There is a concern that the widespread deployment of autonomous machines will open up a number of ‘responsibility gaps’ throughout society. Various articulations of such techno-responsibility gaps have been proposed over the years, along with several potential solutions. Most of these solutions focus on ‘plugging’ or ‘dissolving’ the gaps. This paper offers an alternative perspective. It argues that techno-responsibility gaps are, sometimes, to be welcomed and that one of the advantages of autonomous machines is that they enable us to embrace (...) certain kinds of responsibility gap. The argument is based on the idea that human morality is often tragic. We frequently confront situations in which competing moral considerations pull in different directions and it is impossible to perfectly balance these considerations. This heightens the burden of responsibility associated with our choices. We cope with the tragedy of moral choice in different ways. Sometimes we delude ourselves into thinking the choices we make were not tragic ; sometimes we delegate the tragic choice to others ; sometimes we make the choice ourselves and bear the psychological consequences. Each of these strategies has its benefits and costs. One potential advantage of autonomous machines is that they enable a reduced cost form of delegation. However, we only gain the advantage of this reduced cost if we accept that some techno-responsibility gaps are virtuous. (shrink)

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 a particular emotional response. (shrink)

_A moving meditation on recent geopolitical crises, viewed through the lens of ancient and modern tragedy__ “Spare, elegant and poignant.... If there is a single contemporary book that should be pressed into the hands of those who decide issues of war and peace, this is it.”—John Gray, _New Statesman_ “It is tragic that Robert D. Kaplan’s luminous _The Tragic Mind_ is so urgently needed.”—George F. Will_ Some books emerge from a lifetime of hard-won knowledge. Robert D. Kaplan has (...) learned, from a career spent reporting on wars, revolutions, and international politics in Europe, the Middle East, and East Asia, that the essence of geopolitics is tragedy. In _The Tragic Mind_, he employs the works of ancient Greek dramatists, Shakespeare, German philosophers, and the modern classics to explore the central subjects of international politics: order, disorder, rebellion, ambition, loyalty to family and state, violence, and the mistakes of power. The great dilemmas of international politics, he argues, are not posed by good versus evil—a clear and easy choice—but by contests of good versus good, where the choices are often searing, incompatible, and fraught with consequences. A deeply learned and deeply felt meditation on the importance of lived experience in conducting international relations, this is a book for everyone who wants a profound understanding of the tragic politics of our time. (shrink)

A world awash in little understood chemicals tragically harms adults and children alike. Laws keep health agencies in the dark about toxicants, slow, well motivated research hampers protections, and strenuous vested opposition exacerbates the harm. How science is used in the tort law can facilitate or frustrate redress of harm. This book recommends better approaches.

In many tragic plays, the protagonist is brought down by a disaster that is a consequence of the protagonist's own error, his or her hamartia, the tragic flaw. Tragic flaws are disconcerting to the audience because they are not known or fully recognized by the protagonist—at least not until it is too late. In this essay, I take tragic flaws to be unreliable belief-forming dispositions that are unrecognized by us in some sense. I describe some different (...) types of flaws and consider what we might do about them. Then I examine three types of policies for managing our tragic flaws: doxastic, dispositional, and methodological. (shrink)

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 a particular emotional response. (shrink)

Volume 29, Issue 4, October-December, Page 273-274.

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 a particular emotional response. (shrink)

Tragic Beauty in Whitehead and Japanese Aesthetics evolved from a paper Steve Odin delivered at the 1984 Conference for the International Society of Process Philosophy at Nanzan University in Nagoya, Japan. This book will be intriguing and stimulating not only to those scholars who engage in Whitehead studies but also to those who are concerned with the development of an East–West dialogue on aesthetics and aesthetic education. In this volume, Odin compares Alfred North Whitehead's axiological process metaphysics, including his (...) concept of aesthetic experience and a doctrine of beauty, with the aesthetics of Zen Buddhism and offers readers a fresh cross-cultural understanding of Whitehead's process philosophy.In... (shrink)

