I argue that the tragedies envisioned by the Symposium are two, both of which are introduced in the dialogue: (i) within months of Agathon's victory, half the characters who celebrated with him suffer death or exile on charges of impiety; (ii) Socrates is executed weeks after the dramatic date of the frame. Thus the most defensible notion of tragedy across Plato's dialogues is a fundamentally epistemological one: if we do not know the good, we increase our risk of making (...) mistakes and of suffering what are sometimes their catastrophic consequences. (shrink)

In the paper it is argued that bridging the digital divide may cause a new ethical and social dilemma. Using Hardin's Tragedy of the Commons, we show that an improper opening and enlargement of the digital environment (Infosphere) is likely to produce a Tragedy of the Digital Commons (TDC). In the course of the analysis, we explain why Adar and Huberman's previous use of Hardin's Tragedy to interpret certain recent phenomena in the Infosphere (especially peer-to-peer communication) may (...) not be entirely satisfactory. We then seek to provide an improved version of the TDC that avoids the possible shortcomings of their model. Next, we analyse some problems encountered by the application of classical ethics in the resolution of the TDC. In the conclusion, we outline the kind of work that will be required to develop an ethical approach that may bridge the digital divide but avoid the TDC. (shrink)

Those who are risk averse with respect to money, and thus turn down some gambles with positive monetary expectations, are nevertheless often willing to accept bundles involving multiple such gambles. Therefore, it might seem that such people should become more willing to accept a risky but favourable gamble if they put it in context with the collection of gambles that they predict they will be faced with in the future. However, it turns out that when a risk averse person adopts (...) the long-term perspective, she faces a decision-problem that can be analysed as a noncooperative game between different “time-slices” of herself, where it is in the interest of each time-slice (given its prediction about other slices) to turn down the gamble with which it is faced. Hence, even if a risk averse but rational person manages to take the long-term perspective, she will, in the absence of what Hardin called “mutual coercion”, end up in a situation analogous to the “tragedy of the commons”. (shrink)

The paper criticizes John Caputo's formulation of "radical hermeneutics" and its understanding of both religion and tragedy, arguing that a "tragic theology" would be a truly radical hermeneutic.

In this paper, I offer a new interpretation of Aristophanes’ speech in Plato’s Symposium. Though Plato deliberately draws attention to the significance of Aristophanes’ speech in relation to Diotima’s (205d-206a, 211d), it has received relatively little philosophical attention. Critics who discuss it typically treat it as a comic fable, of little philosophical merit (e.g. Guthrie 1975, Rowe 1998), or uncover in it an appealing and even romantic treatment of love that emphasizes the significance of human individuals as love-objects to be (...) valued for their own sakes (e.g. Dover 1966, Nussbaum 1986). Against the first set of interpreters, I maintain that Aristophanes’ speech is of the utmost philosophical significance to the dialogue; in it, he sets forth a view of eros as a state of lack and a corresponding desire for completion, which is the starting-point for Diotima’s subsequent analysis. Against the second, I argue that Aristophanes’ speech contains a profoundly pessimistic account of eros. Far from being an appreciative response to the individuality of the beloved, eros, for Aristophanes, is an irrational urge, incapable of satisfaction. It is this irrationality that precludes Aristophanes’ lovers from achieving the partial satisfaction of erotic desire that is open to their Socratic counterparts through their relationship to the forms. (shrink)

Conditional pacifism is the view that war is morally justified if and only if it satisfies the condition of not causing serious harm or death to innocent persons. Modern war cannot satisfy this condition, and is thus always unjustified. The main response to this position is that the moral presumption against harming or killing innocents is overridden in certain cases by the moral presumption against allowing innocents to be harmed or killed. That is, as harmful as modern war is, it (...) can be morally justified as a lesser evil when it alone can prevent great harm to innocents. This paper proposes that extreme cases in which only war can prevent great harm to innocents may be morally tragic. In some cases it may be both wrong to wage war to prevent great harm and wrong to fail to prevent that great harm. (shrink)

