Why did Greek tragedy and "the tragic" come to be seen as essential to conceptions of modernity? And how has this belief affected modern understandings of Greek drama? In Genealogy of the Tragic, Joshua Billings answers these and related questions by tracing the emergence of the modern theory of the tragic, which was first developed around 1800 by thinkers associated with German Idealism. The book argues that the idea of the tragic arose in response to a new consciousness (...) of history in the late eighteenth century, which spurred theorists to see Greek tragedy as both a unique, historically remote form and a timeless literary genre full of meaning for the present. The book offers a new interpretation of the theories of Schiller, Schelling, Hegel, Hölderlin, and others, as mediations between these historicizing and universalizing impulses, and shows the roots of their approaches in earlier discussions of Greek tragedy in Germany, France, and England. By examining eighteenth-century readings of tragedy and the interactions between idealist thinkers in detail, Genealogy of the Tragic offers the most comprehensive historical account of the tragic to date, as well as the fullest explanation of why and how the idea was used to make sense of modernity. The book argues that idealist theories remain fundamental to contemporary interpretations of Greek tragedy, and calls for a renewed engagement with philosophical questions in criticism of tragedy. (shrink)

In this book, classicist Joshua Billings considers classical Greek drama as intellectual history. Developing an innovative approach to dramatic form as a mode of philosophical thought, Billings recasts early Greek intellectual history as a conversation across types of discourses and demonstrates the significance of dramatic reflections on widely-shared conceptual questions. He integrates evidence from tragedy, comedy, and satyr play into the development of early Greek philosophy in order to place poetry at the center of Greek thought. He (...) thus offers a substantially new history and map of classical intellectual culture: drama, on his view, appears as our best source for understanding the thought of the fifth century, while at the same time revealing significant tensions and anxieties in the development of philosophy. At the heart of the book is a novel approach to the philosophical qualities of drama. Though dramatists and their works have been considered philosophical in a variety of ways going back to antiquity, scholarly approaches have consistently taken "literature" and "philosophy" as defined categories, tracing more or less direct connections between one and the other. On the contrary, Billings argues that neither "literature" nor "philosophy" were available as stable categories in the fifth century. Rather he describes the way that drama treats issues that would come to be called philosophical, without relying on assumptions concerning what constitutes philosophical method or literary form. Drama develops a kind of method that allows it to pose and pursue conceptual questions in dramatic form which Billings describes as the "philosophical poetics" of drama. (shrink)

Obwohl Nietzsches Quellen für Die Geburt der Tragödie schon weitestgehend erforscht wurden, hat ihre Verwendung durch Nietzsche bisher noch nicht die ihr gebührende Aufmerksamkeit erfahren. Gefordert ist eine 'kritische Quellenforschung', die ier in Hinischt auf die Bedeutung des Chors in GTy und 8 durchgeführt wird. Im Vergleich zu den Quellen erweist sich GT als eine systematische Fehllektüre, deren Ziel die Überwindung des Gegensatzes von Antike und Modern ist. Bei der Behandlung der Rolle des Chors verändert, ertweitert und entstellt Nietzsche frühere (...) Theorien und gibt eine gewagte eigene Darstellung Diese geht über Nietzsches Quellen hinaus, wenn er dem Chor eine wesentliche Bedeutung für die Wiedergeburt der Tragödie in der Moderne zuschreibt. Mit dieser Fehllektüre bezweckt er eine ähnliche Kritik der philologischen Methode, wie sie auss den Fragmenten "Wir Philologen" bekannt ist. Indem er die angemaßte Objektivität der Philologie travestiert, behauptet er die Unmöglichkeit einer wissenschaftlichen Erforschung der Antike. Seine Kritik des Gegenstands anhand der Methode deutet auf eine zentrale These seine späteren Werks hin, nämlich auf die Unmöglichkeit von Wissen, das frei von jeder subjektiven Perspektive sien soll.Though Nietzsche's sources for Die geburt de Tragödie have been researched thoroughly, the use he makes of those sources has not received the attention it deserves. This requires a 'critical Quellenforschung', which is developed in relation to the account of the chorus in GT 7 and 8. In comparison with its sources, GT reveals a systematic misreading, aimed at collapsing the opposition of antiquity and modernity. In discussing the chorus, Nietzsche alters, extends, and misrepresents previous theories to create a daring new account. Though recognizably indebted to others, Nietzsche's description goes far beyond his sources in presenting the chorus as essential to the rebirth of tragedy in modernity. The aim of these misreadings is a critique of philological method similar to that found in fragments known as "Wir Philologen". Travestying the presumed objectivity of his discipline, Nietzsche performs the impossibility of a scientific study of antiquity. In expressing critique through the method of its object, Nietzsche points, as he will in his later work, to the impossibility of knowledge freed from subjective perspective. (shrink)

