A survey of commentaries on Aristotle’s Poetics over the past century reflects a long-standing assumption that pleasure, rather than understanding, is to be seen as the real aim of tragedy, despite weak textual evidence to this end. This paper seeks to rehabilitatethe role of understanding in tragedy’s effect, as Aristotle sees it, to an equal status with that of its affective counterpart. Through an analysis of the essential inducement of wonder on the part of the viewer and its connection with (...) the organic unity of the plot—what Aristotle calls the “soul” of tragedy—I argue that the telos of tragedy in the Poetics is intended to accommodate both pleasure and incipient philosophical activity without necessarily privileging either. (shrink)

Two critical yet comic elements, beyond the more obvious narrative of persecution, reveal themselves in Adorno's recorded nightmare. The first is comic because it so aptly displays his relentless critical impulse despite himself, the way in which theory invades the private sphere of his dreams: even in sleep, Adorno finds himself at once reading phenomena and on guard against a false transcendence from which they could, in the last instance, be deciphered.1 The second is more patently absurd, yet perhaps more (...) difficult to assess: that he should gain permission to interrupt an unspeakably cruel and final punishment, an essentially hopeless…. (shrink)

Kazimir Malevich’s style of Suprematist painting represents the inauguration of nothing less than a new form of culture premised upon a demolition of the Western tradition’s reifying habits of objective thought. In ridding his canvases of all objects and mimetic conventions, Malevich sought to reconfigure human perception in such a way as to open consciousness to alternative modes of organization and signification. In this paper, I argue that Malevich’s revolutionary aesthetic strategy can be illuminated by a return to the very (...) basis of this tradition, namely by a reconsideration of Aristotle’s account in De Anima III.2 of the initial possibility of objective perception as such. (shrink)

A closer look at the character of Odysseus in the opening passages of the Philoctetes reveals a more nuanced psychology of guilt and justification than commentators have thus far appreciated in the cunning hero's role. This paper examines the relations of sympathy between Odysseus, Neoptolemus, and Philoctetes as a way of entering into the complicated political drama of the work. Conceiving politics in the Philoctetes as a hybrid construction of the demands of nature and the demands of the gods, this (...) study provides a reading of Sophocles' play as an observation of the necessity for political regimes to efface the very conditions of sympathy that made them possible in the first place. On this reading, Sophocles' tragedy is to be seen as an explorarion of the damage incurred by individuals when such effacement takes place. (shrink)

Whereas the entrance of the monochrome into modern art has typically been understood in light of movements in contemporary art and aesthetic theory following in its wake, this essay seeks to understand the motivations for, and the effect of, the monochrome in the work of Aleksandr Rodchenko in 1921 in reference to Plato's analysis of pure pleasure and absolute beauty in the Philebus . I argue that Rodchenko and Plato were motivated by a shared project to contend with the aesthetic (...) and psychological effects of figurative semblance, or what Socrates calls the phantasm, in order to harmonize human perception with the world of sensuous material objects. It is in this shared project, I contend, that Rodchenko's strategy is to be understood as a kind of materialist Platonism that, when viewed phenomenologically, reveals Plato's objects of absolute beauty to be, in the context of industrial capitalism and the crisis of perception that Benjamin, among others, saw as its consequence, sites of loss and meaninglessness for modern consciousness, yet sites which nonetheless contain emancipatory potential for a social order that has been systematically alienated from itself and its environment. (shrink)

The Protagoras features the first known venture into detailed textual interpretation in the Western intellectual tradition. Yet if Socrates is to be taken at his wordat the close of his hermeneutic contest with Protagoras, this venture is to be regarded as a playful demonstration of the worthlessness of texts for aiding in the pursuit of knowledge. This essay is an attempt to view Socrates’ puzzling remarks on this point within their dramatic and historical contexts. I argue that, far from having (...) us lay our inherited texts aside, we can find in the Protagoras a reorientation to the linked activities of reading and dialogue, where we need not be forced to choose between merely using our own unaided voices and relying upon the (textual) voices of others in the project of philosophic education. (shrink)