Tragedy is a founding theme in disability studies. Critical disability studies have, since their inception, argued that understandings of disability as tragedy obscure the political dimensions of disability and are a barrier facing disabled persons in society. In this paper, we propose an affirmative understanding of tragedy, employing the philosophical works of Nietzsche, Spinoza and Hasana Sharp. Tragedy is not, we argue, something to be opposed by disability politics; we can affirm life within it. To make our case, we look (...) to an ongoing ethnography of two Canadian children’s rehabilitation clinics. Looking to the clinical experience of Canadian boys and young men diagnosed with Duchenne Muscular Dystrophy and those of their families, we show how this affirmative understanding of tragedy allows us to pursue the themes of disability politics within tragedy. Contrary to an optimism that would eschew tragedy at all costs or a pessimistic approach that declines to act in the face of tragic circumstance, we argue that a revised understanding of tragedy allows us to situate the occasionally-tragic clinical experience of disability in a philosophy of life. Both disability and tragedy point us to the shared entanglements that make life what it is. (shrink)

Tragic choices arise during the COVID-19 pandemic when the limited resources made available in acute medical settings cannot be accessed by all patients who need them. In these circumstances, healthcare rationing is unavoidable. It is important in any healthcare rationing process that the interests of the community are recognised, and that decision-making upholds these interests through a fair and consistent process of decision-making. Responding to recent calls to safeguard individuals’ legal rights in decision-making in intensive care, and for new (...) authoritative national guidance for decision-making, this paper seeks to clarify what consistency and fairness demand in healthcare rationing during the COVID-19 pandemic, from both a legal and ethical standpoint. The paper begins with a brief review of UK law concerning healthcare resource allocation, considering how community interests and individual rights have been marshalled in judicial deliberation about the use of limited health resources within the National Health Service. It is then argued that an important distinction needs to be drawn between procedural and outcome consistency, and that a procedurally consistent decision-making process ought to be favoured. Congruent with the position that UK courts have adopted for resource allocation decision-making in the NHS more generally, specific requirements for a procedural framework and substantive triage criteria to be applied within that framework during the COVID-19 pandemic are considered in detail. (shrink)

Of other ancient writers, call into question the traditional view that katharsis in the Poetics is a homeopathic process - one in which pity and fear affect emotions like themselves. She maintains, instead, that Aristotle considered katharsis to be an allopathic process in which pity and fear purge the soul of shameless, antisocial, and aggressive emotions. While exploring katharsis, Tragic Pleasures analyzes the closely related question of how the Poetics treats the.

In his discussion of the tragic act in Poet. 14. 1453b15 ff. Aristotle separates the pity which we feel at mere suffering from pity roused by the way in which this suffering is or will be brought about. The revenge of an enemy is not in itself pitiable. We pity, if victim and agent are closely related to one another as members of the same family, but only if the action is of a certain kind. Four possible ways of (...) presenting the tragic act are therefore distinguished: attempted but not performed, with knowledge of the relevant facts ; performed with knowledge ; performed but in ignorance, recognition following later ; attempted in ignorance but not performed, since recognition occurs in time to prevent it. Of these four variations the first is censured on the ground that it is morally shocking without being tragic, since it lacks πάθος. The second is mentioned in b27 as the favourite of the older poets, but is here passed over without comment. The third is explicitly approved on the ground that it avoids moral shock and has the emotional κπληξις of the recognition. But for some reason which he does not state, Aristotle prefers the last, where recognition is in time to prevent the tragic suffering from actually taking place. (shrink)

This short but thought-provoking volume asks the question 'What is it that tragedy makes us know?'. The focus is on tragedy as a mode of representing the experience of radical suffering, pain, or loss, a mode of narrative through which we come to know certain things about ourselves and our world--about its fragility and ours. Through a mixture of historical discussion and close reading of a number of dramatic texts--from Sophocles to Sarah Kane--the book addresses a wide range of debates: (...) how tragedy is defined, whether there is such a thing as 'absolute tragedy', various modern attempts to rework the classical heritage and the relation of comedy to tragedy. There is also a fresh discussion of whether religious--particularly Christian--discourse is inimical to the tragic, and of the necessary tension between tragic narrative and certain kinds of political as well as religious rhetoric. Rowan Williams argues that tragic drama both articulates failure and frailty and, in affirming the possibility of narrating the story of traumatic loss, refuses to settle for passivity, resignation, or despair. In this sense, it still shows the trace of its ritual and religious roots. And in challenging two-dimensional models of society, power, humanity and human knowing, it remains an intrinsic part of any fully humanist culture. (shrink)