Two assumptions are common in discussions of the paradox of tragedy: (1) that tragic pleasure requires that the work be fictional or, if non-fiction, then non-transparently represented; and (2) that tragic pleasure may be provoked by a wide variety of art forms. In opposition to (1) I argue that certain documentaries could produce tragic pleasure. This is not to say that any sad or painful documentary could do so. In considering which documentaries might be plausible candidates, I further argue, (...) against (2), that the scope of tragic pleasure is limited to works that possess certain thematic and narrative features. (shrink)

In his early and unpublished essay on Schiller’s trilogy Wallenstein, Hegel criticizes the plays’ denouement as “horrific” and “appalling” and for depicting the triumph of death over life. Why was the young Hegel’s response to Wallenstein so negative? To answer this question, I first offer an analysis of Wallenstein in terms of Hegel’s mature theory of modern tragedy. I argue that Schiller’s portrayal of Wallenstein’s character and death indeed render the play a particularly dark and unredemptive example of modern (...) tragedy as Hegel understands it. I suggest, however, that Hegel’s early objections are primarily motivated by his philosophy of history rather than by his theory of tragedy. Hegel accurately sensed the loss of faith in historical progress that Schiller experienced in the wake of the French Revolution; in essays written shortly before Wallenstein appeared, Schiller associates the tragic sublime with humans’ ability to act in the face of the meaninglessness of history. In his essay “The German Constitution,” composed during the same period as his Wallenstein review, Hegel instead formulates his familiar exhortation that we see history as meaningful. Hegel’s objection to Wallenstein’s darkness, then, is primarily an objection to the vision of history it portrays. Against the background of Peter Stein’s 2007 Berlin production of Wallenstein, I suggest that Wallenstein’s lasting appeal lies in its ability to allow audiences to experience the sublime as Schiller intended: as an assertion of our agency despite the cycles of history we so little control. (shrink)

The trajectory of Paul Ricoeur’s thought from the fallible to the capable human person offers a hopeful vision of human nature constitutive of our shared political life. Yet, by necessity, hope arises in response to the tragic, which also features in Ricoeur’s work at the existential and ethical levels. At the same time hope and tragedy represent concepts at the limit of philosophical reasoning, introducing meeting points with religious discourse. Exploring those meeting points reveals the contribution of religious thinking (...) to the understanding of hope and tragedy and establishes Ricoeur’s political thinking as ultimately shaped by their interplay. (shrink)

The Prisoner's Dilemma (PD) exhibits a tragedy in this sense: if the players are fully informed and rational, they are condemned to a jointly dispreferred outcome. In this essay I address the following question: What feature of the PD's payoff structure is necessary and sufficient to produce the tragedy? In answering it I use the notion of a trembling-hand equilibrium. In the final section I discuss an implication of my argument, an implication which bears on the persistence of (...) the problem posed by the PD. (shrink)

The principle of self-determination, like Janus, has two faces: negative and positive. Often understood as enabling the fracture of states into national components, the principle is better seen as facilitating the creation of multinational frameworks that foster toleration and human rights.

In this paper the author analyses the materials that were published in the American satirical magazine The Onion in the period from 2006 till 2011 and mentioned September 11 terrorist attacks. The focus of the research is the persistence of 9/11 jokes five years after the tragedy occurred and later on. The jokes are classified basing on their subject-matter and rhetorical patterns. The author concludes that most of these jokes promote respect towards collective memory about the attacks and their (...) victims. (shrink)

In this paper, I argue that the normative framework of liberal democracy is one of the sources of the failure of international climate politics. The liberal framework makes it very likely that at least some democracies will not consent to an international agreement to mitigate greenhouse gas emissions. In this situation, the institution of judicial review might be viewed as crucial to overcome the risk of a tragedy of the commons. However, judicial review cannot serve this purpose in the (...) case of climate change and an institutional change of the kind required cannot be derived from within the normative framework of liberal democracy itself. (shrink)