From around 1800, particularly in Germany, Greek tragedy has been privileged in popular and scholarly discourse for its relation to apparently timeless metaphysical, existential, ethical, aesthetic, and psychological questions. As a major concern of modern philosophy, it has fascinated thinkers including Hegel, Kierkegaard, Nietzsche, Freud, and Heidegger. Tragedy and the Idea of Modernity considers this tradition of philosophy in relation to the ancientGreek works themselves, and mediates between the concerns of classicists and those of intellectual historians and philosophers.

In lieu of an abstract, here is a brief excerpt of the content:Epic and Tragic Music: The Union of the Arts in the Eighteenth CenturyJoshua BillingsI. The Union of the Arts in WeimarAround 1800 in Weimar, thought on Greek tragedy crystallized around the union of speech, music, and gesture—what Wagner would later call the Gesamtkunstwerk. Friedrich Schiller and Johann Gottfried Herder both found something lacking in modern spoken theater in comparison with ancient tragedy’s synthesis of the arts. Schiller’s 1803 “Trauerspiel (...) mit Chören,” Die Braut von Messina, represents a radical experiment in recreating the ancient union of the arts.1 The Greek tragic chorus, revived in Schiller’s drama, becomes the modern locus for this union. In a preface appended to the published version of the play, Schiller writes,The tragic work of poetry first becomes a whole through its theatrical performance: the poet only gives the words; music and dance must be added as well to enliven them. As long as the chorus lacks this powerful sensory accompaniment, so long will it appear in the economy of a tragedy as an alien element, a foreign body, a retardation.2 [End Page 99]Exactly contemporary (and possibly in response), Herder’s discussion of drama in his journal Adrastea similarly views the union of the arts in ancient tragedy as a corrective for modern drama:3A Greek who attended our tragedy [Trauerspiel], used to the musical voice of his own, would have to find in it a sad play [trauriges Spiel]. “How wordy-mute,” he would say, “how dull and soundless! Have I stepped into a decorated grave? You shout and sigh and bluster! Move your arms, strain your facial features, reason, declaim; but does your voice and feeling never become song? Do you not miss the strength of this demonic expression? Do your rhythms, your iambs never urge you on to the accents of the true language of the gods?”4The focus on media distinguishes these Weimar discussions of tragedy both from the Jena aesthetics of the Schlegel brothers and from the Idealist “philosophy of the tragic” already underway in the works of Schelling, Hölderlin, and Hegel.5 Though both Schiller and Herder are relatively indifferent to dance, their writings reflect strong interests in music.6 Their considerations [End Page 100] of tragedy show a close engagement with the sensory experience of drama that is unusual for its time, and has little precedent in Germany.For Schiller’s late poetics, the union of words, music, and gesture is a means of radically dividing the experience of theater from daily life. The tragic chorus “should be for us a living wall, which tragedy sets up around itself in order to close itself off wholly from the real world.”7 It “justifies the tragic poet in this raising of tone, which fills the ear, which strains the spirit, which broadens the whole mind.”8 Musical speech, Schiller argues, allows for an expression that transcends conventional language and quotidian existence. Schiller had hoped “to let [the choral intermezzos] be recited in the way of song and to accompany them with an instrument,” though his wish went unfulfilled in the first, and subsequent performances.9 Yet even after relinquishing the real possibility of a union of the arts in performances of Braut, Schiller upheld it as an ideal in his preface.Herder is remembered today primarily for his elaboration of an organic historicism, which understands cultural phenomena according to the circumstances of their creation. Yet his concern was more than merely historical; especially in the Adrastea, he continually sought guidance for the present in the events of the past. A contemporary, writing shortly after Herder’s death, saw the two orientations, historical and critical, as equally important: investigation of the past was intended as “a didactic or warning image” for his own time.10 The guiding idea of the journal was similarly educative, based on Herder’s understanding of Adrastea as a principle of justice and moderation.11 In Herder’s thought, as in most writing on ancient literature of the eighteenth century, there is no absolute division between scholarly and critical concerns: the study of ancient works was both an end in itself and a... (shrink)

