Bei Ju Jiao du Tou Shi Nicai Zhe Xue de Chang Shi. Zhongguo She Hui Ke Xue Chu Ban She.
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  23. Lambert Zuidervaart (2004). Artistic Truth: Aesthetics, Discourse, and Imaginative Disclosure. Cambridge University Press.
    Lambert Zuidervaart challenges current intellectual trends by proposing a new hermeneutic theory of artistic truth, engaging with both analytic and continental philosophies and clarifying the contemporary cultural scene. Although it is unfashionable to talk about artistic truth, its issues have not disappeared. Indeed, questions concerning the role of the artist in society, the relationship between art and knowledge, and the validity of cultural interpretation have actually intensified.
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