The lifting of lockdown is a typical case of the tragedy of the commons, and as such should be regulated by public authority, instead of being left to the ethics and responsibility of single individuals. I would therefore argue that we should think about an intermediate phase between the lockdown and the opening of shops (which in the Italian case is the transition from the red zone to the orange zone): diversified access to commercial activities, on an hourly basis, (...) for different population groups. This can be achieved either by creating different opening hours for different commercial activities and offices, or by opening them all at the same time but introducing free entrance hours based on age groups of clients. Both solutions would imply an extension of business and office hours, contrary to what has happened in most countries, where an attempt has been made to shorten the days and in some cases, such as in Italy, a curfew has even been introduced at a certain time of the day (in Italy, at 10 pm). (shrink)

Polemizując z poglądami niektórych filozofów moralności, autor broni tezy, iż jednoznacznie dobrzy ludzie mogą być pewni spokoju swej duszy.

Experiencing tragedy may broaden our ability to understand the suffering of others, and further our ability to endure future suffering. In the work of stoic philosopher Epictetus, he proports one should practice premeditatio malorum, preparing for the tragedies to come so that when they do occur one will be less disturbed. Through the stories of those that have survived tragedy and great suffering though, we can grow to understand the choices people make that lead to suffering are often (...) the lesser of two evils. When man sees a reason to suffer, he will choose to suffer, it is possible to understand and explain what experiencing suffering causes. The writings of philosophical professor Michael Brady, Susan Feagin, and others explain that the virtues of suffering are enough so we should not avoid the experience of it. We study history so that we may avoid repeating it, and just the same we experience the suffering that comes naturally throughout life so that we may avoid repeating it. (shrink)

An evolutionary approach to ethics supports, to some extent, the sceptical meta-ethics found by some of the Greek sophists and Nietzsche. On the other hand, a modern naturalistic account on the origin and nature of morality, leads to somewhat different conclusions. This is demonstrated with an answer to three philosophical questions: does real freedom exist?, does the good, or real virtue, exist?, does life have a meaning?

Human rights have made mass murder and genocide more, rather than less, likely. -/- Posted 21 December 2022. A previous version of this paper appears as chapter 3 of my Patriotic Elaborations: Essays in Practical Philosophy (Montreal and Kingston: McGill-Queen’s University Press, 2009).

The tragedy of the commons is a primary contributing factor in ensuring that humanity makes no serious inroads in averting climate change. As a recent Canadian politician pointed out, we could shut down the Canadian economy tomorrow, and it would make no measurable difference in global greenhouse gas emissions. When coordinated effort is required, it would seem that doing the “right thing” alone is irrational: it will harm oneself with no positive consequences as a result. Such is the (...) class='Hi'>tragedy. And that is the challenge that we take up here. Though Garrett Hardin suggests that the solution is a governmental process that rules over all contenders, since a world government seems unlikely before the planet hits the tippy point, we suggest an educational initiative instead: one that holds a mirror up to the behaviour of individuals, rather than to the behaviour of individuals in groups. Such an educational initiative would be focused on priming individuals to keep constant track of what they do as individuals as opposed to focusing on the behaviour of humanity in general. Such an educational initiative would focus on tackling the “problem solvers” rather than just “the problem”. (shrink)

Shaped by Hegel, philosophy’s approach to Antigone has always been firmly rooted in all the assumptions of realism, with proper, true-to-life, consistent, and plausible characters. These characterological mimetic interpretations often feed off of each other within the context of what’s perceived as “realist” drama, with its focus on characters and their insoluble, hence tragic, conflict. Starting with the twentieth-century avant-garde, however, theatre became less and less interested in characterological mimicry as a foundation of drama and what follows, as the foundation (...) of the theatrical experience itself. Along with the shift in our approach to character, we have also experienced a shift in our understanding of other Aristotelian components of drama and dramatic genres. As our sense of character and Thought shifted from stable to unstable, so did our understanding of tragedy and its role at the junction of theatre and philosophy. Tragedy has shifted from dialectic to aporia, from binary to polynary. Antigone—with its multiple interpretations and critical lenses—illuminates this fundamental shift in our understanding of tragedy and, thus, the fundamental shift in the relationship between theatre and philosophy in postdramatic theatre. (shrink)