From around 1800, particularly in Germany, Greek tragedy has been privileged in popular and scholarly discourse for its relation to apparently timeless metaphysical, existential, ethical, aesthetic, and psychological questions. As a major concern of modern philosophy, it has fascinated thinkers including Hegel, Kierkegaard, Nietzsche, Freud, and Heidegger. Tragedy and the Idea of Modernity considers this tradition of philosophy in relation to the ancientGreek works themselves, and mediates between the concerns of classicists and those of intellectual historians and philosophers.

A comprehensive introduction to the Classical Greek sophists, placing them afresh in their cultural context. These public figures, such as Protagoras and Gorgias, were wide-ranging experts before discipline-specialization, and represent the flourishing of linguistic, historical, and philosophical reflection in the time of Socrates.

In his commentary onBacchae439, lemma γελῶν, E.R. Dodds writes: ‘the actor who plays the Stranger no doubt wore a smiling mask throughout’. In addition to this passage, Dodds citesBacch.380 andHymn. Hom. Bacch.14. Referringto Bacch.1021, he expands: ‘it is an ambiguous smile—here the smile of a martyr, afterwards the smile of the destroyer.’ The idea seems to originate either from Dodds himself or from R.P. Winnington-Ingram, whoseEuripides and Dionysus cites the smile as well. Winnington-Ingram's book, according to the Preface, was substantially (...) complete by 1938, and he and Dodds were in close contact at the time of writing, so the idea could have come from either one or the other, or from their conversations. Whatever its source, the smiling mask is taken as fact by both, and through their works entered the mainstream of post-war scholarship onBacchae. (shrink)

This volume addresses a wide variety of moral concerns regarding slavery as an institutionalized social practice. By considering the slave's critical appropriation of the natural rights doctrine, the ambiguous implications of various notions of consent and liberty are examined. The authors assume that, although slavery is undoubtedly an evil social practice, its moral assessment stands in need of a more nuanced treatment. They address the question of what is wrong with slavery by critically examining, and in some cases endorsing, certain (...) principles derived from communitarianism, paternalism, utilitarianism, and jurisprudence. (shrink)

Recently, several states in the United States have sought to adopt more restrictive abortion policies. Most have tried to enact “heartbeat bills” that prohibit most abortions once a fetal heartbeat becomes detectable. This article explores this question: Are heartbeat bills ethically defensible? I argue that they are not. There are at least four problems with them. First, heartbeat bills rely on a problematic understanding of human death. Second, they contradict and even undermine the leading arguments in ethics against abortion. Third, (...) they are ambiguous not just in terms of when they judge fetal heartbeats to be detectable but also in what they deem to be heartbeats. Finally, there is a case to be made that heartbeat bills are disingenuous, both in their intentions and in their underlying motives. (shrink)

Although there are various studies comparing Greek and Indian philosophy and religion, and Chinese and Western philosophy and religion, Brahman and Dao: Comparatives Studies in Indian and Chinese Philosophy and Religion is a first of its kind that brings together Indian and Chinese philosophies and religions. Brahman and Dao helps close the gap on a much needed examination on the rich history of Buddhist transmission to China, and the many generations of Indian Buddhist missionaries to China and Chinese Buddhist pilgrims (...) to India, including the legendary Bodhidharma, and Faxian and Xuanzang. (shrink)

leaps and bounds, and some portion of the growth may already be spilling over; most of the immigrants to buffalo in re­ cent years were canadian. buffalo of­ fers urban living free of traffic jams and boasts one of the nation’s last under­ developed stretches of premium wa­ terfront. During its city of light heyday, when buffalo was the first electrified metropolis, Frank lloyd Wright, Fred­ erick law olmsted, and other fabled names designed homes and parks. in the lovely Delaware (...) Park area, magnifi­ cent beaux arts homes sell at exceed­ ingly low prices compared with homes in elite U.S. cities—or in toronto. So long as the bills keep a foot in the city, they keep alive the dream of a Su­ per bowl win—a hope that an infusion of loonies (canadian dollars) might sustain. and should the bills win the Super bowl, buffalo will return to na­ tional prominence. i don’t just think this will happen, i know it will. Gregg Easterbrook is an atlantic contributing editor. (shrink)

