Recently, a number of Anglo-American philosophers of very different sorts--pragmatists, metaphysicians, philosophers of language, philosophers of law, moral philosophers--have taken a reflective rather than merely recreational interest in literature. Does this literary turn mean that philosophy is coming to an end or merely down to earth? In this collection of essays, one of the most insightful of contemporary literary theorists investigates the intersection of literature and philosophy, analyzing the emerging preferences for practice over theory, particulars over universals, events over structures, (...) inhabitants over spectators, an ethics of responsibility over a morality of rules, and a desire for intimacy with the world instead of simply a disengaged knowledge of it. (shrink)

The illustrated anatomical works of Andreas Vesalius, now icons of medical history, exemplified Renaissance humanists' attitudes toward the human condition. Methods of teaching medical students gross anatomy have evolved from the attitudes and methods of Renaissance scientist-scholars. The work of Vesalius is crucial to understanding the revolution in early modern medicine, for not only is it devoted to minute observation and exploration of the human body, but also to translating new knowledge by means of art. In the process of illustration, (...) the cadavers become ennobled, leading the viewer to contemplation of the nature of our common humanity. It is the thesis of this paper that the merging of art and science achieved in the great anatomical studies of the 16th and 17th centuries may still be useful in the education of medical students by allowing a balance between scientific detachment and compassion. (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)

Taking ‘the idea of the tragic’ as a point of departure, this article articulates an approach to sociology and social theory from the perspective of a ‘tragic vision’. In arguing for the relevance of ‘tragic thought’ for the analysis of contemporary crises, it suggests that ‘the tragic’ must be understood as a reflection of the long tail of the formation of a particular secular, modern ‘ethico-onto-epistemology’. In making this case, the article provides an ‘interpretive genealogy’ (...) of tragic ethics in social thought, detailing the thought of Lucien Goldmann and Georg Lukács, and putting it in dialogue with contemporary posthumanist theory. It concludes by drawing on recent debates in the latter involving the place of ‘critique’ in contemporary social science, teasing out some implications for thinking about individual action and responsibility. (shrink)

Western political thought during the past two centuries has been inspired by a dream of liberation that has left it prey to ideological visions of utopia. Various attempts have been made to counteract this vulnerability, but one of the most ambitious has been relatively neglected. This is the use of the tragic vision to emphasize the limits imposed upon political action by the existence of ineliminable tensions inherent in the human condition. What is of especial interest in this (...) connection is the attempt made by Nikolai Berdyaev to bring the tragic vision to bear on the reformulation of socialism in particular. The article explores the strengths and weaknesses of his tragic version of socialism. (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)

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.

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)

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 article seeks to provide a template for understanding the tragic dimension of Theodor W. Adorno’s philosophy through a reading of his early collaborative work with Max Horkheimer, the Dialectic of Enlightenment. While Adorno’s view has often been considered to be tragic, little has been done to reconstruct the tragic dimension of his thought. I argue that the view of the human condition, presented in the Dialectic of Enlightenment, is founded on metaphysical, epistemological, and ethical convictions (...) that have structural similarities with the positions held by theorists and philosophers of tragedy and the tragic. Since traces of these tragic elements can be found throughout Adorno’s mature philosophy, the approach presented in this article may serve as a model for a more detailed mapping and examination of the tragic dimension of his thought in future research. (shrink)

This classic account of Nietzsche's thought, first published in 1957, is now available in paperback. It traces the development of Nietzsche's thought through all its principal phases, and stresses its relevance to our times. Squarely based on original literary and biographical sources, it avoids technicalities and obscure comparison. It is intended for the general reader rather than the specialist - above all for the reader who desires, as Nietzsche did, to clear his mind of cant.