Game theorists tend to model climate negotiations as a so-called ‘tragedy of the commons’. This is rather worrisome, since the conditions under which such commons problems have historically been solved are almost entirely absent in the case of international greenhouse gas emissions. In this paper, I will argue that the predictive accuracy of the tragedy model might not stem from the model’s inherent match with reality but rather from the model’s ability to make self-fulfilling predictions. I then sketch (...) some possible ways to dispel the tragedy, including (1) recognizing some ways the assumptions of the model fail, (2) taking seriously recent work suggesting that increasing greenhouse gas emissions is not in most nations’ own self-interest, and (3) preferring alternative models like collective risk dilemmas, bargaining games, or cooperative models. (shrink)

While both Isaiah Berlin and William James are widely seen as pluralists, this paper contends that neither is a pluralist tout court. Berlin certainly is a pluralist when it comes to morality and politics, but he is a monist when it comes to nature. And James is, paradoxically, both a pluralist and a monist as regards all of reality. These claims are advanced by showing how both thinkers’ approaches contrast with those of monists, not least Plato, Hegel, and Nietzsche. They (...) are also shown to be associated with different narrative genres: tragedy in Berlin’s case, and tragicomedy in James’. The paper then concludes with a brief discussion of an alternative approach, one that treads a path in between monism and pluralism and, because of this, favours a particular form of comedy. (shrink)

The paper explores the way in which we can make sense of the seemingly contradictory presentations of God and the gods in tragic literature by looking to the thought of Martin Heidegger. The duplicity of the gods in tragedy is found to be a function of the uncertainty and questionworthiness of being.

This study investigates Phillipe Lacoue-Labarthe's claim in "The Caesura of the Speculative" that Hölderlin is a "modern" writer. Its aim is to establish what is at stake in this claim and to evaluate whether it can be substantiated. In Chapter One I discuss the relationship between tragedy and philosophy. I show that the uneasy relationship between philosophy and the arts is premised upon Plato's understanding and judgement of mimesis. I contrast Plato and Aristotle's treatment of poetry by examining how (...) they understand the mimetic process. In Chapter Two I focus on Hölderlin's understanding of the relationship between Ancient Greece and 18th Century Germany. After discussing the background to Hölderlin's work I provide detailed readings of two texts, The Perspective from which We Have to Look at Antiquity, (1799) and the first letter to Böhlendorff, dating from 1801. I argue that in these texts Hölderlin, through his acknowledgement of the divided nature of Greek culture, offers a unique understanding of the relationship between Greece and Germany which isolates him from his contemporaries. In Chapters Three and Four, I examine Hölderlin's understanding of tragedy. After establishing the centrality of the aesthetic presentation for Hölderlin's project I examine the "poetological" writings which date from 1798-1800. I give a close analysis of the implications of Hölderlin's statement that the tragic "is the metaphor of an intellectual intuition" which occurs in the text On the Difference of the Poetic Modes, (1800), showing why the tragic form is central to Hölderlin's poetological project. To illustrate the problems inherent in this project, in Chapter Four I examine Hölderlin's attempts to write a tragic drama which corresponds to his theoretical beliefs. I discuss the two theoretical texts - The Ground to Empedocles and Becoming in Dissolution - which accompany Hölderlin's drama Empedocles. In analysing these texts I argue that there is an inherent tension between the presuppositions of the theory and the way they can be realised in the drama. In Chapter Five, I turn to Hölderlin's final work, his project to translate Sophocles' tragedies. Through close analysis of the theoretical Remarks which accompany the translations, I show how Hölderlin's theoretical and poetological interests in Greece and Tragedy are brought together through this project. I argue that these texts give an insight into the problems which confront Hölderlin's poetological project. However, simultaneously, these texts provide an alternative way of understanding the function of the tragic form. In this discussion I show how the questions concerning the status of dramatic mimesis and the "mimetic" relation between Greece and Germany coincide in the analysis of Sophocles' dramas. In conclusion I return briefly to the questions that I raised in the introduction concerning the status of tragedy in the present time, and assess the accuracy of the claim that Hölderlin is a "modern" thinker. (shrink)