The aim of the current article is to analyze the concept of tragic cases and its different implications based on Manuel Atienza, one of the jurists who specially addressed the issue, and on Robert Alexy, whose work is one of the main references in contemporary Legal Philosophy. According to parameters exposed by Alexy (correctness, rationality, legal argumentation, human rights), some of Atienza’s central assertions about tragic cases (lack of correct answer, legal rationality limitation, option for the lesser evil) (...) are herein demonstrated as inadmissible. Based on Alexy’s work, it is possible to justify the opposite conclusion about tragic cases, i.e., cases where there is more than one correct answer and these answers are opposed to each other. (shrink)

The aim of the current article is to analyze the concept of tragic cases and its different implications based on Manuel Atienza, one of the jurists who specially addressed the issue, and on Robert Alexy, whose work is one of the main references in contemporary Legal Philosophy. According to parameters exposed by Alexy, some of Atienza’s central assertions about tragic cases are herein demonstrated as inadmissible. Based on Alexy’s work, it is possible to justify the opposite conclusion about (...) tragic cases, i. e., cases where there is more than one correct answer and these answers are opposed to each other. (shrink)

Machine generated contents note: Introduction; Part I. Theoretical Views about Pity and Fear as Aesthetic Emotions: 1. Drama and the emotions: an Indo-European connection? 2. Gorgias: a strange trio, the poetic emotions; 3. Plato: from reality to tragedy and back; 4. Aristotle: the first 'theorist' of the aesthetic emotions; Part II. Pity and Fear within Tragedies: 5. An introduction; 6. Aeschylus: Persians; 7. Prometheus Bound; 8. Sophocles: Ajax; 9. Euripides: Orestes; Appendix: catharsis and the emotions in the definition of tragedy (...) in the Poetics. (shrink)

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.

Is it possible to preserve national security through ethical policies? Richard Ned Lebow seeks to show that ethics are actually essential to the national interest. Recapturing the wisdom of classical realism through a close reading of the texts of Thucydides, Clausewitz and Hans Morgenthau, Lebow argues that, unlike many modern realists, classic realists saw close links between domestic and international politics, and between interests and ethics. Lebow uses this analysis to offer a powerful critique of post-Cold War American foreign policy. (...) He also develops an ontological foundation for ethics and makes the case for an alternate ontology for social science based on Greek tragedy's understanding of life and politics. This is a topical and accessible book, written by a leading scholar in the field. (shrink)

This book examines Whitehead’s process aesthetics focusing on two categories, the penumbral beauty of darkness and the tragic beauty of perishability, while establishing parallels with the Japanese sense of evanescent beauty. It clarifies how both traditions develop a religio-aesthetic vision of tragic beauty and its reconciliation in the supreme ecstasy of peace.

Humanitarian healthcare work presents a range of ethical challenges for expatriate healthcare professionals, including tragic choices requiring the selection of a least-worst option. In this paper we examine a particular set of tragic choices related to the prioritization of care and allocation of scarce resources between individuals in situations of widespread and urgent health needs. Drawing on qualitative interviews with clinicians, we examine the nature of these choices. We offer recommendations to clinical teams and aid organizations for preparing (...) and supporting frontline clinicians in their efforts to determine the least-worst option, and in their responsibility for making such choices. (shrink)

As genealogy has gained greater disciplinary recognition over the last two decades, it has become increasingly common to call any historically oriented philosophy, such as Theodor W. Adorno’s, “genealogy.” In this article, I show that Adorno’s philosophy performs genealogy’s defining functions of “problematization” and “possibilization.” Moreover, it does so in unique ways that constitute a significant contribution to genealogical practice. Adorno’s method, here called “tragic genealogy,” is particularly well-suited to the genealogical analysis of traditional philosophical problems and to the (...) critical reanimation of declining, but ethically significant, values. Nevertheless, I also argue that Adorno’s philosophy cannot be assimilated into genealogical practice without rejecting or revising some of its Hegelian influences, particularly its philosophy of history and its modal metaphysics. (shrink)

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.

