Search results for 'Tragic, The' (try it on Scholar)

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  1.  37
    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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  2.  50
    Miguel de Unamuno (1972/1977). The Tragic Sense of Life in Men and Nations. Princeton University Press.
    The acknowledged masterpiece of Unamuno expresses the anguish of modern man as he is caught up in the struggle between the dictates of reason and the demands of his own heart.
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  3.  15
    Gerald L. Bruns (1999). Tragic Thoughts at the End of Philosophy: Language, Literature, and Ethical Theory. Northwestern University Press.
    Recently, a number of Anglo-American philosophers of very different sorts--pragmatists, metaphysicians, philosophers of language, philosophers of law, moral philosophers--have taken a reflective rather than merely recreational interest in literature. Does this literary turn mean that philosophy is coming to an end or merely down to earth? In this collection of essays, one of the most insightful of contemporary literary theorists investigates the intersection of literature and philosophy, analyzing the emerging preferences for practice over theory, particulars over universals, events over structures, (...)
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  4. Nathan A. Scott (1957). The Tragic Vision and the Christian Faith. New York, Association Press.
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  5.  78
    Stephen De Wijze (2005). Tragic-Remorse–the Anguish of Dirty Hands. Ethical Theory and Moral Practice 7 (5):453-471.
    This paper outlines and defends a notion of tragic-remorse. This moral emotion properly accompanies those actions that involve unavoidable moral wrongdoing in general and dirty hands scenarios in particular. Tragic-remorse differs both phenomenologically and conceptually from regret, agent-regret and remorse. By recognising the existence of tragic-remorse, we are better able to account for our complex moral reality which at times makes it necessary for good persons to act in ways that although justified leave the agent with a moral stain and (...)
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  6.  37
    Todd Bernard Weber (2000). Tragic Dilemmas and the Priority of the Moral. Journal of Ethics 4 (3):191-209.
    My purpose in this paper is to argue that we are not vulnerableto inescapable wrongdoing occasioned by tragic dilemmas. I directmy argument to those who are most inclined to accept tragicdilemmas: those of broadly Nietzschean inclination who reject``modern moral philosophy'''' in favor of the ethical ideas of theclassical Greeks. Two important features of their project are todeny the usefulness of the ``moral/nonmoral distinction,'''' and todeny that what are usually classified as moral reasons always oreven characteristically ``trump'''' nonmoral reasons in anadmirable (...)
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  7.  2
    Danie Goosen (2010). The Tragic, the Impossible and Democracy: An Interview with Jacques Derrida. [REVIEW] International Journal for the Semiotics of Law - Revue Internationale de Sémiotique Juridique 23 (3):243-264.
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  8.  3
    Alice Ormiston (2011). A Tragic Desire: Rousseau and the Modern Democratic Project. Telos: Critical Theory of the Contemporary 2011 (154):8-28.
    ExcerptThe desire for a better future, for a justice that can be realized in the world, is intrinsic to the modern democratic project. At the same time, this desire has been fraught with disappointment and, in some cases, bound up with frightening atrocities and rigid ideological impositions. Hence the desire itself is paradoxical—indeed, as I shall argue, tragic. This article is an attempt to explore the nature of this tragic desire. It does so through an examination of Rousseau, whose writings (...)
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  9.  4
    Andrea Salvatore (2012). The Tragic Theory of Carl Schmitt. Telos: Critical Theory of the Contemporary 2012 (161):181-187.
    The Winter 2010 issue of Telos has clearly highlighted the relevance of Carl Schmitt's Hamlet or Hecuba to both the interpretation of Schmitt's political theory and Shakespearean criticism. The main thesis concerning Schmitt's intrusion into the literary field deals with the structural relationships between historical context and tragic dimension, between politics and aesthetics; the tragic drama can be properly understood only in relation to the historical context to which it refers and the concrete situation that it aims to re-present. The (...)
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  10. A. -T. Tymieniecka (1984). Tragedy and the Completion of Freedom in The Existential Coordinates of the Human Condition: Poetic, Epic, Tragic. The Literary Genre. Analecta Husserliana 18:295-306.
     
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  11. S. Abdoo (1984). Hardy's Jude: The Pursuit of the Ideal as Tragedy in The Existential Coordinates of the Human Condition: Poetic, Epic, Tragic. The Literary Genre. Analecta Husserliana 18:307-318.
     
