It has long been the habit of philosophers, and is still a common failing of ordinary playgoers, to see tragedy through the coloured spectacles of an acquired philosophical or religious outlook, and to commend or condemn rather from the standpoint of partiality for a certain view about life in general than from that of one assessing the intrinsic merits of a work of art. Because we all, whether laymen or specialists, theorize about the nature and destiny of that mysterious universe (...) which, for a brief span, our minds illumine, and because the working hypothesis so engendered is inevitably tinged by our personal idiosyncrasies of temperament and taste, there have been—and, building on such a foundation, there must be—almost as many different theoretical explanations of the tragic as theoreticians speculating on this high theme. Besides introducing that personal equation which has always been anathema to science, the distorted vision for which philosophical preconceptions are responsible brings with it minor illusions that are scarcely less injurious; the reading into a play or a novel of notions that had never entered the poet's brain, or the interpolation of history with incidents that never really occurred, the discarding of much that is genuinely tragic because it happens not to fit into the mould shaped by our own ideas, and the acceptance of much that is not merely untragic, but actually inartistic—pacifist, or communist, or feminist, or religious propaganda—because it happens to display the native hue of our own convictions. (shrink)

Mind and Rights combines historical, philosophical, and legal perspectives with research from psychology and the cognitive sciences to probe the justification of human rights in ethics, politics and law. Chapters critically examine the growth of the human rights culture, its roots in history and current human rights theories. They engage with the so-called cognitive revolution and investigate the relationship between human cognition and human rights to determine how insights gained from modern theories of the mind can deepen our understanding (...) of the foundations of human rights. Mind and Rights argues that the pursuit of the human rights idea, with its achievements and tragic failures, is key to understand what kind of beings humans are. Amidst ongoing debate on the universality and legitimacy of human rights, this book provides a uniquely comprehensive analysis of great practical and political importance for a culture of legal justice undergirded by rights. Matthias Mahlmann is University Professor, Chair of Philosophy and Theory of Law, Legal Sociology and International Public Law at the University of Zurich. (shrink)

This article brings out ethical aspects arising in Plato’s classical critique of narrative and imitative art in The Republic, especially when it comes to reading stories about the past. Socrates’s and Glaucon’s most important suggestion, I argue, is to cultivate an ethical consciousness where one ought to see the distinctions between how the real and the imaginary in narratives are to be conceived, and what that insight ethically demands of the reader. Taken as an ethical insight for the reader when (...) engaging in narrative understanding, this should be to resist the temptation to think that past suffering and misery as told in a story can be read analogously to narratives having a tragic plot. The article clarifies the meaning of Plato’s critique through the ideas of Simone Weil, Emmanuel Lévinas and Iris Murdoch. These existential moral philosophers work towards having an ethical consciousness in one’s personal relationship with stories of our lifeworld. (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 this paper I examine the role of tragedy in the ancient emergence of philosophical interiority and in the recent return of exteriority that marks the birth of theory. I argue that tragedy names a kind of epistemic threshold between systems of knowledge predicated on exteriority and interiority. I conclude by arguing that Derrida's late effort to articulate a messianic model of the tragic in Specters of Marx and elsewhere, his effort to “think the ghost,” both confirms and complicates tragedy's (...) place in the history of theory. (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)

The history of philosophical thought has often been compared to a comedy of errors, and is one of the most important dimensions of the intellectual history of mankind. Quests for a correct view of the world and tragic mistakes, the polarization of philosophy into mutually exclusive trends, which is sometimes thought of as a permanent scandal in philosophy — these are not merely the searchings and sufferings of individual thinkers. This is the intellectual odyssey of mankind, and those (...) to whom it appears a farce apparently interpret the tragic only as the idols of the theater. But the fact is that antinomies, crises, retracing of steps, the discarding of real truths in favor of erroneous concepts long since refuted but stubbornly taken as true — are these things characteristic of philosophy alone? Philosophy is the intellectual image of mankind, and the contradictions of its development are of no small importance to the intellectual biography of humanity. (shrink)

As the massacre of the Greek Catholic Church was going on, as the Lviv Cathedral was held in March 1946, much has been written by historians, religious scholars, publicists, and theologians. The archival documents that became available for research cover not only new facts pertaining to this event, but also reveal the strategic and tactical plans of the senior state and party leadership of the USSR, their direct participation in the implementation of this action.