In lieu of an abstract, here is a brief excerpt of the content:Education in the Virtues: Tragic Emotions and the Artistic ImaginationDerek L. Penwell (bio)IntroductionThe profoundly thoughtful—not to mention extensive—character of the scholarship historically applied to the nature of the difference between Plato and Aristotle on the issue of the tragic emotions raises the obvious question: What new is there left to say? In this article I seek to hold together two separate issues that have occupied much of (...) the scholarship on this topic but that typically have not been considered together: (1) What is the moral value of the tragic emotions? and (2) If the tragic emotions are morally significant, how can we engage tragedy without viewing it instrumentally? By approaching the tragic emotions in this way, I hope to suggest an Aristotelian analysis of tragedy that appreciates tragedy's ability to expand our resources for confronting an often chaotic world, while at the same time avoiding the notion of art as merely useful in the pursuit of larger moral projects.Plato, in Republic X, offers his seminal critique of art and the artist in relationship to the ideal republic. In particular, poetry comes under harsh criticism for encouraging emotions, which, according to Plato, ought to be kept under strict control. In the end, Plato reluctantly declares that poets must be banished as a way of preserving the order and moral integrity of the republic. Poetry, if permitted, will make "pleasure and pain the twin kings in your city in place of established custom and the thing which has always been generally accepted as best—reason."1Aristotle challenges his old teacher, Plato, in his treatise on tragedy in the Poetics. To say that Aristotle challenges Plato, however, is not say that he confronts Plato directly; rather the scope of Aristotle's argument addresses the issue of poetry, which Plato had denounced in the Republic. Specifically, Aristotle calls into question Plato's account of the value of the emotions. [End Page 9] Whereas Plato contends that emotions are a potentially disruptive force, the power of which must always be controlled by reason, Aristotle maintains, as I will argue, that the cultivation of the appropriate emotional response (that is, the correct emotional response at the correct time) is essential to the development of virtue. Moreover, according to Aristotle's view, the cultivation of appropriate emotional response has implications not only for the development of individual virtue but also for the health of the body politic.I must be careful to point out that I am not attempting to elicit Aristotle's endorsement for a view that says reason is not somehow responsible for properly informing the emotions. Aristotle's position with respect to emotions—while different from Plato's in the belief that emotions can be educated—still identifies reason both as the faculty that differentiates us as a species as well as the faculty that occupies the primary place in establishing knowledge and directing action. My goal in the first section of this article is much more modest: I only wish to argue that an Aristotelian critique of Plato on emotions suggests the beginnings of a way of viewing emotions, such that emotions have a significant role to play in moral development.2However, the nature of Aristotle's argument in his implicit response to Plato raises the important question of whether the view of art he advances (in particular, of tragedy) is purely an instrumental one—a question to which I will attend in the second section. Does Aristotle understand art as a tool in the service of some higher good, such as moral education? Art, if this is the case, loses its integrity as an end in itself. Inasmuch as Aristotle believes that art is conducive to moral education, he is in danger of being charged with inhabiting the dubious aesthetic stance that art is always the means to some higher end. That is to say, it could be argued that the theory of art that Aristotle places on offer is what R. W. Beardsmore calls moralism3 and what Berys Gaut calls ethicism.4 Moralism at its most radical is the aesthetic position that finds art as merely a useful tool in dressing... (shrink)

Shortly before the first publication of The Birth of Tragedy, Friedrich Nietzsche identified his philosophy as an “inverted Platonism.” Although, as Martin Heidegger warns, “we may not overlook the fact that the ‘inverted Platonism’ of his early period is enormously different from the position finally attained,” nonetheless, Nietzsche’s suspicion about otherworldly truths and optimistic faith in reason runs as a strong current throughout his works. I argue that Nietzsche’s view of Plato as the initiator of the “true world”—the world that (...) must be overcome on Nietzsche’s valuation—and of Socrates as a proponent of logicality suffers from the same overly rationalistic thinking that Nietzsche himself impugns in Plato. To account for Nietzsche’s interest in setting up Plato as the origin of the system of thought he seeks to overcome, I analyze Nietzsche’s remarks on Plato’s Phaedo in the Birth of Tragedy. (shrink)

During the years preceding the composition of Tristan and Isolde, Wagner's aesthetics underwent a momentous turnaround, principally as a result of his discovery of Schopenhauer. Many of Schopenhauer's ideas, especially those regarding music's metaphysical significance, resonated with patterns of thought that had long been central to Wagner's aesthetics, and Wagner described the entry of Schopenhauer into his life as 'a gift from heaven.' Chafe argues that Wagner's Tristan and Isolde is a musical and dramatic exposition of metaphysical ideas inspired (...) by Schopenhauer. The first part of the book covers the philosophical and literary underpinnings of the story, exploring Schopenhauer's metaphysics and Gottfried van Strassburg's Tristan poem. Chafe then turns to the events in the opera, providing tonal and harmonic analyses that reinforce his interpretation of the drama. Chafe acts as an expert guide, interpreting and illustrating the most important moments for his reader. Ultimately, Chafe creates a critical account of Tristan, in which the drama is shown to develop through the music. (shrink)

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)