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  12. M. Alexander (1984). Fallings From Us, Vanishings...: Composition and the Structure of Loss in The Existential Coordinates of the Human Condition: Poetic, Epic, Tragic. The Literary Genre. [REVIEW] Analecta Husserliana 18:91-97.
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  13. M. -T. Bertelloni (1984). Why Be a Poet? In The Existential Coordinates of the Human Condition: Poetic, Epic, Tragic. The Literary Genre. Analecta Husserliana 18:37-45.
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  14. Victor Carrabino (1984). The French Nouveau Roman: The Ultimate Expression of Impressionism in The Existential Coordinates of the Human Condition: Poetic, Epic, Tragic. The Literary Genre. Analecta Husserliana 18:261-270.
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  15. C. Eykman (1984). What Can the Poem Do Today? The Self-Evaluation of Western Poets After 1945 in The Existential Coordinates of the Human Condition: Poetic, Epic, Tragic. The Literary Genre. Analecta Husserliana 18:141-156.
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  16. Lm Findlay (1984). From Helikon to Aetna: The Precinct of Poetry in Hesiod, Empedokles, Holderlin, and Arnold in The Existential Coordinates of the Human Condition: Poetic, Epic, Tragic. The Literary Genre. Analecta Husserliana 18:119-140.
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  17. J. Garelli (1984). The Act of Writing as an Apprehension of the Enigma of Being-in-the-World in The Existential Coordinates of the Human Condition: Poetic, Epic, Tragic. The Literary Genre. Analecta Husserliana 18:451-477.
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  18. Jesse Gellrich (1984). The Structure of Allegory in The Existential Coordinates of the Human Condition: Poetic, Epic, Tragic. The Literary Genre. Analecta Husserliana 18:505-519.
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  19. E. Kaelin (1984). Toward a Theory of Contemporary Tragedy in The Existential Coordinates of the Human Condition: Poetic, Epic, Tragic. The Literary Genre. Analecta Husserliana 18:341-361.
     
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  20. B. Kennedy (1984). The Re-Emergence of Tragedy in Late Medieval England: Sir Thomas Malory's Morte Darthur in The Existential Coordinates of the Human Condition: Poetic, Epic, Tragic. The Literary Genre. Analecta Husserliana 18:363-378.
     
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  21. M. Kronegger (1984). Literary Impressionism and Phenomenology: Affinities and Contrasts in The Existential Coordinates of the Human Condition: Poetic, Epic, Tragic. The Literary Genre. Analecta Husserliana 18:521-533.
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  22. M. Kronegger (1984). The Birth of Tragedy Out of the Spirit of Music: Claudel, Milhaud and the Oresteia in The Existential Coordinates of the Human Condition: Poetic, Epic, Tragic. The Literary Genre. Analecta Husserliana 18:273-293.
     
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  23. J. Lyons (1984). Tragic Closure and the Cornelian Wager in The Existential Coordinates of the Human Condition: Poetic, Epic, Tragic. The Literary Genre. Analecta Husserliana 18:409-415.
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  24. F. Martinez-Bonati (1984). Fiction and the Transposition of Presence in The Existential Coordinates of the Human Condition: Poetic, Epic, Tragic. The Literary Genre. Analecta Husserliana 18:495-504.
     
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  25. J. Margolis (1984). The Problem of Reading, Phenomenologically or Otherwise in The Existential Coordinates of the Human Condition: Poetic, Epic, Tragic. The Literary Genre. Analecta Husserliana 18:559-568.
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  26. A. Medina (1984). The Existential Sources of Rhetoric: A Comparison Between Traditional Epic and Modern Narrative in The Existential Coordinates of the Human Condition: Poetic, Epic, Tragic. The Literary Genre. Analecta Husserliana 18:227-240.
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  27. Ca Miller (1984). The Poet in the Poem: A Phenomenological Analysis of Anne Sexton's: Briar Rose (Sleeping Beauty) in The Existential Coordinates of the Human Condition: Poetic, Epic, Tragic. The Literary Genre. Analecta Husserliana 18:61-73.
     