An extraordinary history of humanity's changing vision of the universe. In this masterly synthesis, Arthur Koestler cuts through the sterile distinction between 'sciences' and 'humanities' to bring to life the whole history of cosmology from the Babylonians to Newton. He shows how the tragic split between science and religion arose and how, in particular, the modern world-view replaced the medieval world-view in the scientific revolution of the seventeenth century. He also provides vivid and judicious pen-portraits of a string (...) of great scientists and makes clear the role that political bias and unconscious prejudice played in their creativity. (shrink)

This article explores Heidegger’s ambivalent philosophical relationship with Richard Wagner. After showing how Heidegger situates Wagner within his larger critique of aesthetics, I will explain why Heidegger believes that Wagner’s operas, due to the dominance of music, could not attain the status of “great art.” Because music can do no more than stimulate or intensify feelings, it becomes, for Heidegger, the paradigm of what art has become under the influence of aesthetics. Heidegger’s views on music even motivate him to contest (...) Nietzsche’s thesis that music was the origin of Greek tragedy. Heidegger dismisses Nietzsche’s developmental account and argues instead that poetry is the essence of tragic drama. To conclude, I will show that Heidegger’s exclusive focus on Wagner’s theoretical work is too narrow, for his music reveals ontological concerns that cannot be easily assimilated into Heidegger’s history of aesthetics, and in fact suggest possible affinities with Heidegger’s own philosophical insights. (shrink)

Emilsen, William W On the cusp of the Second Vatican Council the distinguished American Lutheran historical theologian, Jaroslav Pelikan, then at the University of Chicago, published a groundbreaking volume titled The Riddle of Roman Catholicism. In this book Pelikan gave a sympathetic yet critical examination of the evolution of Roman Catholicism, its distinctive beliefs and, most importantly, he offered a discussion of the theological issues Protestants face in their conversations with Roman Catholics on Christian unity. The Riddle of Roman Catholicism (...) met an obvious need. It was quickly reprinted by Abingdon Press in the United States and published by Hodder and Stoughton in Great Britain the following year. It was also widely acclaimed in both the Protestant and Catholic presses. The Christian Century magazine, representing the voice of mainstream Protestantism in America, published excerpts from the book claiming that it 'sets the stage for realistic discussion of Christendom's sad divisions'. The Presbyterian theologian and ecumenist from Princeton, John A. Mackay, reviewed it in Theology Today as an 'outstanding book', 'the most significant to appear on Roman Catholicism in many years'. Daniel Walther, professor of church history at the Seventh-day Theological Seminary at Andrews University in Michigan extolled Pelikan's book as 'a significant omen of the new Protestant approach', one that attempted 'to end the "hot war" between the confessions'. Catholic scholars, too, were receptive. Bonaventure Schepers's review in the Thomist, for example, thanked Pelikan for his 'courage and honesty' and invited the journal's readers 'to rejoice with us at the appearance of his important work'. Gustave Wiegel's lengthy review in the Jesuit review, America, named it as 'probably the most important' of the many interesting Protestant studies of Roman Catholicism at the time. Although Pelikan was still a relatively young scholar at the time, The Riddle of Roman Catholicism established him as a serious thinker on the topic of Christian unity. (shrink)

Fantastic Antigones : The Tragic Legacy of Trans Grief.

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 (...) class='Hi'>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)

The article deals with the problem of the cyclical nature of socio-historical development. Cyclicity is positioned as a universal feature of social development, making it possible to use the “lessons of history” in forecasting the future. Particular attention is paid to analyzing the causes of chronic disruptions in Russia’s modernization. The specificity of the Russian history cyclical nature is seen in the action of the institutional matrix, which unites authoritarianism and the suppression of private property into a monolithic (...) whole. (shrink)

A project conceiving of political assemblages as anything larger than just an object of intellectual history will have to face a question—what is the potential scope and entailments of the idea of political assemblages outside of the very specific late twentieth-century milieu that it was conceived in? And given the present moment, there is also is much more specific question that should well be taken up: what place any project organized as a political assemblage could have in an era (...) of global capitalist accelerated economic inequalities and anthropocentric warming? Drawing on debates in contemporary social and cultural anthropology about Dumont, hierarchy, actor-network theory, and ontology, this essay... (shrink)

