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)

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)

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.

In his early and unpublished essay on Schiller’s trilogy Wallenstein, Hegel criticizes the plays’ denouement as “horrific” and “appalling” and for depicting the triumph of death over life.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)

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)

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.

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.

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)

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)

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)

With the 1948 UN Universal Declaration of Human Rights, the idea of human rights came into its own on the world stage. More than anything, the Declaration was a response to the Holocaust, to both its perpetrators and the failure of the rest of the world adequately to come to the aid of its victims. Since that year, however, we have seen many more cases of mass murder. Think of China, Bali, Cambodia, Ethiopia, Guatemala, the former Yugoslavia, Rwanda, and now (...) Darfur. Of course one could always claim that such horrors would have been even more frequent if not for the Declaration. But I want to argue otherwise. For I believe that human rights have contributed to making mass murder more, rather than less, likely. To be clear, my concern is specifically with the language of human rights, not the values it expresses, values which I certainly endorse. The problem with this language is that it is abstract. And the problem with abstraction is that it demotivates, it 'unplugs' us from the 'moral sources,' as Charles Taylor would call them, which empower us to act ethically. After showing why, I then go on to describe how the rise of human rights has constituted an ironic tragedy of sorts for those philosophers who have attempted to lend it intellectual support. On the whole, they may be divided into two groups. One, led by cosmopolitans such as Martha Nussbaum and Thomas Pogge, tries to interlock rights within systematic theories of justice, thus fixing the priorities between them. The other, led by value pluralists such as Isaiah Berlin, Stuart Hampshire, and Bernard Williams, rejects such theories as infeasible and asserts that the best we can do when rights conflict is to negotiate. Yet both approaches, I argue, are counter-productive. (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)

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)

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?

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)

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)

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.

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)

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

Towards the very end of his wide-ranging lectures on the philosophy of art, Hegel unexpectedly expresses a preference for comedy over tragedy. More surprisingly, given his systematic claims for his aesthetic theory, he suggests that this preference is arbitrary. This essay suggests that this arbitrariness is itself systematic, given Hegel’s broader claims about unity and necessity in art generally and his analysis of ancient as opposed to modern drama in particular. With the emergence of modern subjectivity, tragic plots lose (...) their necessity and so their redemptive conclusions; comic plots disintegrate into mockery and entertainment. In many cases, the dramas in question consequently fail to be art. This does not, however, mean that art ends: insofar as it inspires humans to a better understanding of their unity with the divine, it will continue to meet its mandate. But the lack of necessity in modern drama means we are free to prefer happy endings. Hegel’s seemingly arbitrary preference is, in the end, systematically justified. (shrink)

I discuss the aesthetic power of painful art. I focus on artworks that occasion pain by “hitting too close to home,” i.e., by presenting narratives meant to be “about us.” I consider various reasons why such works may have aesthetic value for us, but I argue that the main reason has to do with the power of such works to transgress conversational boundaries. The discussion is meant as a contribution to the debate on the paradox of tragedy.

Aristotle’s Poetics is the first philosophical account of an art form and is the foundational text in the history of aesthetics. The Routledge Philosophy Guidebook to Aristotle and the Poetics is an accessible guide to this often dense and cryptic work. Angela Curran introduces and assesses: Aristotle’s life and the background to the Poetics the ideas and text of the Poetics , including mimēsis ; poetic technē; the definition of tragedy; the elements of poetic composition; the Poetics’ recommendations for (...) tragic plot patterns; catharsis ; epic and comedy; the nature of our emotional response to drama; the proper pleasure of tragedy; and the role that art plays in a human life the relevance of Aristotle’s work in metaphysics, epistemology, ethics and philosophical psychology to the Poetics a comparison of Plato and Aristotle on the value of mimetic art the continuing importance of Aristotle’s Poetics to contemporary philosophy, aesthetics, and philosophy of film. (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)

In this chapter I explore what painful art can tell us about the nature and importance of human welfare. My goal is not so much to defend a new solution to the paradox of tragedy, as it is to explore the implications of the kinds of solutions that I find attractive. Both nonhedonic compensatory theories and constitutive theories explain why people seek out painful art, but they have troublesome implications. On some narrow theories of well-being, they imply that painful (...) art is bad for us. Accordingly, we may rightly wonder if it rational for people to watch melodramas or to listen to love songs. One might think that we should generally avoid unpleasant works of art. This implication flirts with absurdity. I show how it can be avoided by making a distinction between well-being and worth. (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)