Philip Roth’s novel 'The Human Stain' recounts an instance of racial passing: its protagonist, Coleman Silk, is African-American but light-skinned enough to pass as white. Coleman’s decision to pass and his subsequent violent death, I argue, confront us with complex ethical questions regarding unjust social roles, loyalty, and moral luck. I also argue, building on Hegel’s definition of tragedy, that 'The Human Stain' is a particularly modern tragedy. The novel highlights conflicting role obligations, inadequate conceptions of freedom, and (...) the tensions of cultural paradigm shifts—all characteristics typical of modern tragedy. I claim that parsing 'The Human Stain' as a tragedy deepens our understanding of the novel as well as drawing our attention to its philosophical significance. (shrink)

Kant admits that there are two kinds of human works that have something sublime about them, the work of the poet, e.g., tragedy, and the work of the politician, i.e., war. This paper will explore Kant's reasoning about the sublime element in these two human works.

Greek tragedy, in Hegel’s Phenomenology of Spirit, represents the performative realization of binary political difference, for example, “private versus public,” “man versus woman” or “nation versus state.” On the other hand, Roman comedy and French Revolutionary Terror, in Hegel, can be taken as radical expressions of political in-difference, defined as a state where all mediating structures of association and governance have collapsed into a world of “bread and circuses.” In examining the dialectical interplay between binary, tragic difference and comedic, (...) terrible in-difference, the paper arrives at hypothetical conclusions regarding how these political forms may be observed today. (shrink)

The novel begins as follows:"Dora Greenfield left her husband because she was afraid of him. She decided six months later to return to him for the same reason. The absent Paul, haunting her with letters and telephone bells and imagined footsteps on the stairs had begun to be the greater torment. Dora suffered from guilt, and with guilt came fear. She decided at last that the persecution of his presence was to be preferred to the persecution of his absence."Murdoch's novel (...) The Bell is about Imber Court. It is a small Anglican religious community of lay people whose lives were transformed, not just by the arrival of a couple of dissimilar visitors, not just by the arrival of a new bell to be installed at Imber Abbey located beyond the lake, but more significantly by the discovery of a centuries-old bell the story of which is engulfed in a terrible legend. (shrink)

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)

This article draws on Hegel's description of the tragedy of "Oedipus at Colonus" based on the text of "Phenomenology of spirit". Because Hegel considers art to be the product of the spirit of the times and believes it emerges from the culture and ethics of societies, he reflects on the spirit of Greek society through reading Greek tragedy. The most prominent feature of ancient Greek society has been the "unity of life" among most philosophers. But Hegel believes that (...) because this unity was unconsidered and immediate, the Greek ethical life (Sittlichkeit) collapses. Although Hegel in the phenomenology of spirit makes no direct reference to the play of Oedipus at Clonus, this article compares the text of phenomenology with the text of the tragedy of Oedipus at Colonus and reveals that Hegel's understanding of ancient Greek society is completely intertwined with the aforementioned tragedy. Hegel’s reading of this tragedy focuses on the confrontation between the roles of woman/man and family/state in ancient Greek society. These confrontations appear in the characters of Antigone and Ismene (daughters of Oedipus) against Eteocles and Polynices (sons of Oedipus). While describing the war between two brothers, Hegel goes on to describe the "war" phenomenon in the context of the establishment of unity in society, which is part of Hegel's political philosophy. (shrink)