This paper offers an alternative perspective to the traditional interpretation of Hegel's philosophical reflection on history, departing from a reinterpretation of Hegel's reading of the tragic action of Antigone in Chapter VI of the Phenomenology of Spirit. The customary interpretation of this text affirms that Hegel shows how the conflict of tragic action finds its truth and its end in the identity of spirit. Tragic conflict is left behind to the same extent that spirit sublates the Greek ethical substance. (...) This way, spirit can guarantee that our historical time is released from the past of the substance, or the spiritual movement of mediation from the immediacy of an ‘in-itself’. My reading, by contrast, finds under the tragic conflict of this text of Hegel's nothing but the ‘no’ of death that negates itself, or a principle that has the form of an original and irreducible conflict. Under this interpretation of Hegelian spirit, it becomes clear that it can neither fail to posit some form of ‘in-itself’ nor sublate its own tragic nature. This way it is shown that Hegel's reflection on the past does not reassure the superiority of the identity of the present, but rather illuminates its ‘broken’ nature. I thus offer an alternative view on Hegel's comprehension of the relation between present and past and between philosophy and time. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Tragic as an Ethical CategoryRobert GuayTragedy is at the center of Nietzsche's conception of his mature philosophical project as the only alternative to the ascetic ideal, and thus as the only avenue for affirmation. It is not merely an aesthetic category, but one that encompasses the very character of self-determining (or "self-creating") agency. The tragic character of self-determining agency, I shall claim, stems from the conflict between the (...) local, practice-dependent character of our normative commitments and their transcendent purport. My argument will run as such. Becoming what one is, according to Nietzsche, is a matter of taking a particular place in a narrative of self-creation. Such narratives are teleological: they are structured by a kind of directionality (or, more broadly, by "ideals") that cannot, practically, be taken as arbitrary. But these narratives are inevitably incomplete, and so therefore are the norms and selves that depend on them.The very project of a genealogy of morals supports my first claim, that becoming what one is involves a matter of taking a particular place in a narrative of self-creation. 1 The Genealogy of Morals begins with the declaration that we are unknown to ourselves, and the explanation it provides of this shortcoming, that we have never sought ourselves, is expanded by means of a temporal metaphor: the bell-strokes of our life that we do not think to reckon until after they have passed. What we have failed to accomplish, and what the genealogy attempts to recover, is a diachronic account of who we are. This missing story covers the singular as well as the collective "we." The end of the story, Nietzsche [End Page 555] claims, is the "sovereign individual," 2 and this notion is presumably governed by his general claim: "all concepts in which an entire process is semiotically drawn together elude definition; only that which has no history is definable" (GM, 2.13). Of course it does not follow from this that everything indefinable has a history, but the special elusiveness of modern individuality seems due to the complexity of its narrative source. And not only individuality in general, but also the particular individual, seems to have a narrative basis. In the book subtitled "How one becomes what one is," in the section that promises the "real answer to the question, how one becomes what one is" (EH "clever," 9), Nietzsche offers this account of personal development:One must keep the entire surface of consciousness—consciousness is a surface—clean of any great imperatives. Beware even of every great word, every great posture! Sheer danger, that the instinct comes to "understand itself" too soon—meanwhile the organizing "idea" with a calling to rule grows and grows deep down—it begins to command, it slowly heads back from detours and wrong ways, it prepares single qualities and competencies that will one day prove to be indispensable as means to a whole—it in turn trains all subservient faculties before giving any hint of the dominating task, "goal," "end," "meaning."The individual, Nietzsche suggests, cannot be understood in terms of anything available to her consciousness, and not even in terms of any "great imperative" or "great word." Instead Nietzsche accounts for individuality, and in fact his own individuality, in terms of a meaningfulness available in terms of the familiar tropes of journeys and roads, and growing and commanding.This passage from Ecce Homo suggests not merely a narrative, but one with a teleology, even if only a retrospectively apparent one. Narratives of self cannot be random or arbitrary; their meaningfulness depends on the structure provided by some kind of directionality: in Nietzsche's words, a dominant "task" or "goal." This directionality is invoked by Nietzsche, for example, with the "teachers of the purpose of existence" of The Gay Science's opening section and with the famous "formula of our happiness" of The Antichrist's opening section: "a Yes, a No, a straight line, a goal." The Genealogy of Morals provides a general account of this directionality in terms of a "progressus."I would like to say that even partial becoming useless, atrophying and degenerating, loss of meaning and purposiveness, in short... (shrink)