Isaiah Berlin viewed value conflict as tragic, as it requires the sacrifice of some values for others. It is a mark of maturity, he thought, to accept this tragic truth. This view raises certain conceptual problems that can be attributed to Berlin’s subtle departures from the German authors (Kant, Schelling, and Hegel) who originated the doctrine of tragic maturity—figures who had, in turn, transformed the earlier idea that enlightenment is a natural and morally neutral process of (...) maturation. Kant moralized the notion of enlightened maturation by portraying it as contingent on our courage to bring it about, such that we are responsible if we remain immature. This theory of maturity rested on the idea, which would have been uncongenial to Berlin, that we are intelligible creatures inhabiting the noumenal realm, duty bound to exercise moral freedom, even though this duty surpasses our ability to carry it out, as we also inhabit the phenomenal realm, where our natural inclinations tend to make us resist laboring to fulfill our duties. However, according to Kant, the metaphysical limitations we face as individuals can be transcended to an extent, allowing us to make moral progress as a species—so long as we do not lazily persist in our immaturity. Schelling built upon Kant’s notion of freedom to bring out the tragic and heroic dimension of individual moral life, where the tragedy is our doomed but noble struggle to exert moral freedom in a world of natural necessity. Hegel turned these metaphysical notions in a more recognizably Berlinian direction by extending Schelling’s account of tragic conflict to conflicts of values. But he identified the ultimate tragic hero as an ethical totality that enacts eternal justice by reconciling such conflicts, while Berlin attempted to repudiate both the notion of a historical totality and the possibility of reconciliation on empirical grounds, even though these are metaphysical claims. Thus, Berlin asserted the absolute, trans-historical necessity of tragic value conflict, while the evidence for this assertion was merely his personal conviction that in his particular time and place, specific values were, as a matter of empirical fact, tragically irreconcilable. In this manner he illicitly portrayed Cold War value pluralists (such as himself) as courageously accepting the tragic inevitability of value conflict, while Marxists, the legatees of Hegel and thus German Idealism, immaturely shrank from this reality by embracing the fantasy of total reconciliation. (shrink)

In Nietzsche, Tension, and the Tragic Disposition, Matthew Tones undertakes an ambitious journey through Nietzsche’s writings, dealing with, among other things, Nietzsche’s notion of tragedy, his relation to ancient Greek thought, his naturalism, and the concept of nobility developed in GM and BGE. Tones thus gives a detailed and insightful reconstruction of Nietzsche’s philosophy. But this strength of the book is unfortunately also its limit. Tones highlights the complexities of the problems he discusses, but one gets the impression (...) that he succumbs to his “will” to systematize Nietzsche’s thinking: he creates harmonies where there are tensions and gives answers where Nietzsche leaves us with questions.... (shrink)

This study explores Nietzsche's political education as a means of understanding his wider political thought. Incorporating biographical details of Nietzsche's own education, it outlines the course of political education that Nietzsche recommends as an antidote to the crisis in Western European culture. Heilke begins by examining Nietzsche's formulation of this crisis, especially his conceptions of "Romantic Pessimism," "Socratism," and Christianity. For Nietzsche, only a properly ordered education could resolve the problem of how one can transform a society whose fundamental (...) cultural and political premises one rejects. Through education Nietzsche sought to establish a new political and social system founded upon the principles of tragedy and grounded in the aesthetic tradition of German Romanticism. Nietzsche's Tragic Regime focuses on Nietzsche's political philosophy until his resignation from his post as professor in 1876, with attention also to the later writings. (shrink)

György Lukács’s Marxist phase is usually associated with his passage from neo-Kantianism to Hegelianism. Nonetheless, Nietzschean influences have been covertly present in Lukács’s philosophical development, particularly in his uncompromising distaste for the bourgeois society and the mediocrity of its quotidian values. A closer glance at Lukács’s corpus discloses that the influence of Nietzsche has been eclipsed by the Hegelian turn in his thought. Lukács hardly ever mentions the weight of Nietzsche on his early thinking, an influence that makes cameo (...) appearances throughout his lifetime writings. During the period of his adherence to a Stalinist approach to communism, his new subjectivity seems to be re-constituted through a disavowal of his earlier romantic anti-capitalism. Implicit in Lukács’s attack on Nietzsche in the Destruction of Reason (1952) is an acerbic reaction to the mute presence of the latter in his earlier thought. Apart from his ignorance of the unreliability of the collection of the Will to Power edited by Peter Gast and Elisabeth Förster-Nietzsche, his battle against the anti-proletariat Nietzsche in the Destruction is waged on a metaphysical, non-historical plain. Lukács’s pre-Marxist works (Soul and Form, On Poverty of Spirit, and The Theory of the Novel) in a sense betray the instance of a writer who writes most of someone where he omits his name. Thus perceived, Lukács’s early corpus lends itself to a symptomatic reading. -/- This essay seeks to extract the Nietzschean undercurrents of Lukács’s work through a reflection on the romantic anti-capitalist tendencies that the young Lukács shared with Nietzsche. For although it may appear that Nietzsche lacked a clear politics, his criticism of the bourgeois ethos as a structure based on debt/guilt [Schuld], and his critique of modern value-system and nihilism paved the way for the emergence of Lukács’s theory of reification. Nietzsche’s category of 'transvaluation of values’ suggests a total transfiguration of reality, a radical rupture with the ordinary state of things, and as such carries within itself a revolutionary promise. Drawing a distinction between political romanticism and romantic politics, I argue that romantic anti-capitalism contains a potential for the latter. The essay further traces the link between Lukács’s ‘romantic politics’ and the persistence of a thought of the tragic (a ‘tragic vision’) in his texts that, despite its temporary decline during his realist period, is undismissable in different constellations of his thought. (shrink)