This paper develops and defends a new way for pacifists to deal with the problem of supreme emergency. In it I argue that a supreme emergency in which some disaster can only be prevented by modern war is a morally tragic situation. This means that a leader faced with a supreme emergency acts unjustifiably in both allowing something terrible to occur, as well as in waging war to prevent it. I also argue that we may have cause to excuse from (...) wrongdoing the agents who must choose an unjustified action in a supreme emergency. (shrink)

Hegel believed the Antigone tragedy not only revealed the national spirit of ancient Greece but was indeed the greatest artwork of all time. displaying the “Logic of History”, was the critical role Antigone tragedy played in the phenomenology of spirit from the standpoint of Hegel. This article will attempt to answer how Hegel reads Antigone's tragedy and how he observes the “Logic of History” in it. Ancient Greek society, In Hegel’s point of view, has constantly been the (...) symbol of “unity of life”. however, Hegel believes that at certain times in history, this unity of ethical life and its state of joy in Greece has been destroyed. Since Hegel believes literary works have historical-cultural implications and considers art and literature as the first medium by which the spirit becomes self-conscious, in the section “True Spirit, ethical Life” from the book Phenomenology of Spirit, he describes the fall of the ethical life of Greek society by reading of the Antigone tragedy. What Hegel understood from the Antigone tragedy was a series of painful conflicts that ensued as a consequence of a contradiction between ethical powers within Greek society. powers that had heretofore been in unreflected unity, but now that their contradictions revealed, the ethical life of society collapsed and the spirit moved to a more rational and liberated stage. These stages are in fact very much the irreversible final course of history toward achieving freedom. (shrink)

In his 2013 book, “Moral Tribes: Emotion, Reason, and the Gap between Us and Them,” Joshua Greene1 contemplates two tragedies. The first is the tragedy of the commons, a well- studied problem in the game theory and psychology literature. Here, if people are truly self- interested, cooperation cannot arise, and everyone will use the commons until it is depleted. This problem is succinctly called the “Me vs. Us” problem. The second is the tragedy of the commonsense morality, which (...) Greene named, refers to the problem of cooperation among groups, the “Us vs. Them” problem. (shrink)

In the chapter Spirit of the book "Phenomenology of spirit" in a section called "True spirit, ethical Life", Hegel looks into the happy state of "ethical life" in Greece. The concept of ethical life is a very crucial concept because it formulates Hegel's fundamental political and social ideal, which is to establish synthesis between the community and the individual. In this research, we study the ethical life of people who are unreasonably immersed in the customs and laws of a certain (...) society. In the following, we see that this world is divided and the unity of laws in it is shaken. For this reason, Hegel discusses the literary genres of epic and tragedy in order to show that in them, a person progressively becomes himself and becomes aware of his individual character. Hegel destroys his primitive ethical substance dialectically through essential conflicts, with forced actions and untangling choices of people with will and as a result people are deprived of their social identities. In this dialectical process, the "living unity" of the polis is fragmented and becomes a mass of separate atoms. (shrink)

This essay offers an interpretation of Aristotle’s account of the birth of tragedy (Poetics 1448b18–1449a15) as a mimesis of poetic praxis. The workings of this passage emerge when read in connection with ring composition in Homeric speeches, and further unfold through a comparison with the Shield of Achilles and with an ode from Euripides’ Heracles. Aristotle appears to draw upon a traditional pattern enacting cyclical rebirth or revitalization. It is suggested that his puzzling insistence on “one complete action” in (...) plot is bound up with moment-to-moment performance. The poetics of Aristotle’s account suggest a pedagogy of mimesis. (shrink)