The Shape of Agency offers interlinked explanations of the basic building blocks of agency, as well as its exemplary instances. The first part offers accounts of a collection of related phenomena that have long troubled philosophers of action: control over behaviour, non-deviant causation, and intentional action. These accounts build on earlier work in the causalist tradition, and undermine the claims made by many that causalism cannot offer a satisfying account of non-deviant causation, and therefore fails as an account of intentional (...) action. The second part turns to modes of agentive excellence—ways that agents display quality of form—providing a novel account of skill, including an account of the ways that agents display more or less skill. Shepherd discusses the role of knowledge in skill, and concludes that while knowledge is often important, it is inessential. This leads to a discussion of the way that knowledge of action and knowledge of how to act informs action execution. Knowledgeable action includes a unique epistemic underpinning: in knowledgeable action, the agent has authoritative knowledge of what she is doing and how she is doing it when and because she is poised to control her action by way of practical reasoning. (shrink)

The rise of experimental philosophy has placed metaphilosophical questions, particularly those concerning concepts, at the center of philosophical attention. X-phi offers empirically rigorous methods for identifying conceptual content, but what exactly it contributes towards evaluating conceptual content remains unclear. We show how x-phi complements Rudolf Carnap’s underappreciated methodology for concept determination, explication. This clarifies and extends x-phi’s positive philosophical import, and also exhibits explication’s broad appeal. But there is a potential problem: Carnap’s account of explication was limited to empirical and (...) logical concepts, but many concepts of interest to philosophers are essentially normative. With formal epistemology as a case study, we show how x-phi assisted explication can apply to normative domains. (shrink)

Experimental philosophy uses experimental research methods from psychology and cognitive science in order to investigate both philosophical and metaphilosophical questions. It explores philosophical questions about the nature of the psychological world - the very structure or meaning of our concepts of things, and about the nature of the non-psychological world - the things themselves. It also explores metaphilosophical questions about the nature of philosophical inquiry and its proper methodology. This book provides a detailed and provocative introduction to this innovative field, (...) focusing on the relationship between experimental philosophy and the aims and methods of more traditional analytic philosophy. Special attention is paid to carefully examining experimental philosophy's quite different philosophical programs, their individual strengths and weaknesses, and the different kinds of contributions that they can make to our philosophical understanding. Clear and accessible throughout, it situates experimental philosophy within both a contemporary and historical context, explains its aims and methods, examines and critically evaluates its most significant claims and arguments, and engages with its critics. (shrink)

One necessary condition on any adequate account of perception is clarity regarding whether unconscious perception exists. The issue is complicated, and the debate is growing in both philosophy and science. In this paper we consider the case for unconscious perception, offering three primary achievements. First, we offer a discussion of the underspecified notion of central coordinating agency, a notion that is critical for arguments that purportedly perceptual states are not attributable to the individual, and thus not genuinely perceptual. We develop (...) an explication of what it is for a representational state to be available to central coordinating agency for guidance of behavior. Second, drawing on this explication, we place a more careful understanding of the attributability of a state to the individual in the context of a range of empirical work on vision-for-action, saccades, and skilled typing. The results place pressure on the skeptic about unconscious perception. Third, reflecting upon broader philosophical themes running through debates about unconscious perception, we highlight how our discussion places pressure on the view that perception is a manifest kind, rather than a natural kind. In doing so, we resist the tempting complaint that the debate about unconscious perception is merely verbal. (shrink)