Fantastic Antigones : The Tragic Legacy of Trans Grief.

A tragic dilemma is thought to arise when an agent, through no fault of her own, finds herself in a situation where she must choose between two courses of action, both of which it would be wrong to undertake. I focus on tragic dilemmas that are resolvable, that is, where a reason can be given in favour of one course of action over another, and my aim is to examine whether Hursthouse's virtue-ethical account of right action succeeds (...) in avoiding two problems presented by tragic dilemmas. The first of these is that they produce the seemingly contradictory conclusion that an agent, in doing what she ought to do, acts wrongly, making it appropriate for her to feel guilt. The second is the paradox of moral luck, which consists in the conflict between the intuition that an agent cannot be held responsible for actions that are not fully voluntary, and the fact that she may nevertheless believe that she has done something morally reprehensible. I argue that if we accept Hursthouse's separation of action guidance and action assessment, her account succeeds in solving the problem of contradiction. However, it does not completely avoid the problem of moral luck. I argue, against Hursthouse, that the virtuous agent can emerge from a tragic dilemma having acted well, and that this is the conclusion we must arrive at if we want to avoid the problem of contradiction and of moral luck. (shrink)

This paper considers Carson’s rewriting of Heracles’ tragic madness— through the art of collage, an assembling and disassambling of textual fragments, scraps of papers, drawings, chromatic smears, and sketches—as an imagistic site for theorizing the anti-normative materiality, physical and metaphysical, of par-a-noia. I make a case for a materiality of par-a-noia by proposing a comparison with Alain Badiou’s Marxist political formalism. The distinctive formal trait of H of H, verbal and pictorial juxtaposition, invites us to think of par-a-noia as (...) an aesthetico-political radicality located on the edge of a voiding of thought (noein), a radicality that, as I suggest at the end, can be aligned with modes of non-normate cognition, with neuroqueer countersociality. (shrink)

If we set aside personal edification, what reasons remain for a philosopher of science to study the intellectual biography of a famous (or infamous) scientist? This question raises familiar and perhaps tired arguments about the relationship between history of science and philosophy of science, but it is also practical: why take the time to digest almost 600 pages devoted to the controversial German zoologist Ernst Haeckel? A preliminary answer is the author. The historical investigations of Robert Richards have been of (...) ongoing interest to philosophers, whether it be evolutionary explanations of mind and behavior in the nineteenth century (Dennett 1989) or his contentious claims—reinvigorated in the present volume—about Darwin’s commitment to embryonic recapitulation (Lennox 1994). Richards has a knack for unearthing details germane to conceptual reflection, in no small part because of his own philosophical predilections (e.g., a selection model of scientific theory development). Here I entertain three more reasons to follow the injunction tolle lege: the prescient synthesis exemplified in Haeckel’s evolutionary theorizing, the impact of model organism choice, and the critical role of pictures in scientific reasoning accented by Haeckel’s artistic proclivities. (shrink)

The concept of ‘world visions’, first elaborated in the early work of Georg Lukàcs, is used here as a tool whereby the similarities between Pascal’s Pensées and Kant’s critical philosophy are contrasted with the rationalism of Descartes and the empiricism of Hume. For Lucien Goldmann, a leading exponent of the most fruitful method of applying Marxist ideas to literary and philosophical problems, the ‘tragic vision’ marked an important phase in the development of European thought from rationalism and empiricism (...) to the dialectical philosophy of Hegel, Marx and Lukàcs. The book is not a collection of isolated essays on Kant, Pascal, Racine, the status of the legal nobility in seventeenth-century France and the exact nature of the religious movement known as Jansenism, but an attempt to formulate, by an examination of these different topics, a general approach to the problems of philosophy, of literary criticism, and of the relationship between thought and action in human society. (shrink)

