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 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)

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)

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.

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 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)

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)

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)

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)

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)

We ask whether it is reasonable to delay or refuse to take COVID-19 vaccines that have been shown in clinical trials to be safe and effective against infectious diseases. We consider two kinds of vaccine hesitancy. The first is geared to scientifically informed open questions about vaccines. We argue that in cases where the data is not representative of relevant groups, such as pregnant women and ethnic minorities, hesitancy can be reasonable on epistemic grounds. However, we argue that hesitancy is (...) not reasonable if a vaccine has passed well-conducted clinical trials. The second kind of hesitancy is to do with beliefs about the institutions offering a successfully trialled vaccine and the justifiability of cooperating with those institutions. For example, in the UK, distrust of the UK Government or the National Health Service is identified as a factor in the vaccine hesitancy of minority ethnic populations. We ask whether this sort of hesitation is reasonable given normative requirements of fair co-operation, both with those institutions and the wider population. We suggest that the answer is not straightforward. Sometimes the hesitation is unreasonable but understandable. -/- . (shrink)

Deliberation and democratic legitimacy -- Moral pluralism and political consensus -- Associations and democracy (with Joel Rogers) -- Freedom of expression -- Procedure and substance in deliberative democracy -- Directly-deliberative polyarchy (with Charles Sabel) -- Democracy and liberty -- Money, politics, political equality -- Privacy, pluralism, and democracy -- Reflections on deliberative democracy -- Truth and public reason.

Early modern empiricists thought that the nature of perceptual experience is given by citing the object presented to the mind in that experience. Hallucination and illusion suggest that this requires untenable mind-dependent objects. Current orthodoxy replaces the appeal to direct objects with the claim that perceptual experience is characterized instead by its representational content. This paper argues that the move to content is problematic, and reclaims the early modern empiricist insight as perfectly consistent, even in cases of illusion, with the (...) realist contention that these direct objects of perception are the persisting mind-independent physical objects we all know and love. (shrink)

It has been standard philosophical practice in analytic philosophy to employ intuitions generated in response to thought-experiments as evidence in the evaluation of philosophical claims. In part as a response to this practice, an exciting new movement—experimental philosophy—has recently emerged. This movement is unified behind both a common methodology and a common aim: the application of methods of experimental psychology to the study of the nature of intuitions. In this paper, we will introduce two different views concerning the relationship that (...) holds between experimental philosophy and the future of standard philosophical practice (what we call, the proper foundation view and the restrictionist view), discuss some of the more interesting and important results obtained by proponents of both views, and examine the pressure these results put on analytic philosophers to reform standard philosophical practice. We will also defend experimental philosophy from some recent objections, suggest future directions for work in experimental philosophy, and suggest what future lines of epistemological response might be available to those wishing to defend analytic epistemology from the challenges posed by experimental philosophy. (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)

Bill Brewer presents an original view of the role of conscious experience in the acquisition of empirical knowledge. He argues that perceptual experiences must provide reasons for empirical beliefs if there are to be any determinate beliefs at all about particular objects in the world. This fresh approach to epistemology turns away from the search for necessary and sufficient conditions for knowledge and works instead from a theory of understanding in a particular area.

What is the role of conscious experience in the epistemology of perceptual knowledge: how should we characterise what is going on in seeing that o is F in order to illuminate the contribution of seeing o to their status as cases of knowing that o is F? My proposal is that seeing o involves conscious acquaintance with o itself, the concrete worldly source of the truth that o is F, in a way that may make it evident to the subject (...) that o is an instance of ‘x is F’ as she understands this, and hence evident that o is F. Seeing that o is F is thus a way of its being evident that o is F and is therefore a way of knowing that o is F. (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)

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.

This paper defends pro-realism, the view that it is better if moral realism is true rather than any of its rivals. After offering an account of philosophical angst, I make three general arguments. The first targets nihilism: in securing the possibility of moral justification and vindication in objecting to certain harms, moral realism secures something that is non-morally valuable and even essential to the meaning and intelligibility of our lives. The second argument targets antirealism: moral realism secures a desirable independence (...) for moral justification that is qualitatively different from the anti-realistic construal of independence that is only explicable in terms of degrees of distance from our subjective responses and attitudes. Finally, I argue that while the pan-expressivist semantic program of quasi-realism has significant effects on what can be appropriately said in meta-ethical discourse, it provides no comfort to the pro-realist who is already angsty about anti-realism. (shrink)

As COVID-19 spread, clinicians warned of mental illness epidemics within the coronavirus pandemic. Funding for digital mental health is surging and researchers are calling for widespread adoption to address the mental health sequalae of COVID-19. -/- We consider whether these technologies improve mental health outcomes and whether they exacerbate existing health inequalities laid bare by the pandemic. We argue the evidence for efficacy is weak and the likelihood of increasing inequalities is high. -/- First, we review recent trends in digital (...) mental health. Next, we turn to the clinical literature to show that many technologies proposed as a response to COVID-19 are unlikely to improve outcomes. Then, we argue that even evidence-based technologies run the risk of increasing health disparities. We conclude by suggesting that policymakers should not allocate limited resources to the development of many digital mental health tools and should focus instead on evidence-based solutions to address mental health inequalities. (shrink)

A recent systematic review of Machine Learning (ML) approaches to health data, containing over 100 studies, found that the most investigated problem was mental health (Yin et al., 2019). Relatedly, recent estimates suggest that between 165,000 and 325,000 health and wellness apps are now commercially available, with over 10,000 of those designed specifically for mental health (Carlo et al., 2019). In light of these trends, the present chapter has three aims: (1) provide an informative overview of some of the recent (...) work taking place at the intersection of text mining and mental health so that we can (2) highlight and analyze several pressing ethical issues that are arising in this rapidly growing field and (3) suggest productive directions for how these issues might be better addressed within future interdisciplinary work to ensure the responsible development of text mining approaches in psychology generally, and in mental health fields, specifically. In Section 1, we review some of the recent literature on text-mining and mental health in the contexts of traditional experimental settings, social media, and research involving electronic health records. Then, in Section 2, we introduce and discuss ethical concerns that arise before, during, and after research is conducted. Finally, in Section 3, we offer several suggestions about how ethical oversight of text-mining research might be improved to be more responsive to the concerns mapped out in Section 2. (shrink)

Case reports about patients undergoing Deep Brain Stimulation (DBS) for various motor and psychiatric disorders - including Parkinson’s Disease, Obsessive Compulsive Disorder, and Treatment Resistant Depression - have sparked a vast literature in neuroethics. Questions about whether and how DBS changes the self have been at the fore. The present chapter brings these neuroethical debates into conversation with recent research in moral psychology. We begin in Section 1 by reviewing the recent clinical literature on DBS. In Section 2, we consider (...) whether DBS poses a threat to personal identity. In Section 3 we argue for engagement with recent empirical work examining judgements of when identity changes. We conclude in Section 4 by highlighting a range of ethical issues raised by DBS, including various cross-cultural considerations. (shrink)

It is close to current orthodoxy that perceptual experience is to be characterized, at least in part, by its representational content, roughly, by the way it represents things as being in the world around the perceiver. Call this basic idea the content view.