O presente ensaio tem como objetivo mostrar consequências teóricas de uma tensão latente entre a noção de tragédia no Nietzsche d’O nascimento da tragédia e a compreensão schopenhaueriana da música. Tal tensão se dá não apenas no âmbito de interpretações estéticas das referidas artes por parte dos filósofos mencionados, mas demonstra disparidades fundamentais no pensamento do jovem Nietzsche em relação à metafísica de O mundo como Vontade e Representação. A hipótese é que essas disparidades culminariam num ponto de cesura entre (...) as filosofias de Schopenhauer e Nietzsche, bem como no fenecimento da amizade deste com Richard Wagner. The following essay aims to show the theoretical consequences of a latent tension between the notion of tragedy in Nietzsche’s The Birth of Tragedy and the Schopenhauerian comprehension of music. This tension occurs not just within the aesthetics interpretations of the mentioned arts by the philosophers cited, but it demonstrates fundamental disparities in the young Nietzsche’s thought in respect to the metaphysics of The World as Will and Representation. The hypothesis is that these disparities would culminate in a caesura point between the philosophies of Schopenhauer and Nietzsche, as well in the decline of the friendship of this one with Richard Wagner. (shrink)

This paper is a revised version of the essay that won the Zapffe Prize in 2017. -/- In «The Last Messiah» and On the tragic, Peter Wessel Zapffe suggests that humankind should cease to reproduce, as the meaning of life cannot be found and human life at its best is tragic. The theory has been criticized for assuming that the meaning of life must be explained by an external cause and implicitly asks for an infinite causal chain. In this paper, (...) I argue that it is possible to escape this critique by adding a new element to the definition of the tragic: namely, the insight that the tragic cannot come into existence if the subject does not demonstrate its greatness. Precisely because a human, on Zapffe’s understanding, must prove its brilliance if tragedy is to arise, I argue that the tragic cannot be devoid of meaning. In contrast, the individual seems to be provided with a tragic meaning of life, rather than being deprived of it. Furthermore, the new definition of the tragic affects Zapffe’s antinatalism, because a tragic meaning of life does not necessitate that humankind should cease to reproduce. Yet, the definition does not suggest that humans should reproduce either. Instead, it confronts us with the following question: Should one bring new life into the world, when the meaning of life only can be found in the tragic? (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.

Ambivalence is often presented through cases of defeated ambivalence and multivalence, in which opposed attitudes suggest mutual isolation and defeat each other. Properly understood, however, ambivalence implies the existence of poles that are conflictually yet rationally interlinked and are open to non-defeated joint conduct. This paper considers cases that range from indecisiveness and easy adoption of conflicting attitudes, to tragically conflicted deliberation and to cases of shifting between self-deceptively serious attitudes. Analyzing such cases as variants of defeated ambivalence, I argue (...) that the phenomena of defeated ambivalence are marginal to ambivalence even though they are by the same token exemplary of it. The poles in such cases are connected as opposing attitudes in such a way that the attitudes and the opposition are both undermined. The article focuses on two forms of vague multivalence, one of which is taken from Heidegger’s analysis of curiosity. (shrink)

John Rawls’ gamification of justice leads him – along with many other monist political philosophers, not least Ronald Dworkin – to fail to take politics seriously enough. I begin with why we consider games frivolous and then show how Rawls’ theory of justice is not merely analogous to a game, as he himself seems to claim, but is in fact a kind of game. As such, it is harmful to political practice in two ways: one as regards the citizens who (...) participate directly in it, and the other as regards those who do no more than follow it. Similar harms, I then argue, come from taking politics too seriously, which is the attitude I ascribe to pluralist political philosophers such as Isaiah Berlin, Stuart Hampshire, and Bernard Williams. To them, the plural, incommensurable nature of values means that they cannot be reconciled and so that politics must be a matter of negotiating dirty, and often tragic, compromises. What we need instead, I conclude, is a third way, one that is neither monist nor pluralist but in-between the two extremes. (shrink)

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

Reflections on digital mourning in the wake of the mass shooting at the Pulse nightclub in Orlando 2016.