The paper consists of two parts. In the first one the author analyses the situation of mankind in the last decades of the 20th century, regarding it as tragic; in his reflections he refers mainly to the conceptions of Georg W. F. Hegel, Karl Marx and some Christian thinkers. The second part is a critique of Karl Popper’s conception of history, especially his main claim that history has no meaning.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Tragic Vision of African American ReligionPaul E. CapetzThe Tragic Vision of African American Religion Matthew V. Johnson New York, N.Y.: Palgrave Macmillan, 2010. 189 pp. $75.00Matthew Johnson’s profound book The Tragic Vision of African American Religion sheds new light upon the distinctive nature of African American religion. Adequate interpretation of this topic requires understanding the traumas inflicted upon Africans sold into slavery, their existential predicaments before and (...) after emancipation, and the ongoing plight of their descendants whose psyches have been indelibly scarred by this traumatic history. Johnson avails himself of the resources of philosophical theology, psychoanalytic theory, and literary criticism to argue his thesis that African American religion expresses a tragic vision of reality. Besides providing an illuminating analysis of the traumatic experience underlying this religious vision, Johnson presents a compelling constructive proposal as to the broader implications of his thesis for Christian theology at large.As a student of David Tracy and Langdon Gilkey, Johnson sees the necessity for rigorous philosophical reflection in theology. Because the spirituality of the black church stands in some real tension with the traditional theological categories inherited from Europe, Johnson proceeds with “a phenomenological orientation grounded in a philosophical hermeneutical approach” that allows him to excavate the traumatic experiences informing this spirituality (4). He skillfully uses the concepts of mourning, loss, longing, and desire developed in psychoanalytical theory to probe the significance of trauma for grasping the dynamics of African American spirituality. He engages literary criticism and argues convincingly for a distinction between “tragedy” as a literary genre and the tragic vision it articulates. Indeed, the tragic vision is prior to tragedy. The tragic is not the encounter with meaninglessness per se but “the always already aesthetic representation of the encounter, which preserves its terrible truth in a transfigured vision of reality” (6). This vision affirms life while facilitating “the recognition and embrace of the darker, more fundamental truths of life” (7).Cognizant that other theologians have declared the incompatibility of Christian faith with a tragic vision of reality, Johnson believes otherwise. He insists that the tragic is fundamental to human experience as such, although it is frequently evaded by strategies of foreclosure—including those of Christian theology—that falsify the experience. Yet the distinctive thing about the black religious experience is the way African Americans made the Christian faith [End Page 215] their own by transforming it at a deep spiritual level through their tragic vision. Mildly critical of previous formulations of black theology, Johnson contends that this involved much more than the affirmation that God cares about the sociopolitical liberation of oppressed people. The Christian tragic vision of the black experience offers the possibility of a new basis for “theology in an African American key” (6). Since he understands himself primarily as a Christian theologian, however, Johnson addresses an audience consisting of more than fellow black theologians. He rightly highlights a profound truth that white theologians have largely failed to grasp: the contribution of the black church “transcends the confines of African American culture to speak meaningfully to a Christian faith struggling to remain viable in a meaningful way” (10).James Cone once issued this challenge: “Why don’t white theologians make racism their issue?” White theologians who ponder Johnson’s book will begin to understand the full import of this challenge: by opening ourselves unreservedly to the pain of our black sisters and brothers, we may discover anew the meaning of that genuine humanity to which the gospel summons all people. A theological reformulation of Christian faith as tragic in the light of the traumas of the black experience could occasion a much needed reformation of the white churches in America.Paul E. CapetzUnited Theological Seminary of the Twin CitiesCopyright © 2012 The Society of Christian Ethics... (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)

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)