The 2016-17 Iraqi offensive that recaptured the city of Mosul from the Islamic State have demonstrated the inability of contemporary armed forces to retake urban areas from a determined and ruthless enemy without either suffering debilitating casualties or causing thousands of civilian deaths and virtually destroying the city itself. The enemy’s willingness to refuse civilian evacuation via a humanitarian corridor and effectively take the inhabitants hostage is all it takes to impose this tragic dilemma on an attacking force. The civilian (...) death toll of the battle of Mosul alone is estimated to have reached between seven and forty thousand, with almost one million people internally displaced and large portions of the city levelled. Avoiding another such tragedy should be a priority for all practitioners and theorists of urban warfare. Indeed, confronting and defeating this challenge may be the most important task for ethics, theory and practice of urban combat in the coming decade. I argue that the only viable way of escaping the hostage siege dilemma consists of incorporating large numbers of unmanned and autonomous weapon systems into the blue force structure and using these to substitute for artillery and aerial fires presently being used to overpower defenders. While other measures may be used to marginally improve the outcome of hostage city assaults, only the automatization of the assault can dramatically change the calculus and in result either discourage rogue actors from creating hostage city dilemmas or defeat them decisively while suffering unequivocally proportional casualties. I proceed as follows: first, I provide an account of the 2016-17 Coalition assault on Mosul, giving special attention to the events and features relevant to the hostage city dilemma. I then use this case study to introduce the theoretical concept of the hostile city and the ethical dilemma it creates, discussing possible objections and making the case that the circumstances of the Battle of Mosul are bound to repeatedly transpire in the future. This generates a duty to find a way out of the hostage city dilemma. I argue that widespread use of unmanned and autonomous weapon platforms constitutes a viable way of assaulting hostage cities in a manner that assures respect for the ius in bello principles, proposing several ways in which such weapons may be designed and used to drastically limit both military and civilian casualties. Concluding that it may be not only permissible but morally required to employ autonomous weapons in the hostage city scenario, I briefly discuss the implications of this conclusion for a wider debate concerning the moral feasibility of autonomous weapons. (shrink)

This paper explores a new and post-structuralist discourse on the relationship between Lacan’s theory of mirror stage and the story of Narcissus as a mythological narrative. According to this discourse, subject is a construction posterior to the ‘I’. Lacan suggests that in the mirror stage 6-18 months old infants discern the I as something distinct from and outside of themselves for the first time through a reflective surface. An infant comprehends the image they see in this reflective surface as a (...) being independent of their mother and an object belonging to themselves, and they greatly admire this independent object as an ideal-I. That is, by discerning their own being through an image, the infant achieves a feeling of unity via this image and perceives their own being as an admirable unity. This feeling of I and unity, however, is doomed to decay as to become subject by means of the elements of Lacanian reality, namely language and the laws of society. Within the reality, Narcissus – exactly like in the Lacan’s theory of mirror – lost the confrontation of perceiving the image he admired in his reflection. The I of Narcissus, which he has been holding on as an image in this world, is drawn and demised whilst going beyond the water mirror so as to become a subject. In other words, the I that Narcissus admired in the reflection of the water underwent an unsurmountable deformation and he paid the price with his life. In this study, from the perspective of the Lacanian theory of subject it will be argued that the tragic split between imaginary and symbolic order represented by the death of Narcissus is not only a psychopathologic fact, but it is also a fundamental narrative about the construction of subject in the history of philosophy. (shrink)

Faced with a national tragedy, citizens respond in different ways. Some will initiate debate about the possible connections between this tragedy and broader moral and political issues. But others often complain that this is too early, that it is inappropriate to debate such larger issues while ‘the bodies are still warm’. This paper critically examines the grounds for such a complaint. We consider different interpretations of the complaint—cynical, epistemic and ethical—and argue that it can be resisted on all (...) of these readings. Debate shortly after a national disaster is therefore permissible. We then set out a political argument in favour of early debate based on the value of broad political participation in liberal democracies and sketch a stronger argument, based on the duty to support just institutions, that would support a political duty to engage in debate shortly after tragedies have occurred. (shrink)

This paper reads Republic 583b-608b as a single, continuous line of argument. First, Socrates distinguishes real from apparent pleasure and argues that justice is more pleasant than injustice. Next, he describes how pleasures nourish the soul. This line of argument continues into the second discussion of poetry: tragic pleasures are mixed pleasures in the soul that seem greater than they are; indulging them nourishes appetite and corrupts the soul. The paper argues that Plato has a novel account of the ‘paradox (...) of tragedy’, and that the Republic and Philebus contain complementary discussions of tragic and comic pleasure. (shrink)