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  28. A. Moussally (1984). Un Modèle d'Analyse du Texte Dramatique in The Existential Coordinates of the Human Condition: Poetic, Epic, Tragic. The Literary Genre. Analecta Husserliana 18:547-557.
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  29. Bl Murphy (1984). Du Désordre À L'Ordre: Le Rôle de la Violence Dans Horace in The Existential Coordinates of the Human Condition: Poetic, Epic, Tragic. The Literary Genre. Analecta Husserliana 18:435-447.
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  30. L. Oppenheim (1984). The Field of Poetic Constitution in The Existential Coordinates of the Human Condition: Poetic, Epic, Tragic. The Literary Genre. Analecta Husserliana 18:47-59.
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  31. M. Platt (1984). Tragical, Comical, Historical in The Existential Coordinates of the Human Condition: Poetic, Epic, Tragic. The Literary Genre. Analecta Husserliana 18:379-400.
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  32. F. Ravaux (1984). The Denial of Tragedy: The Self-Reflexive Process of the Creative Activity and the French New Novel in The Existential Coordinates of the Human Condition: Poetic, Epic, Tragic. The Literary Genre. Analecta Husserliana 18:401-406.
     
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  33. J. Ruppert (1984). Nature, Feeling, and Disclosure in the Poetry of Wallace Stevens in The Existential Coordinates of the Human Condition: Poetic, Epic, Tragic. The Literary Genre. Analecta Husserliana 18:75-88.
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  34. Ba Schlack (1984). A Long Day's Journey Into Night: The Historicity of Human Existence Unfolding in Virginia Woolf's Fiction in The Existential Coordinates of the Human Condition: Poetic, Epic, Tragic. The Literary Genre. Analecta Husserliana 18:209-224.
     