A partir da perspectiva intelectualista grega, na qual o dualismo entre corpo e alma requer o primado do discurso racional [lógos] em detrimento do páthos filosófico, busca-se com este artigo associar a noção de "desmedida" [hybris] com a noção de melancolia. Essa associação ganha ainda mais relevo, quando a aproximamos da interpretação de Simone Weil para o poema épico de Homero, a Ilíada. Se essa aproximação se justifica, então é patente a aproximação entre o caráter trágico que o destino adquire, (...) na perspectiva clássica, e a noção de contingência enquanto fundamento do absurdo existencial, no pensamento existencialista. We seek to associate the notion of "excess" [hubris] with the notion of melancholy from the intellectualist Greek perspective, in which the dualism between body and soul requires the rule of rational discourse [logos] at the expense of philosophical pathos. This association becomes more relevant when understood in light of Simone Weil's interpretation of Homer's epic poem, the Iliad. If this approach is justified, then a rapprochement becomes evident between the tragic character takes on destiny in the classical view, and the notion of contingency as the basis of existential absurdity in existentialist thought. (shrink)

O objetivo deste artigo é apontar cinco aspectos do pensamento nietzschiano que podem ser relevantes para os debates da filosofia da ciência em torno da natureza e representação do conhecimento científico. Para tanto, é realizada uma revisão de literatura com o objetivo de selecionar trechos de obras nietzschianas como O nascimento da tragédia, Genealogia da moral, A gaia ciência e outras que permitam interpretar Nietzsche como um filósofo da ciência preocupado com a construção do conhecimento cientifico sobre a realidade física. (...) Como resultado é possível identificar uma proposta epistemológica na perspectiva nietzschiana, cuja representação objetiva do mundo deve apontar para uma estética da vida. -/- The purpose of this article is to point out five aspects of Nietzschean thought that may be relevant to debates in the philosophy of science around the nature and representation of scientific knowledge. To this end, a literature review is carried out with the aim of selecting excerpts from Nietzschean works such as The Birth of Tragedy, Genealogy of Morals, The Gay Science and others that allow us to interpret Nietzsche as a philosopher of science concerned with the construction of scientific knowledge about the physical reality. As a result, it is possible to identify an epistemological proposal in the Nietzschean perspective, whose objective representation of the world should point to an aesthetics of life. (shrink)

The philosophy of Bernard Williams, recognised as a prominent expression of ethical thought, presents an intense dialogue with ancient Greek tragic culture. Combining erudition and elegance, Williams evokes Greek tragedies to discuss modern ethical ideas and conceptions. Our article intends to consider Williams’ thought from a cultural point of view: we propose analysing Williams’ cultural methodology, which may be described as a way of thinking beyond the traditional dichotomies between the ancient and the modern, especially concerning the (...) notion of the tragic. Accordingly, we shall examine the affinities between ancient and modern tragic cultures by identifying common narrative and poetical elements. To do so, we shall consider the interpretation of Hamlet, developed by the classicist scholar H.D.F. Kitto. In Form and Meaning in Drama: A Study of Six Greek Plays and of “Hamlet” (1956), Kitto proposes reading Hamlet in close alliance with Oedipus Tyrannus. Kitto maintains that both tragedies are poetical expressions of a shared tragic element: miasma, or “pollution”, a concept thoroughly treated by Williams in the third chapter of Shame and Necessity. Our article aims to combine Williams’ cultural methodology—we may call it the deconstruction of the repeated theoretical frameworks regarding the differences between the ancient and the modern—and Kitto’s reading of Hamlet in line with Oedipus Tyrannus, which may be understood as an illustration of the persistence of common tragic elements beyond time and the historical separation of cultural periods. Our perspective shall be both cultural and aesthetical. (shrink)