The article focuses on one highly idiosyncratic trait of Lifshits’ reading of Hegel, namely his assertion that the epoch of Restoration during which Hegel produced his main works was analogous to the period of the 1930s in the USSR. In both cases, “constructive” tasks came to the fore as the fermentation of the revolutionary era waned. On this assumption, Lifshits built up his idea of a Restauratio magna, which should serve as the guiding star of cultural politics. In fact, Lifshits (...) came very near to rehabilitating of Edmund Burke’s views about the conservation of cultural heritage, which is highly problematic in light of his initial Marxist convictions. (shrink)

For Hegel, modern selfhood is an implicitly poetic, normative capacity for actions that could not be empirically explained. Thus it eludes the “clarification” offered by classical tragedy, but modernity’s apparent loss of tragedy conceals the dialectical refinement of tragic into comic form that most defines modern selfhood. If Aristotle contrasted poetry and history, Hegel’s The Phenomenology of Spirit derives a modern, comic ethical poetics from the form of historical contingency itself. Focusing on Hegel’s reading of Antigone, I solicit Gillian (...) Rose and Dieter Henrich to defend this account against tragic assessments of modern selfhood by J. M. Bernstein, Patricia Jagentowicz Mills, and Judith Butler. (shrink)

_Why efforts to create a scientific basis of morality are doomed to fail_ In this illuminating book, James Davison Hunter and Paul Nedelisky recount the centuries-long, passionate quest to discover a scientific foundation for morality. The "new moral science" led by such figures as E.O. Wilson, Patricia Churchland and Joshua Greene is only the newest manifestation of an effort that has failed repeatedly. Though claims for its accomplishments are often wildly exaggerated, this new iteration has been no more successful than (...) its predecessors. Hunter and Nedelisky argue that in the end, science cannot tell us how we should live or why we should be good and not evil, and this is for both philosophical and scientific reasons. In the face of this failure, the new moral science has taken a surprising turn. Whereas earlier efforts sought to demonstrate what is right and wrong, the new moral scientists have concluded that right and wrong, because they are not amenable to scientific study, don’t actually exist. Their moral nihilism turns the science of morality into a social engineering project. If there is nothing moral for science to discover, the science of morality becomes, at best, a program to achieve arbitrary societal goals. Concise and rigorously argued, _Science and the Good _is a major critique of a would-be science that has gained too much influence in today’s public discourse, and an exposé of that project’s darker turn. (shrink)

The motif of the ‘drama of being’ is a dominant thread that spans the entirety of Levinas's six decades of authorship. As we will see, from the start of his writing career, Levinas consciously frames the tension between ontology and ethics in a dramatic form. A careful exposition of this motif and other related theatrical metaphors in his work–-such as ‘intrigue,’ ‘plot,’ and ‘scene’–-can offer us not only a better appreciation of the evolution of Levinas's thought, but also of his (...) proper place within the western philosophical tradition. Levinas accuses western philosophers of being exclusively attuned to what he calls the ‘drama of existence.’ And even then, philosophers have eluded the implications of the tragic fatalism that define this drama. Philosophers are generally unaware of an ‘other scene’ that radically alters the fatalistic logic of the ontological drama. Levinas calls this other scene the ‘ethical intrigue.’. (shrink)

Introduction ; "you weren't there!" -- Contemporaneity in the past -- War and the time after -- Contemporaneity at the heart of historicity -- Our time -- Conclusion : in the face of the tragic.

Attempts to comprehend the traumatic significance of Hiroshima in order to construct a new theory of history.

Marx begins his Eighteenth Brumaire by attributing to Hegel the remark that "all facts and personages of great importance in world history occur, as it were, twice. He forgot to add: the first time as tragedy, the second as farce." Marx has stung us here with another of his famous inversions. For Hegel, in the passage in question, describes repetition in world history as a mark of ratification, sanctifying what has happened. He has not "forgotten" to add, the (...) first time as tragedy, the second as farce; for such an addition would utterly contradict what he is saying. Actually, Marx borrowed the whole tragedy-farce notion from comments by Engels in a letter dated December 3, 1851. Marx has, however, held fast to Hegel's formulations about man being free only when he comprehends his history. (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)