Life can be awful. For this to be the stuff of tragedy and not farce, we require a capacity to be more than we presently are. Tony Webster, the narrator of Julian Barnes’s The Sense of an Ending, poses a challenge to this commitment of ethics in his commentary on the instability of memory. But Barnes leads us past this difficulty by showing us that Tony’s real problem is his inability to make sense of himself—a failure of self-knowledge. Tony’s (...) past is tangled up with others he can scarcely see as people. Let us hope we can do better. (shrink)

The author takes the Mahabharata and the Bhagavadgita as samples of the Eastern stand on tragedy and compares it with the Greek and Shakespearean literature. This in-depth analysis shows that the very meaning of the word ‘tragedy’ changes considerably between these cultures. The narrative, artistic, communicative, social, political, literary, cultural, martial, psychological, ethical, and religious aspects of tragedy are dealt with.

L’autore delle tragedie è da identificare con lo stesso autore delle Lettere a Lucilio e delle altre opere “filosofiche”. Seneca è convinto che anche l’arte drammatica debba essere capace di produrre effetti etici; al centro egli pone infatti la questione del perfezionamento morale. Ci si può chiedere se la posizione di Seneca si sia allontanata dalla prospettiva della dottrina stoica ortodossa e se si possa definirla come un originale approccio neo-stoico. La questione può esser posta (a) in relazione al modo (...) in cui Seneca interpreta l’intreccio di fatum e di responsabilità soggettiva nell’azione; (b) in relazione alla teoria delle passioni; (c) in relazione al modo in cui sono rappresentati l’ambiente e i vitia della società imperiale. (shrink)

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

This study attempts to reconstruct Nietzsche’s reading of Aristotle in the 1860s and 1870s—the years before he left his career as a philologist. Against the popular view that Nietzsche read only one book by Aristotle, namely the Rhetoric, the present study hopes to show that he had direct knowledge of several of Aristotle’s main works, while much of his interest in Aristotle centred on the latter’s account of art. The particular aim of this study is to explore how Nietzsche’s reading (...) of Aristotle contributed to the formation of The Birth of Tragedy. It will show that, although Nietzsche mentions Aristotle in his first book only en passant, his theory of tragedy should be understood against the background of Aristotelian poetics, especially as interpreted by such contemporaries as Jacob Bernays, Joseph Hubert Reinkens, and Gustav Teichmüller. (shrink)

This book defends Aestheticism- the claim that everything is aesthetically valuable and that a life lived in pursuit of aesthetic value can be a particularly good one. Furthermore, in distilling aesthetic qualities, artists have a special role to play in teaching us to recognize values; a critical component of virtue. I ground my account upon an analysis of aesthetic value as ‘objectified final value’, which is underwritten by an original psychological claim that all aesthetic values are distal versions of practical (...) values. This is followed by systematic accounts of beauty, sublimity, comedy, drama, and tragedy, as well as appendix entries on the cute, the cool, the kitsch, the uncanny, the horrific, the erotic, and the furious. (shrink)

It has been insufficiently remarked that Murdoch deems “Kant’s ethical theory” to be “one of the most beautiful and exciting things in the whole of philosophy” in her 1959 essay “The Sublime and the Good”. Murdoch specifically has in mind the connection between Kant’s ethics and his theory of the sublime, which runs via the moral feeling of respect (Achtung). The chapter examines Murdoch’s interest in Kant on this point as a way to tease out the range of issues that (...) complicate Kant’s significance for the development of Murdoch’s distinctive conception of ethics as it is articulated in _The Sovereignty of Good_ and earlier essays. It focuses on her particular concerns about the moral dangers of consolation, and why this led her to propose reworking the Kantian theory of the sublime as a theory of art, and specifically of tragedy. (shrink)