Miguel de Unamuno’s theory of tragic sentiment is central to understanding his unique contributions to religious existential thought, which centers on the production of perhaps the most unavoidable and distinctive kind of human feeling. His theory is rightly attributed with being influenced by the gestational thought of, inter alios, Schopenhauer, Kierkegaard, and Nietzsche, but within these pages I should like to suggest a peculiar kinship between seemingly strange bedfellows, namely, between Unamuno and Immanuel Kant. Although the relationship (...) between Unamuno and Kant is conflicted, ranging from clear indications of influence to expressions of antipathy, there has been relatively little comparative research done on these two thinkers. Moreover, this scant literature has mainly explored connections between Unamuno’s existential thought and Kant’s first two Critiques. In these works, however, feelings are regarded as inclinations and thus receive no serious consideration. In what follows, I therefore juxtapose Unamuno’s analysis of tragic feeling in The Tragic Sense of Life with Kant’s discussion of the feelings of beauty and the sublime in the Critique of Judgment. (shrink)

“One of the most dangerous of ideas for a philosopher is, oddly enough, that we think with our heads, or in our heads.” Wittgenstein… aber wir sprechen das Allgemeine aus;” Hegel“Hegel is the last philosopher of the book and the first thinker of writing.” Derrida“Linguistic turn”, “pragmatic paradigm”, “Destruktion”, “deconstruction”, “condition postmoderne”, “pensiero debole” are not only philosophical labels. They are not only indices of intellectual positions which have inscribed themselves, as consequences as well as preconditions, in the end of (...) traditional metaphysics. “Nothing is true, everything is permitted”, Nietzsche'sGenealogy of Moralsannounces, describing the empty space which the metaphysical concepts have left; and in doing so opening up a seemingly boundless dimension for new developments of thoughts. The dilemma of these developments of modernity is that the vacuum they left, caused by their ruthless critique, cannot be refilled. So the outlook of modernity remains necessarily heterogeneous and unstable, meandering towards the colourful and fashionable-macabre extremes of postmodemity which gain from the tragic certainty of rien ne va plus the happy imperative of anything goes. But these are also ciphers of a particular philosophical-historical constellation, a work situation, in which the potencies of reason, being verhimmelt for a long time, now are going to be situated into their real contexts. Only, as Habermas puts it, “under the premises of an unexcited postmetaphysical thinking”, the once heroic concept of theory, which was meant to explain the world of human beings and their history as well as Nature out of onto-theleological principles of rationality, falls to pieces. (shrink)

Gareth Evans was arguably the finest philosopher of his generation; he died tragically young, but the work he completed has had a seismic impact on the philosophies of language and mind. In this volume an outstanding international team of contributors offer illuminating perspectives on Evans's groundbreaking work, paying tribute to his achievements and leading his ideas in new directions. Contributors Josi Luis Bermzdez, John Campbell, Quassim Cassam, E. J. Lowe, John McDowell, Christopher Peacocke, Ian Rumfitt, Ken Safir, Mark Sainsbury.

In lieu of an abstract, here is a brief excerpt of the content:Thinking Mortal ThoughtsDebra SanThere is something quite odd about the ancient Greek advice to “think mortal thoughts” (or “think of mortal things”), for what human being past the flush of youth has not trembled at the thought of mortality? Consciousness of our mortal condition is considered a hall-mark of the human species, and is no doubt the reason we alone among the species on the planet entertain notions (...) of divinity. Why then are we counseled to think about what we cannot help thinking about anyway? And what purpose does the advice serve: are those who tender it eager to promote their own fearful frame of mind? Or, on the contrary, are they urging us to be courageous in the face of death? Perhaps the advice intended is to eat, drink, and be merry, for tomorrow we die. Or perhaps “mortal thoughts” are suicidal thoughts, and the object is to shuffle off this mortal coil in a manner, time, and place of our own choosing.Clearly, taken out of context, the injunction “think mortal thoughts” can mean any number of things. But in the context of ancient Greek culture, “think mortal thoughts” means roughly this:“Since you are not one of the immortal gods, be mindful of your limits as a human being. Consciousness of the inevitability of your death should inform the way you live your life, for just as your lifespan is limited by your mortality, so too are your capacities for understanding, for action, and for achievement. This is the truth of your condition; if you don’t accept it, you’ll be frustrated at best, and at worst you’ll incur divine wrath and retribution for attempting to push past your proper human boundaries into sacred turf where you don’t belong and aren’t wanted. Don’t trespass. Don’t even think about it. Don’t assume, in a futile exercise of hubris, that you’re a special case whose transgression [End Page 16] (huperbasia) will be exempt from dire consequences. Gnothi sauton, know yourself as a mortal being, and meden agan, do nothing to excess, or you will suffer the fate of Icarus, who aimed too high and died for it, or the fate of Phaethon, who was destroyed by forces which he thought he could control.”The advice presented here echoes throughout classical Greek drama, whose tragic protagonists are the theatrical descendants of Icarus and Phaethon. When Antigone compares herself to Niobe, the Chorus must remind her that “she was a god, born of gods, and we are only mortals born to die” (925–26). 1 In her failure to think mortal thoughts, Antigone resembles her father, whose refusal to acknowledge his limits is so profound that even after mutilating himself in horror at the discovery of his own transgressions, he must still be reminded that he is no longer “the master of all things” (1675). 2 Pentheus in the Bacchae lacks the stature of either Oedipus or Antigone, but like them he has pretensions beyond the limits befitting a mortal; he fails to exercise the “simple wisdom [that] shuns the thoughts of proud, uncommon men and all their god-encroaching dreams” (427–29). 3 In his arrogant and unrealistic attempt to pit his own puny powers against the incomparable force of the immortal Dionysus, Pentheus suffers the fate of those whose hubris overcomes the temperate virtue of sōphrosunē, “the wisdom that accepts” (390). Even the bloodthirsty, pre-Eumenides Furies of the Eumenides accept the limits which moderation entails: they understand that Zeus “appointeth the mean as the master in all things” (531). 4One might expect that this cautionary, temperate strain in Greek thinking would appeal to Aristotle, whose doctrine of the mean in Book II of the Nicomachean Ethics might have come straight out of the Oresteia. And yet, when the caution is expressed in the maxim “think mortal thoughts,” Aristotle rejects it, claiming that human beings should try to aim their thoughts at a level so high it cannot really be reached by mortals, which is to say a level as high as that of the immortal gods, whose contemplative, intellectual activity (theōria) soars far above... (shrink)