Tragic moral conflicts are situations from within which whatever one does—including abstaining from action—will be seriously wrong; even the overall right decision involves violating a moral responsibility. This article offers an account of recovery predicaments, a particular kind of tragic conflict that characterizes the current extinction crisis. Recovery predicaments occur when the human-caused extinction of a species or population cannot be prevented without breaching moral responsibilities to animals by doing violence to or otherwise severely dominating them. Recognizing the (...) harm of acting from within recovery conflicts adds force to appeals for interrogating and dismantling the systems of thinking, valuing, and acting that bring species to the brink of extinction. (shrink)

Pandemic-related restrictions can be especially tragic for people whose lives are ending; it seems that the needs and desires of people who are dying should be given extra consideration. Given an additivist view of well-being, however, the last weeks of a person's life can only matter so much relative to the rest of the life they had. This article reflects on the end of my mother's life during the Covid-19 pandemic in order to make the case that the additive (...) view of well-being is part of a broader trend of dehumanizing emergency ethics. (shrink)

_Tragic Play_ explores the deep philosophical significance of classic and modern tragedies in order to cast light on the tragic dimensions of contemporary experience. Romanticism, it has often been claimed, brought tragedy to an end, making modernity the age _after_ tragedy. Christoph Menke opposes this modernist prejudice by arguing that tragedy remains alive in the present in the distinctively new form of the playful, ironic, and self-consciously performative. Through close readings of plays by William Shakespeare, Samuel Beckett, Heiner Müller, (...) and Botho Strauss, Menke shows how tragedy re-emerges in modernity as "tragedy of play." In _Hamlet_, _Endgame_, _Philoktet_, and _Ithaka_, Menke integrates philosophical theory with critical readings to investigate shifting terms of judgment, curse, reversal, misfortune, and violence. (shrink)

_Tragic Play_ explores the deep philosophical significance of classic and modern tragedies in order to cast light on the tragic dimensions of contemporary experience. Romanticism, it has often been claimed, brought tragedy to an end, making modernity the age _after_ tragedy. Christoph Menke opposes this modernist prejudice by arguing that tragedy remains alive in the present in the distinctively new form of the playful, ironic, and self-consciously performative. Through close readings of plays by William Shakespeare, Samuel Beckett, Heiner Müller, (...) and Botho Strauss, Menke shows how tragedy re-emerges in modernity as "tragedy of play." In _Hamlet_, _Endgame_, _Philoktet_, and _Ithaka_, Menke integrates philosophical theory with critical readings to investigate shifting terms of judgment, curse, reversal, misfortune, and violence. (shrink)

Humanitarian healthcare work presents a range of ethical challenges for expatriate healthcare professionals, including tragic choices requiring the selection of a least-worst option. In this paper we examine a particular set of tragic choices related to the prioritization of care and allocation of scarce resources between individuals in situations of widespread and urgent health needs. Drawing on qualitative interviews with clinicians, we examine the nature of these choices. We offer recommendations to clinical teams and aid organizations for preparing (...) and supporting frontline clinicians in their efforts to determine the least-worst option, and in their responsibility for making such choices. (shrink)

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 historical reality that can be glimpsed by focusing on the tragic masks against the light of their contexts represents…. (shrink)