I argue for the existence of imaginative beliefs: mental states that are imaginative in format and doxastic in attitude. I advance two arguments for this thesis. First, there are imaginings that play the functional roles of belief. Second, there are imaginings that play the epistemic roles of belief. These arguments supply both descriptive and normative grounds for positing imaginative beliefs. I also argue that this view fares better than alternatives that posit distinct imaginative and doxastic states to account for the (...) same phenomena. Along the way, I demonstrate the theoretical significance of imaginative beliefs by showing how they pose a challenge for standard taxonomies of the mind, clarify the sense in which imagination is occurrent and voluntary, explain the justificatory role of the imagination, and point to a deep but underappreciated symmetry between imagistic and non-imagistic thought. (shrink)

An influential objection to the epistemic power of the imagination holds that it is uninformative. You cannot get more out of the imagination than you put into it, and therefore learning from the imagination is impossible. This paper argues, against this view, that the imagination is robustly informative. Moreover, it defends a novel account of how the imagination informs, according to which the imagination is informative in virtue of its analog representational format. The core idea is that analog representations represent (...) relations ‘for free,’ and this explains how the imagination can contain more information than is put into it. This account makes important contributions to both philosophy of mind, by showing how the imagination can generate new content that is not represented by a subject’s antecedent mental states, and epistemology, by showing how the imagination can generate new justification that is not conferred by a subject’s antecedent evidence. (shrink)

Our interest in this paper is to drive a wedge of contention between two different programs that fall under the umbrella of “experimental philosophy”. In particular, we argue that experimental philosophy’s “negative program” presents almost as significant a challenge to its “positive program” as it does to more traditional analytic philosophy.

Imagination plays a rich epistemic role in our cognitive lives. For example, if I want to learn whether my luggage will fit into the overhead compartment on a plane, I might imagine trying to fit it into the overhead compartment and form a justified belief on the basis of this imagining. But what explains the fact that imagination has the power to justify beliefs, and what is the structure of imaginative justification? In this paper, I answer these questions by arguing (...) that imaginings manifest an epistemic status: they are epistemically evaluable as justified or unjustified. This epistemic status grounds their ability to justify beliefs, and they accrue this status in virtue of being based on evidence. Thus, imaginings are best understood as justified justifiers. I argue for this view by way of showing how it offers a satisfying explanation of certain key features of imaginative justification that would otherwise be puzzling. I also argue that imaginings exhibit a number of markers of the basing relation, which further motivates the view that imaginings can be based on evidence. The arguments in this paper have theoretically fruitful implications not only for the epistemology of imagination, but for accounts of reasoning and epistemic normativity more generally. (shrink)

It seems obvious that phenomenally conscious experience is something of great value, and that this value maps onto a range of important ethical issues. For example, claims about the value of life for those in a permanent vegetative state, debates about treatment and study of disorders of consciousness, controversies about end-of-life care for those with advanced dementia, and arguments about the moral status of embryos, fetuses, and non-human animals arguably turn on the moral significance of various facts about consciousness. However, (...) though work has been done on the moral significance of elements of consciousness, such as pain and pleasure, little explicit attention has been devoted to the ethical significance of consciousness. In this book Joshua Shepherd presents a systematic account of the value present within conscious experience. This account emphasizes not only the nature of consciousness, but the importance of items within experience such as affect, valence, and the complex overall shape of particular valuable experiences. Shepherd also relates this account to difficult cases involving non-humans and those with disorders of consciousness, arguing that the value of consciousness influences and partially explains the degree of moral status a being possesses, without fully determining it. The upshot is a deeper understanding of both the moral importance of phenomenal consciousness and its relations to moral status. This book will be of great interest to philosophers and students of ethics, bioethics, philosophy of psychology, philosophy of mind and cognitive science. (shrink)

First Published in 1999. Routledge is an imprint of Taylor & Francis, an informa company.