Twenty-five years ago, when I went down to the countryside to live and work in a production team, I took a few books with me, one of which was Ovid's Metamorphoses. The people in our team looked through it many times, read and reread it, until it was as ragged as a roll of dried seaweed. Then people from other teams borrowed it, and I spotted it in several different places, looking more and more dilapidated. I believe that in the (...) end the book was read to death. Even now I still can't forget what a sorry state it was in. Life in the team was very hard—We didn't have enough to eat, we couldn't get used to the climate, and many people got sick; but the worst hardship of all was that there were no books to read. If we had had a lot of books to read, Metamorphoses would not have disappeared so tragically. On top of this, we never had the pleasure of thought. I do not believe I was alone in this experience: As you sat lonely and forlorn under the eaves in the twilight, and watched the sky slowly darken, you felt that you'd been deprived of your life. I was young then, but I was scared of having to go on living like that, of growing old like that. To my mind, that would be even more frightening than death. (shrink)

In his account of the Persian Wars, the 5th century historian Herodotus reports an exchange between the Persian monarch Xerxes and a deposed Spartan king, Demaratus, who became what Lattimore later classified as a “tragic warner” to Xerxes. On the eve of the battle of Thermopylae, Xerxes asks how a small number of free Spartiates can stand up against the massive ranks of soldiers that Xerxes has assembled. Herodotus has Demaratus reply: So is it with the Lacedaemonians; fighting singly (...) they are as brave as any man living, and together they are the best warriors on earth. Free they are, yet not wholly free; for law is their master (ἐλεύθεροι γὰρ ἐόντες οὐ πάντα ἐλεύθεροι εἰσί· ἔπεστι γάρ σφι δεσπότης νόμος), whom they fear much more than your men fear you. This is my proof—what their law bids them, that they do; and its bidding is ever the same, that they must never flee from the battle before whatsoever odds, but abide at their post and there conquer or die. (Hdt. 7.104) As the outcome of Thermopylae makes clear, Demaratus is hardly guilty of boasting. But Greek political theorists were not only fascinated by the Spartans who fought at the battle of Thermopylae in 480; they also wondered how slightly more than a century later Sparta was ignobly defeated by Thebes at the battle of Leuctra in 371, after which Spartan hegemony collapsed. How did Sparta field citizen-soldiers in the 5th century who were without parallel in their bravery and military prowess? And why did Sparta, predominantly under the same political organization, collapse just over a century later? Such are the main questions that Xenophon, Plato, Aristotle, and Plutarch—what Cartledge (1999, 313–14) has characterized as “political-theoretical” laconophiles—seek to answer in their writings about Sparta. (shrink)

