Challenging a long-standing assumption of the separation of ethical from poetic activity, this essay develops the basis for a theory of moral life as inherently and radically creative. A range of contemporary post-Kantian ethicists--including Ricoeur, Nussbaum, Kearney, and Gutiérrez--are employed to make the argument that moral practice requires a fundamental capability for creative transformation, imagination, and social renewal. In addition, this poetic moral capability can finally be understood only from the primordial religious point of view of the mystery of Creation (...) as such. Humanity as an image of its Creator is called to the endless impossible possibility of the re-creation of its own complex, plural, and fallen social world. Such a perspective is opposed to views of moral life as the application of law-like principles or the recovery of past moral histories. Without a better understanding of moral life's radically creative imperative, we miss a vital element of social relations' distinctive humanity. (shrink)

At least since Aristotle, phronesis (practical wisdom) and poetics (making or creating) have been understood as essentially different activities, one moral the other (in itself) non-moral. Today, if anything, this distinction is sharpened by a Romantic association of poetics with inner subjective expression. Recent revivals of Aristotelian ethics sometimes allow for poetic dimensions of ethics, but these are still separated from practical wisdom per se. Through a fresh reading of phronesis in the French hermeneutical phenomenologist Paul Ricoeur, I argue that (...) phronesis should be viewed as at least in part poetic at its very core. That is, phronesis deals with the fundamentally tragic human situation of moral incommensurability, and it responds to this by making or creating new moral meaning. Such a poetics of practical wisdom helps phronesis stand up to significant and important critiques made of it by a range of modernists and post-modernists, pointing a way forward for some important contemporary moral debates. (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)

Is tragedy, as Nietzsche declared, dead? In recent years many philosophers have reconsidered tragedy's relation to philosophy. While tragedy is deemed to contain important lessons for philosophy, there is a consensus that it remains a thing of the past. This article calls this consensus into question, arguing that it reifies tragedy, keeping tragedy at arm's length. With the interest of identifying the necessity of tragedy to philosophy, it draws from Quentin Skinner to put forward an alternative approach to genre as (...) living form. This approach alters our understanding of the philosopher at the heart of philosophy's dialogue with tragedy, Immanuel Kant. Moreover, it shows that tragedy is closer to contemporary philosophy than we might think. (shrink)

_An exploration of philosophical and religious ideas about humor in modern philosophy and their secular implications._.

This dissertation deals with the tragic vision that motivates certain key aspects of Theodor W. Adorno’s philosophy. While in the formative early work, the Dialectic of Enlightenment, co-written with Max Horkheimer, the tragic views are clear, in later works, such as the Aesthetic Theory and the Negative Dialectics, they are only implicit. The study reconstructs the tragic vision found in the Dialectic of Enlightenment and uses it as a key to understand Adorno’s mature philosophy. A tragic vision is born when (...) specific philosophical convictions regarding agency and morality coalesce with certain ethical and political conditions. A tragic vision forms the grounds for tragic views. For Adorno, the key convictions rise out of the failures of reason and culture to enable the eradication of unnecessary suffering by creating the kind of conditions in which human beings could flourish. These convictions give rise to a view of humanity as blind to its own shortcomings and thus doomed to perpetuate suffering in the name of progress and growth. Adorno’s persistent negativism prevents him from offering practical solutions for changing the world, but he does offer a scathing critique of the modern world that continues to resonate with new generations of readers. The analysis of the tragic vision presented in this dissertation will highlight the fundamental philosophical and ethical commitments underlying Adorno’s views and will thus allow both situating his work into a larger cultural context and juxtaposing it with the work of other philosophers, as well as other writers, thereby opening new vistas for research not just on Adorno but on continental philosophy, social theory, and the domain of arts and letters at large. (shrink)