Social commentators have long asked whether racial categories should be conserved or eliminated from our practices, discourse, institutions, and perhaps even private thoughts. In _A Theory of Race_, Joshua Glasgow argues that this set of choices unnecessarily presents us with too few options. Using both traditional philosophical tools and recent psychological research to investigate folk understandings of race, Glasgow argues that, as ordinarily conceived, race is an illusion. However, our pressing need to speak to and make sense of social (...) life requires that we employ something like racial discourse. These competing pressures, Glasgow maintains, ultimately require us to stop conceptualizing race as something biological, and instead understand it as an entirely social phenomenon. (shrink)

The vividness of mental imagery is epistemically relevant. Intuitively, vivid and intense memories are epistemically better than weak and hazy memories, and using a clear and precise mental image in the service of spatial reasoning is epistemically better than using a blurry and imprecise mental image. But how is vividness epistemically relevant? I argue that vividness is higher-order evidence about one’s epistemic state, rather than first-order evidence about the world. More specifically, the vividness of a mental image is higher-order evidence (...) about the amount of first-order information one has about its subject matter. When vividness is sufficiently low, it can give one reason to doubt the epistemic basis of the mental image and thereby act as a defeater. This account has important implications for theorizing about the epistemic roles of memory, imagination, mental imagery, and phenomenal consciousness. (shrink)

This chapter argues that epistemic uses of the imagination are a sui generis form of reasoning. The argument proceeds in two steps. First, there are imaginings which instantiate the epistemic structure of reasoning. Second, reasoning with imagination is not reducible to reasoning with doxastic states. Thus, the epistemic role of the imagination is that it is a distinctive way of reasoning out what follows from our prior evidence. This view has a number of important implications for the epistemology of the (...) imagination. For one thing, it clarifies the epistemic role of widely invoked “constraints” on the imagination. For another, it highlights important and underappreciated disanalogies between how perceptual experiences and imaginings justify beliefs. Ultimately, the view that we can reason with imagination offers an illuminating and theoretically fruitful framework through which to understand the epistemic structure of the imagination. (shrink)

I seek an explanation for the etiology and the function of mind wandering episodes. My proposal – which I call the cognitive control proposal – is that mind wandering is a form of non-conscious guidance due to cognitive control. When the agent’s current goal is deemed insufficiently rewarding, the cognitive control system initiates a search for a new, more rewarding goal. This search is the process of unintentional mind wandering. After developing the proposal, and relating it to literature on mind (...) wandering and on cognitive control, I discuss explanations the proposal affords, testable predictions the proposal makes, and philosophical implications the proposal has. (shrink)

Jennifer Nagel (2010) has recently proposed a fascinating account of the decreased tendency to attribute knowledge in conversational contexts in which unrealized possibilities of error have been mentioned. Her account appeals to epistemic egocentrism, or what is sometimes called the curse of knowledge, an egocentric bias to attribute our own mental states to other people (and sometimes our own future and past selves). Our aim in this paper is to investigate the empirical merits of Nagel’s hypothesis about the psychology involved (...) in knowledge attribution. (shrink)

In this paper, I examine the claim that self-consciousness is highly morally significant, such that the fact that an entity is self-conscious generates strong moral reasons against harming or killing that entity. This claim is apparently very intuitive, but I argue it is false. I consider two ways to defend this claim: one indirect, the other direct. The best-known arguments relevant to self-consciousness's significance take the indirect route. I examine them and argue that in various ways they depend on unwarranted (...) assumptions about self-consciousness's functional significance, and once these assumptions are undermined, motivation for these arguments dissipates. I then consider the direct route to self-consciousness's significance, which depends on claims that self-consciousness has intrinsic value or final value. I argue what intrinsic or final value self-consciousness possesses is not enough to generate strong moral reasons against harming or killing. (shrink)

Substance has been a leading idea in the history of Western philosophy. _Joshua Hoffman and Gary S. Rosenkrantz_ explain the nature and existence of individual substances, including both living things and inanimate objects. Specifically written for students new to this important and often complex subject, _Substance_ provides both the historical and contemporary overview of the debate. Great Philosophers of the past, such as Aristotle, Descartes, Spinoza, Leibnitz, Locke, and Berkeley were profoundly interested in the concept of substance. And, the authors (...) argue, a belief in the existence of substances is an integral part of our everyday world view. But what constitutes substance? Was Aristotle right to suggest that artefacts like tables and ships don't really exist? _Substance: Its Nature and Existence_ is one of the first non-technical, accessible guides to this central problem and will be of great use to students of metaphysics and philosophy. (shrink)