The first view I shall investigate holds that the art form of tragedy expresses or contains certain eternal, acultural, and ahistorical facts which are "tragic" and present as such in the real or extra-artistic worlds; these facts are merely composed in tragedy as its content such that tragedy may be said to embody some perennial statement or thought about the things that are. The assumption here is that "tragedy" is a noun which can literally be applied to describe (...) certain facts or events we encounter in the everyday world. This term has been more specifically understood to refer to the fact of death , to a way of existence or human existence generally, or to a relationship existing between man and the world, or man and other men, or man and himself . Though tragedy certainly has its preferred topics, and these have sources in a world outside any given world which the particular tragedy constructs, there is surely a distinction between the world in general, with its facts, relationships, significances, and interpretations, and the particular world created by a given tragedy. This purely aesthetical creation of its own facts, relationships, significances, and interpretations is what I shall henceforth call the worked world of tragedy. Leon Rosenstein is currently working on "Hegelian Sources of Freud's Social and Political Philosophy," a four-article series to appear during 1977. He is an associate professor of philosophy at San Diego State University. (shrink)

Reading literature allows for an experience of the Other1 that necessarily implies distance, blindness and unsurpassable separation. The writer reaches the reader through text, the sole means for the reader to encounter the writer in her work. Writing and reading are essentially and inescapably mediated activities where the two poles reach each other through a curtain or a screen, a mask without a face. A writer may read her own text, or she may give it to others, but she can (...) never read it in their place. Rather, they encounter one another through a written text, a representation of a representation of the writer's thoughts, which translates their speech into a purely graphic representation devoid of intention and... (shrink)

Patrick Downey finds comedy at the heart of the Western philosophical and theological tradition. In Serious Comedy Downey tracks tragedy and comedy from the beginning of Western thought to the twentieth century, beginning with an in-depth examination of Aristotle and three Platonic dialogues: the Republic, the Phaedrus, and the Symposium. In the book's second section Downey argues that the Bible is at heart a comedic narrative and analyzes the philosophical and theological implications of this comedy. In the third section (...) Downey traces comedy and tragedy in classic and modern philosophers such as Machiavelli, Dante, Hegel, Nietzsche, and Kierkegaard. Readers with an interest in classical philosophy and theology, political philosophy, and narrative theory will be particularly interested in this insightful and thoughtful perspective on the Western tradition. (shrink)

Martin Heidegger and Cornelius Castoriadis both understood Greek tragedy in relation to a political rupture in the Athenian world, a rupture containing insights into the ontological grounding of human beings. This paper critically explores the role of 'the Greeks' in Heidegger and Castoriadis' political thought, drawing implications for the availability of the Greeks for any philosophical thinking. After his infamous Rectoral Address in 1933 Heidegger turned explicitly to Greek tragedy in his lectures at Freiburg to search for resources that (...) might prove fundamental to instigating a new political era. However, he constructed a transcultural notion of 'the Greeks' at the expesnse of seeing tragedy as the development of a public institution that facilitated the criticism of the shared values and ideas of a particular historical epoch. Castoriadis, on the other hand, saw tragedy not simply as an awareness of the groundlessness of human society, but as the ceaseless questioning of what society is for. For Castoriadis, the Greeks are present to us in the same political rupture we experience today. In this paper I will argue that Castoriadis is more successful than Heidegger in developing an account of human creativity that holds open the problematic relation between the created world and human beings, though not without significant problems. I will conclude by suggesting that Euripides, a tragedian overlooked by Castoriadis, can supply some critical recouses for addressing them. (shrink)

Martin Heidegger and Cornelius Castoriadis both understood Greek tragedy in relation to a political rupture in the Athenian world, a rupture containing insights into the ontological grounding of human beings. This paper critically explores the role of 'the Greeks' in Heidegger and Castoriadis' political thought, drawing implications for the availability of the Greeks for any philosophical thinking. After his infamous Rectoral Address in 1933 Heidegger turned explicitly to Greek tragedy in his lectures at Freiburg ( Introduction to Metaphysics and (...) Hölderlin’s Hymn ) to search for resources that might prove fundamental to instigating a new political era. However, he constructed a transcultural notion of 'the Greeks' at the expesnse of seeing tragedy as the development of a public institution that facilitated the criticism of the shared values and ideas of a particular historical epoch. Castoriadis, on the other hand, saw tragedy not simply as an awareness of the groundlessness of human society, but as the ceaseless questioning of what society is for. For Castoriadis, the Greeks are present to us in the same political rupture we experience today. In this paper I will argue that Castoriadis is more successful than Heidegger in developing an account of human creativity that holds open the problematic relation between the created world and human beings, though not without significant problems. I will conclude by suggesting that Euripides, a tragedian overlooked by Castoriadis, can supply some critical recouses for addressing them. (shrink)