This paper, therefore, ploughs the furrow of postcolonial history, memory and the poetic imagination deploying the poetry of the Nigerian poet Joe Ushie.In particular, the paper negotiates the Rwandan genocide as a tragic foreground of the imperial process through its indulgent, artificial fixing of boundaries to accomplish its empire-building project in Africa. But beyond the colonial mediation in, and onslaught on, the cultures of others, the paper argues that African societies have also been complicit in their agonistic and violent (...) history as the Rwandan genocide amply demonstrates. The paper concludes that a martial culture reminiscent of Civan, the warmonger, which manifests itself in private and especially public domains will only entrench intolerance, ethnocentrism, communal wars and violent death on the continent. (shrink)

The history of genetics and the evolutionary theory in the USSR is multidimensional. Only in the 1920s after the October Revolution, and due in large part to that Revolution, the science of genetics arose in Soviet Russia. Genetics was limited, but not obliterated in the second half of the 1950s, and was restored in the late 1960s, after the resignation of Nikita S. Khrushchev. In the subsequent period, Soviet genetics experienced a resurgence, though one not as successful as geneticists (...) would have liked. The Communist party bodies interfered constantly, but with different consequences for the development of genetics than when the earlier periods. The main troubles for Soviet genetics occurred during the unique, well-known, most contradictory, and tragic Stalinist period. The start date for the defeat of genetics is also known—August, 1948. In the social history of science and especially in the history of evolutionary biology it is natural, necessary, and even expected to adopt an evolutionary approach. In particular, historians of science need to consider and explain the evolution and dependence of Soviet science in regards to the evolution of Soviet society, the Soviet state, and the Communist party. This evolutionary perspective reflects the standards of evolutionary biology, evolutionary macrosociology, and also the history of science. (shrink)

The history of political philosophy is marked by a conception of politics as inherently tragic. As such, it has hardly ever been systematically contrasted with the other model of dramatic art, comedy. In this article, I explore the relation between Hegel's twofold notion of drama as an ordered genre of disorder – what he considers to be the highest form of self-reflective art – and the post-foundational concept of radical democracy. After outlining the interplay between order and disorder in (...) post-foundationalist theories of political difference, I summarize the way in which the steps of Hegel's poetics consecutively build on each other and elaborate the role of the dramatic genres. By means of a genealogical reconstruction of the respective concepts of democracy and drama, I demonstrate the extent to which these two methodologies correspond to poetic and political order formation in a structural homology. This conceptualization concludes with the assertion of a constitutive dramatization of political modernity which does not, however, culminate in the concept of political tragedy but points towards a still-to-be-realized, comically ordered democracy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 327 Tragic Vision and Divine Compassion: A Contemporary Theodicy. By WENDY FARLEY. Louisville, Kentucky: Westminster/John Knox Press, 1990. 150 pp. Wendy Farley sets herself an ambitious task in her book. She is dissatisfied with past theodicies, which account for evil and suffering as punishment for sin, as counterpoints in a larger aesthetic cosmic harmony, as means of purification and formation of character, or something that will be (...) as compensated for by other-worldly vindication and reward. These four theories may explain some forms of evil and suffering, but in the face of " radical suffering " they are " unable to exorcise the demons that whisper that life is futile, suffering is meaningless, and the cosmos an empty and evil void " (p. 22). By " radical suffering " Farley means that kind of suffering which debases and destroys the human dignity of the sufferer: " Radical suffering pinches the spirit of the sufferer, numbing it and diminishing its range. The distinctiveness of radical suffering does not lie in its intensity or its injustice but its power over the sufferer" (p. 54). Radical suffering drives the person to self-loathing and despair and therefore destroys her or his capacity to resist it. Despite its massive destructive power radical suffering is not rare; it occurs in familial, cultural, poli· tical, and economic relations under the forms of, e.g., child abuse, sexism, racism, violation of human rights, poverty, and starvation. To account for radical suffering, Farley proposes that (a) one place suffering rather than sin at the center of the problem of evil; (b) one replace the notion of a primordial fall with that of tragedy; (c) one repudiate the idea of divine omnipotence in favor of that of divine compassion (pp. 12-13). The second and third proposals are captured in the title of the book, " Tragic Vision and Divine Compassion." Farley's first proposal leads one to expect that she would do away with the notion of sin altogether, hut this is not the case. Strangely, she devotes a good deal of attention to sin, describing it as " catastrophic because it introduces chaos and disharmony into history " (p. 43). She sees sin as (self)-deception, callousness, bondage, and guilt (pp. 4451 ). Whereas traditional theology perceives a causal link between sin and suffering, the logic of Farley's alternative proposal entails her locating the origin of suffering elsewhere, namely, the tragic character of human existence: "... tragic vision locates the possihilirty of suffering in the conditions of existence and in the fragility of human freedom " (p. 29). A tragic vision of life does not, Farley claims, rationalize (radical) 3~8 BOOK REVIEWS suffering, nor is it atheistic. It recognizes, honestly and bluntly, that " the conditions of finite existence include conflict and fragility " (p. 31). Multiplicity ·and' variety enrich creation hut they inevitably lead to division and.separation; relationships warm the heart hut they must include some and exclude others; values sometimes conflict, such as mercy and justice; embodiment allows us to enjoy the pleasures of life but it leads to decay and death. Even human freedom, Farley points out, is infected with fragility caused by anxiety and desire: "Freedom is the tragic flaw of human existence, at once the stamp of its greatness and its destruction " ·(p. 37). What should one do in face of inevitable suffering? One must have compassion. Farley takes compassion to mean an enduring disposition horn of sympathetic knowledge of another person's suffering leading to love (which is a liberation from egocentrism that enables one to care for others) and working for justice (especially removing social in· justice). In contrast to dominating power, compassion empowers the sufferers to speak and act in their own defenses. It rejects the tempta· tion of passivity before evil and the use of violence to overthrow it. Rather, it empowers sufferers to resist evil. For Farley, God's power must he understood as compassion or love. As a noncoercive form of power, divine love (a) creates a tragic world in which radical suffering is inevitable and (b) because of suffering redeems it. Hence, divine compassion is both creative and redemptive. But why does God go through this seemingly redundant exercise? Why doesn't God create... (shrink)