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  35. M. Stewart (1984). Myth and Tragic Action in La Celestina and Romeo and Juliet in The Existential Coordinates of the Human Condition: Poetic, Epic, Tragic. The Literary Genre. Analecta Husserliana 18:425-433.
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  36. P. Stowell (1984). Phenomenology and Literary Impressionism: The Prismatic Sensibility in The Existential Coordinates of the Human Condition: Poetic, Epic, Tragic. The Literary Genre. Analecta Husserliana 18:535-544.
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  37. A. -T. Tymieniecka (1984). Aesthetic Enjoyment and Poetic Sense. Poetic Sense: The Irreducible in Literature in The Existential Coordinates of the Human Condition: Poetic, Epic, Tragic. The Literary Genre. [REVIEW] Analecta Husserliana 18:3-21.
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  38. A. -T. Tymieniecka (1984). The Theme: The Poetic, Epic and Tragic Genres as the Existential Coordinates of the Human Condition in The Existential Coordinates of the Human Condition: Poetic, Epic, Tragic. The Literary Genre. Analecta Husserliana 18.
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  39. B. Woshinsky (1984). Intuition in Britannicus in The Existential Coordinates of the Human Condition: Poetic, Epic, Tragic. The Literary Genre. Analecta Husserliana 18:417-423.
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  40.  24
    Lucien Goldmann (2013). The Hidden God: A Study of Tragic Vision in the Pensées of Pascal and the Tragedies of Racine. Routledge.
    The concept of ‘world visions’, first elaborated in the early work of Georg Lukàcs, is used here as a tool whereby the similarities between Pascal’s Pensées and Kant’s critical philosophy are contrasted with the rationalism of Descartes and the empiricism of Hume. For Lucien Goldmann, a leading exponent of the most fruitful method of applying Marxist ideas to literary and philosophical problems, the ‘tragic vision’ marked an important phase in the development of European thought from rationalism and empiricism to the (...)
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  41. J. Church (2014). Friedrich Schiller on Republican Virtue and the Tragic Exemplar. European Journal of Political Theory 13 (1):95-118.
    Scholars have recently argued that Friedrich Schiller makes a signal contribution to republican political theory in his view of “aesthetic education,” which offers a means of elevating self-interest to virtue. However, though this education is lauded in theory, it has been denigrated as implausible, irresponsible, or dangerous in practice. This paper argues that the criticisms rest on a faulty assumption that artistic objects constitute the sole substance of this “aesthetic education.” Through a reading of Schiller’s work throughout the 1790s, I (...)
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  42.  23
    Mark Coeckelbergh (2012). Moral Responsibility, Technology, and Experiences of the Tragic: From Kierkegaard to Offshore Engineering. Science and Engineering Ethics 18 (1):35-48.
    The standard response to engineering disasters like the Deepwater Horizon case is to ascribe full moral responsibility to individuals and to collectives treated as individuals. However, this approach is inappropriate since concrete action and experience in engineering contexts seldom meets the criteria of our traditional moral theories. Technological action is often distributed rather than individual or collective, we lack full control of the technology and its consequences, and we lack knowledge and are uncertain about these consequences. In this paper, I (...)
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  43. Elisa Galgut (2001). The Poetry and the Pity: Hume's Account of Tragic Pleasure. British Journal of Aesthetics 41 (4):411-424.
    I defend Hume's account of tragic pleasure against various objections. I examine his account of the emotions in order to clarify his "conversion theory". I also argue that Hume does not give us a theory of tragedy as an aesthetic genre, but rather elucidates the felt experience of a particular work of tragedy. I offer a partial reading of King Lear by way of illustration. Finally, I suggest that the experiences of aesthetic pleasure, and aesthetic sadness, share certain qualities. "Tragic (...)
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  44.  66
    Allen Speight (2002). Arendt and Hegel on the Tragic Nature of Action. Philosophy and Social Criticism 28 (5):523-536.
    Among the sources of Hannah Arendt's philosophy of action is an unexplored one: the account of agency in Hegel's Phenomenology of Spirit. Drawing on a consideration of what has been called the 'dramaturgical' character of Arendt's philosophy of action, the article compares the accounts of action in Arendt's Human Condition and in the 'Spirit' chapter of the Phenomenology. Both works share a similar overall structure: in each case, the account of action begins with the opening-up of previously unseen or unexpected (...)
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  45.  2
    J. Liaschenko, N. Y. Oguz & D. Brunnquell (2006). Critique of the "Tragic Case" Method in Ethics Education. Journal of Medical Ethics 32 (11):672-677.
    It is time for the noon conference. Your job is to impart a career-changing experience in ethics to a group of students and interns gathered from four different schools with varying curriculums in ethics. They have just finished 1½ h of didactic sessions and lunch. One third of them were on call last night. Your first job is to keep them awake. The authors argue that this “tragic case” approach to ethics education is of limited value because it limits understanding (...)
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  46. David Farrell Krell (2005). The Tragic Absolute: German Idealism and the Languishing of God. Indiana University Press.
    "This is vintage Krell—he is as always, a reader in the best sense of the word...." —Dennis J. Schmidt "Krell is a strong and often eloquent writer... I regard this to be one of his most important works...." —Jason M. Wirth In The Tragic Absolute, David Farrell Krell shows that German Idealist and Romantic theories of literature and aesthetic judgment, especially when it comes to tragedy, are closer to the heart of metaphysics and ethics than previously thought. Krell not only (...)
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  47.  4
    Karin Melis (2005). Reading Medea Nad Hecuba: The Tragic in Unconditional Love. Dialogue and Universalism 15 (1-2):203-210.
    If, as I propose, Hecuba represents fate and Medea contingency, taken together they constitute as well as reveal the tragic within the tension between the ontological and empirical status of man as it is embodied in the clash between necessity and freedom. Viewing this tension within the perspective of the unconditional status of the love of the mother, I will show how both narratives belong to the realm of possibilities and cause, what Ricoeur calls “suffering for the sake of understanding”. (...)
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  48.  4
    Thiago Rodrigues (2014). Melancholy and Nausea: From Destiny as the Basis of Tragic Character to Existential Absurdity. Trans/Form/Ação 37 (2):185-196.
    A partir da perspectiva intelectualista grega, na qual o dualismo entre corpo e alma requer o primado do discurso racional [lógos] em detrimento do páthos filosófico, busca-se com este artigo associar a noção de "desmedida" [hybris] com a noção de melancolia. Essa associação ganha ainda mais relevo, quando a aproximamos da interpretação de Simone Weil para o poema épico de Homero, a Ilíada. Se essa aproximação se justifica, então é patente a aproximação entre o caráter trágico que o destino adquire, (...)
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  49.  2
    J. D. Denniston (1936). Pauses in the Tragic Senarius. Classical Quarterly 30 (2):73-79.
    In the tragic senarius the divisions of the sense normally coincide with the main divisions of the metrical structure. Punctuation is most frequently found at the end of the line, or at the penthemimeral or hephthemimeral caesura. There are few traces of any desire to produce a persistent clash between verse structure and sentence structure. Thus at Med. 446–50 and 709–13 five consecutive lines, at Med. 364–71 eight consecutive lines, are more or less self-contained in sense. But this principle, while (...)
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  50.  8
    Michael Lloyd (1999). The Tragic Aorist. Classical Quarterly 49 (01):24-45.
    The tragic or ‘instantaneous’ aorist usually has a paragraph to itself in the grammar books, as a distinct but not especially important use of the aorist. It is most common in Athenian drama of the second half of the fifth century, although there are possible examples in Homer and some learned revivals later. The present article offers an entirely new account of these aorists, and entails a new interpretation of the tone of some 75 lines of tragedy and comedy.
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