Free Will & The Tragic Predicament : Making Sense of Williams -/- The discussion in this paper aims to make better sense of free will and moral responsibility by way of making sense of Bernard Williams’ significant and substantial contribution to this subject. Williams’ fundamental objective is to vindicate moral responsibility by way of freeing it from the distortions and misrepresentations imposed on it by “the morality system”. What Williams rejects, in particular, are the efforts of “morality” to further (...) “deepen” or “refine” the notion of the voluntary, with a view to securing “ultimate justice”. It is these aims and aspirations, he argues, that take us to the precipice of scepticism. In Shame and Necessity (1993) Williams advances a vindicatory genealogy that unmasks the “illusions” and “fantasies” of our current ethical ideas as they relate to agency and responsibility. What we are then left with is the task of “recasting our ethical conceptions” . It is here that Williams is especially insistent on the importance and value of historical consciousness and reflection. The role of our reflections about the Greeks and tragedy is precisely to show that in order to move forward, into the future, we need to first look back at where we have come from. The value of these “untimely” observations is that they provide us with alternatives and options that we might otherwise lack. What we discover, when we consider the Greeks, is their commitment to a “pessimism of strength” that rests on rejecting scepticism. It is this two-sided perspective on our ethical predicament that delivers a more truthful account of our human situation, one that will help us discard those illusions and fantasies of "morality" that we are “better off” without. An account of this kind refuses to accept an optimism that insists that any form of responsible ethical life must be one that is immune to the influence of luck and fate. This is the fundamental lesson that we can learn from the ancient Greeks and that Williams seeks to “recover” for us. (shrink)

"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.

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 agent''s deliberations.I show critics of modern moral philosophy such as BernardWilliams that their acceptance of tragic dilemmas underminestheir project of denying the moral/nonmoral distinction and thepriority of moral reasons. The possibility of tragic dilemmasrequires an account of practical deliberation in which moralreasons appear as already in-force obligations, with blame andguilt ready to be invoked, while nonmoral reasons appear as merereasons. This makes moral reasons importantly different fromnonmoral reasons in how they achieve their deliberative weight,and also makes them characteristically weightier. Thus,accommodating tragic dilemmas reinforces the moral/nonmoraldistinction and the priority of moral reasons, the very thingsthese critics want to deny. By accepting the possibility oftragic dilemmas, these critics are undermining their own project.The standard normative theories are dead set against tragicdilemmas, and the critics of modern moral philosophy shouldreject tragic dilemmas for the good of their project. Thus we allshould reject tragic dilemmas. (shrink)

This paper traces and examines the different connotations given to the notion of “tragedy” in Paul Klee’s thought. From his early reflections on, Klee relates this notion to an intermediate and conflictive condition that characterizes human existence—an existence that takes place between heaven and earth, between the ethereal and the earthly. This essay focuses on how the connotations Klee gives to tragedy in different moments of his reflections transform the way he conceives the work of art. Hence, I will attempt (...) to show how Klee’s reflections relate the tragedy of human existence not only to the figure of the artist, understood as a tragic figure, but also to an idea of tragedy that the work produces and represents in its own particular way of coming into being. Thus, this paper poses a new approach to Klee’s suggestive proposal on modern art as well as to the meaning given to pictorial representation throughout his thought and artworks. (shrink)

In "The Long Bright Dark", Rust Cohle calls human self‐consciousness "a tragic misstep in evolution". This chapter considers the relationship between selfconsciousness and the ability to "deny the programming", or free will. Cohle's programming theory depends on a conception of free will similar to Sartre's. Cohle claims that people are programmed— largely, it seems, by evolution. They are biological puppets. It also seems that, at least for Schopenhauer and Spinoza, overcoming the ignorance is the key to escape, the freedom. (...) In other words, the only way to be free is to become more conscious. On the surface, it seems that they agree with Cohle. If the light is winning, at least in the little corner of the universe, it is because of consciousness. Even if the light isn't winning, it is here, for a while, because of consciousness. (shrink)

Resumen: La tragedia clásica en China, como forma literaria única, encarna el espíritu cultural de la nación y posee un profundo patrimonio histórico y un valor estético distintivo. Desde tiempos antiguos, la tragedia ha ocupado un lugar importante en la historia de la literatura China, reflejlas preocupaciones públicas sobre la realidad social y su contemplación del destino humano. Como método de investigación interdisciplin, el análisis de prototipos proporciona nuevas perspectivas y herramientas teóricas para profundizar en las connode la tragedia. El (...) estudio de los prototipos de la tragedia clásica en China ayuda a revelar la trayectoria de desarrollo y las leyes inherentes de la tragedia clásica en la historia. Este artículo toma el marco de la teoría de prototipos para analizar los prototipos de la tragedia clásica en China, con el objetivo de proporcionar la base teórica para la investigación relacionada. (shrink)