According to the received view, the transportation view, animal extrapolation consists in inductive prediction of the outcome of a mechanism in a target, based on an analogical mechanism in a model. Through an analysis of the failure of preclinical studies of TGN1412, an innovative drug, to predict the tragic consequences of its first-in-man trial in 2006, the received view is challenged by a proposed view of animal extrapolation, the chimera view. According to this view, animal extrapolation is based on a (...) hypothesis about how human organisms work, supported by the amalgamation of results drawn from various experimental organisms, and only predicting the ‘predictive grid’, that is, a global framework of the effects to be expected. (shrink)

In his monumental study of the history of Western forms of government, Metamorphoses of the City: On the Western Dynamic, Pierre Manent offers his response to the question of modernity’s cap...

This paper seeks to shed fresh light on the aesthetic and stylistic affiliations of Lycophron'sAlexandra, approaching the poem from two distinct but complementary angles. First, it explores what can be gained by reading Lycophron's poem against the backdrop of Callimachus’ poetry. It contends that theAlexandrapresents a radical and polemical departure from the Alexandrian's poetic programme, pointedly appropriating key Callimachean images while also countering Callimachus’ apparent dismissal of the ‘noisy’ tragic genre. Previous scholarship has noted links between the openings of theAetiaand (...) of theAlexandra, but this article demonstrates that this relationship is only one part of a larger aesthetic divide between the two poets: by embracing the raucous acoustics of tragedy, Lycophron's poem offers a self-conscious and agonistic departure from Callimachus’ aesthetic preferences. Second, this article considers another way of conceiving the aesthetics of the poem beyond a Callimachean frame, highlighting how Lycophron pointedly engages with and evokes earlier Aristotelian literary criticism concerning the ‘frigid’ style: theAlexandraconstructs its own independent literary history centred around the alleged name of its author, ‘Lycophron’. The article proposes that this traditional attribution is best understood as a pen name that signposts the poem's stylistic affiliations, aligning it not so much with the Ptolemaic playwright Lycophron of Chalcis but rather with Lycophron the sophist and a larger rhetorical tradition of stylistic frigidity. Ultimately, through these two approaches, the article highlights further aspects of theAlexandra's aesthetic diversity. (shrink)