In this essay, I discuss a few ways in which songs are used, ways in which listeners engage with and find meaning in music. I am most interested in sad songs—those that typically feature narratives about lost love, separation, missed opportunity, regret, hardship, and all manner of heartache. Many of us are drawn to sad songs in moments of emotional distress. The problem is that sad songs do not always make us feel better; to the contrary, they often make us (...) feel worse. So, why do we listen to sad songs? I argue that we seek out sad songs, partly, to intensify distress, which helps us reflect on situations of profound personal significance. (shrink)

Aristotle’s Poetics defends the value of tragic poetry, presumably to counter Plato’s critique in the Republic. Can this defense resonate with something larger and rather surprising, that Aristotle’s overall philosophy displays a tragic character? I define the tragic as pertaining to indigenous and inescapable limits on life, knowledge, control, achievement, and agency. I explore how such limits figure in Aristotle’s physics, metaphysics, and biological works. Accordingly I want to disturb the common account of Aristotle’s thought as a neat system of (...) ontological order and metaphysical closure—not to exclude such elements but to place them within a world-view that includes certain limits at the edges of being. (shrink)

A two-fold study, on the one hand of the thought-provoking mimesis by which Plato gives his hearer an occasion for self-knowledge and self-transcendence and of the typical sequential structure, an appropriation of the trajectory of the poem of Parmenides, by which Plato orders the drama of inquiry, and on the other hand a commentary on the Crito that aims to show concretely how these elements — mimesis and Parmenidean structure — work together to give the dialogues their exceptional elicitative power.

Victor Eremita proposes that the reader understand parts I and II of Either/Or as parties in a dialogue; most readers in fact view II as a devastating reply to I. I suggest that part I be read as a reaction or follow-up to Kierkegaard’s dissertation. Much of part I presents reflective characters who are aware of their freedom but reluctant or unable to adopt the ethical life. The modern Antigone and the Silhouettes are sisters of Alcibiades—failed students of Socrates. I (...) articulate and defend their modes of loving, which are significantly different from Don Giovanni’s and Johannes the Seducer’s purely aesthetic approaches to love. Such feminine love, I argue, dwells in the disputed territory between passion and action, substance and freedom, the aesthetic and the ethical. Antigone’s love is a passion she both suffers and tries to appropriate. The Silhouettes’ devotion to their beloved makes them dependent on him. I defend this dependence even though it is undoubtedly a form of despair. By appealing to Sartre’s account of love, I argue moreover that this love involves a recognition and appraisal of the beloved absent in the love exemplified by Fear and Trembling’s knight of infinite resignation. (shrink)

Libertarian Quandaries is a slim volume of tight reasoning that makes a resolute case for libertarianism. Libertarianism is “the social philosophy that identifies individual liberty as the most fundamental social value, and by extension treats moral cooperation as the only morally permissible form of social interaction.” More specifically, the book is a compendium of concise rebuttals to commonplace counterarguments advanced against libertarianism. It attempts to show that libertarianism withstands wide-ranging criticisms in principle, but also that it can be implemented in (...) practice. It does an admirable job in this regard. The book is not, however, aimed at lightweight lovers of liberty. The content—conveyed in carefully crafted phrases—makes non-trivial intellectual demands on the reader. (shrink)

The problem of satisfaction conditions arises from the apparent difficulties of explaining the nature of the mental states involved in our emotional responses to tragic fictions. Greg Currie has recently proposed to solve the problem by arguing for the recognition of a class of imaginative counterparts of desires - what he and others call i-desires. In this paper I will articulate and rebut Currie's argument in favour of i-desires and I will put forward a new solution in terms of genuine (...) desires. To this aim I will show that the same sort of puzzling phenomenon involved in our responses to tragic fictions arises also in a non-fictional case, and I will offer a solution to the problem of satisfaction conditions that dispenses with i-desires. The key to the explanation is in the notion of condition-dependent desires triggered by fictions. (shrink)

It is said that society is in a moral crisis. And, what is worse, it seems to be deteriorating at an ever increasing rate. We all agree that something needs to be done. Our politicians and preachers say we need to help each other more, we need to have "family values", we need to contribute to society and we need to have high moral standards. But there is a fundamental logical reason why none of this is going to happen. This (...) article will explore that reason in detail. (shrink)

The views of John Dewey and Kurt Vonnegut are often criticized for opposite reasons: Dewey’s philosophy is said to be naively optimistic while Vonnegut’s work is read as cynical. The standard debates over the views of the two thinkers cause readers to overlook the similarities in the way each approaches tragic experience. This paper examines Dewey’s philosophic account of time and meaning and Vonnegut’s use of time travel in his autobiographical novel Slaughterhouse-Five to illustrate these similarities. This essay demonstrates how (...) both Dewey and Vonnegut embrace the ameliorative possibilities of art for preserving individuality and meaning in the face of tragic experience. (shrink)

The present article has as its purpose to analyze the “spectacle” (ὄψις), from the conceptions developed in the Poetics of Aristotle, as a fundamental part in the tragic conception of Sophocles, in the work Oedipus Tyrannus. The analysis focused on the exodus of the play to demonstrate how aspects of theatrical representation are present in the tragic text.