Early in the COVID-19 pandemic in the United States, concern that there could be a shortage of ventilators raised the possibility of rationing care. Denying patients life-saving care captures our moral imagination, prompting the demand for a defensible framework of ethical principles for determining who will live and who will die. Behind the moral dilemma posed by the shortage of a particular medical good lies a broad moral geography encompassing important and often unarticulated societal values, as well as assumptions about (...) the nature and purpose of health care and the consequences of long-standing choices about health care as a social good. This article explores what COVID-19 has exposed concerning values and choices around health care in the United States. Employing the lens of Catholic Social Thought, it argues for an approach to rationing that is grounded in respect for human dignity, committed to distributing social goods in light of the common good, and self-conscious about the construction of vulnerability to illness and death. (shrink)

This book offers a resolution of the paradox posed by the pleasure of tragedy by returning to its earliest articulations in archaic Greek poetry and its subsequent emergence as a philosophical problem in Plato's Republic. Socrates' claim that tragic poetry satisfies our 'hunger for tears' hearkens back to archaic conceptions of both poetry and mourning that suggest a common source of pleasure in the human appetite for heightened forms of emotional distress. By unearthing a psychosomatic model of aesthetic engagement (...) implicit in archaic poetry and philosophically elaborated by Plato, this volume not only sheds new light on the Republic's notorious indictment of poetry, but also identifies rationally and ethically disinterested sources of value in our pursuit of aesthetic states. In doing so the book resolves an intractable paradox in aesthetic theory and human psychology: the appeal of painful emotions. (shrink)

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 philosophies, but rather in the way their views assist in analyzing tragedies with an aim to establish a general concept of the tragic. The second part presents exemplary analyses of eight tragedies: Sophocles’Oedipus Rex, Calderon´s Life Is a Dream, Shakespeare´s Othello, Gryphius´ Leo Armenius, Racine´s Phaedra, Schiller´s Demetrius, Kleist’s The Schroffenstein Family and Büchner’s Danton's Death. The readings neither presuppose a concept of the tragic determined by context (as in Hegel's idea of the conflict between two orders of right), nor do they focus exclusively on the texts´ explicit contents. Instead, they elaborate the dialectical or aporetic structures at the heart of the tragic. The works analyzed represent the four great epochs of tragic poetry: the age of Greek tragedy; the Baroque era in Spain, England, and Germany; French Classicism; and the age of Goethe. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Tragic Evolutionary Logic of The IliadBrian BoydThe Rape of Troy: Evolution, Violence, and the World of Homer, by Jonathan Gottschall; xii & 223 pp. Cambridge: Cambridge University Press, 2008, $32.00 paperback.Jonathan Gottschall has conquered the oldest and craggiest peak of Western literature, The Iliad, by a new face. He stakes out the Darwin route to Homer so directly and clearly that he makes the climb inviting and (...) inspiring even to curious newcomers without high-altitude evolutionary training. And the vista he opens up offers us a chance to look in multiple directions: at Homer, at literary evolutionism and its possibilities, and at Gottschall's role in exploring this new route to discovery.One previous monograph has investigated a single literary work from a Darwinian viewpoint: Brett Cooke's analysis of Evgeny Zamyatin's 1921 science-fiction classic, We.1 Cooke's Human Nature in Utopia, by showing how Zamyatin appeals to the evolved nature of readers, in the face of the denial of human nature in his imagined One State and in early Soviet Communism, deepens our natural response to a modern classic. But where Cooke merely succeeds, Gottschall triumphs. The Rape of Troy not only deepens our response to a classic discussed for almost three millennia but also explains the world of Homer in a way no one could have seen without the multi-million-year perspective evolution allows—and does so with conceptual clarity, tight argument, effortless imagery, and copious verbal energy. [End Page 234]Gottschall emphasizes that his "evolutionary anthropology of conflict in Homeric society" does not attempt a Homeric "theory of everything" (pp. 3, 9). There is much of interest in The Iliad he does not touch on, and much even in possible evolutionary approaches to Homer that he does not consider. He focuses intently on a single two-part question: Why is there so much violence in the Iliad, and what effect does it have on how those in Homeric society see their world?After a brilliant introductory overview, he shows in his first two chapters how over the last century Homerists have increasingly turned to comparative anthropology to augment the meagre direct data. They have clarified that the Iliad was long obscured by later Western assumptions about states and kings, and that the poem probably reflects something like Homer's own world, within (at about 800 BCE) the late Greek Dark Age, a pre-state society in many ways closer to Highland New Guinea than to the worlds of Caesar or Charlemagne.Everyone who knows about the Trojan War knows that the Greeks fight Troy because the Trojan prince Paris took Helen from her husband, the Greek lord Menelaus. But readers of the Iliad want to know why thousands of soldiers on both sides persisted through ten years of brutal battle. Surely war on this scale cannot have been over just a woman? Scholars have proposed many explanations of what was really at stake. Immortal honor for men all too aware, day after bloody day, of their own physical mortality? Power? Status? Material goods? Prestige goods? A chance to neutralize enemies?By drawing on evolutionary biology and anthropology, Gottschall can show that this war, like most human violence against other humans, and even like most intraspecies animal violence, stems ultimately from male competition over females. He introduces the powerful and far-reaching principle of differential parental investment developed by Robert Trivers.2 As Gottschall lucidly elaborates: "males will attempt to mate more promiscuously both because sex is cheaper for them, and because they have the potential to produce many offspring with multiple females. I emphasize the words 'attempt' and 'potential' because if every male adopts a relatively promiscuous strategy, and if some males succeed, then other males will not reproduce at all" (p. 44). The far more divergent rates of reproductive success among males than among females prove to be the key determinant. Gottschall sums up: "males typically face higher risks of total reproductive failure and higher hopes of extraordinary reproductive success. This creates strong incentives to compete for mates. Males who are better able to compete for access to [End Page 235] scarce female reproductive capacity, in whatever form... (shrink)

In this paper, I argue by example for the possibility of genuine dilemmas internal to Christian ethics. My example is the life of Sebastian Rodrigues, who is the protagonist of Shusaku Endo's moving novel "Silence". The first part of the paper is devoted to retelling Endo's story, highlighting salient ethical and religious features of the life of Rodrigues. The latter half of the paper argues for an interpretation of the story according to which Rodrigues confronts a real conflict between the (...) obligation to love God with total devotion and the obligation to love one's neighbor as oneself. I conclude with the suggestion that the outcome of this conflict is not ultimately tragic because it serves providentially to move Rodrigues closer to Christ in suffering love. (shrink)

In the preface to his new monograph, Tragic Beauty in Whitehead and Japanese Aesthetics, Steve Odin proposes to do two things: better understand Alfred N. Whitehead's "poetic vision of tragic beauty" through comparison with Japanese aesthetics, and thereby also suggest a "new religio-aesthetic vision of tragic beauty and its resolution in the supreme ecstasy of peace". He does more than that, though. Besides thoroughly discussing Whitehead's aesthetics throughout the latter's works, from An Enquiry Concerning the Principles of (...) Natural Knowledge to Modes of Thought, he enriches this aesthetics by discussing similar themes in American philosophy and literature, including Charles Peirce, John... (shrink)

This paper offers a comparative account of the relationship between freedom and morality in the thought of William James and Simone de Beauvoir. By combining elements of the thought of each, a compelling--albeit tragic--notion of the relationship between freedom and morality is derived.

What Aristotle meant by katharsis has tantalised philosophers, psychologists, and literary critics alike for centuries - from metaphors of purgation, purification and ritual cleansing, to claims that katharsis is not an experience of the audience but a property of the play1, a release of feeling, or a kind of pleasure 2. Some authors, such as Daniels and Scully3, even deny that katharsis is essentially an aspect of the emotional experiences of an audience. This paper will provide an attempt at gaining (...) insight into the “singular phenomenon”4 of tragic katharsis via the lens of the psychoanalyst Hanna Segal. My paper will begin by looking at some of the arguments I find most persuasive regarding the nature of katharsis; I shall then turn my attention to Segal’s discussion of tragedy. The final part of the paper will attempt to show how Segal’s discussion can shed light on the analysis of tragedy that Aristotle provides in his Poetics. (shrink)