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)

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 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)

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)

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.

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?

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 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 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)

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

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 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)

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)

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)

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 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.

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)

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)

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.

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)

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)

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 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)

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)

This paper addresses the phenomenological experience of precarity and vulnerability in racialized gender-based violence from a structural perspective. Informed by Indigenous social theory and anti-colonial approaches to intergenerational trauma that link settler colonial violence to the modalities of stress-inducing social, institutional, and cultural violences in marginalized women’s lives, I argue that philosophical failures to understand trauma as a functional, organizational tool of settler colonial violence amplify the impact of traumatic experience on specific populations. It is trauma by design. I explore (...) this through the history of the concept of trauma and its connection to tragedy. I give a brief overview of prominent theories of trauma and contrast these with the work of Indigenous feminist scholar Dian Million (2013), who highlights functional complicity of settler colonial institutions in shaping accounts of trauma in the west. I begin the piece with an important illustration of the kinds of lives and experiences that call for a politicized understanding of trauma in anti-colonial feminist theory. I end by offering an expansive notion of structural trauma that is a methodological pivot for conducting trauma-based gender-based violence research in a decolonial context, which calls for an end to narratives of trauma that are severed from the settler colonial project of Native land dispossession and genocide. (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)

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)

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)

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)

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)

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.

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.

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)

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)

One of the central strengths of Salem's analysis of Nasserism is that she recognizes both its world-historical significance as a progressive nationalist movement, and its severe limitations. In the first section of this paper, I discuss Salem's notion of the "afterlives" of the Nasserist project by drawing attention to one of the most debilitating legacies of that project, namely the transformation of Egyptian politics into petty bourgeois politics. In the second section, I argue that while Salem does not explicitly draw (...) on Hegel's understanding of tragedy in her account of Nasserism, her analysis of Nasserism essentially amounts to depicting it as a Hegelian tragedy. By placing Salem's book in conversation with Hegel (and his philosophy of action), we can make explicit what I take to be one of the central claims made by Salem, namely that when passing judgment on past and present national liberation movements we should remember that innocence is "only non-action, like the mere being of a stone" [nur das Nichttun wie das Sein eines Steines] (Hegel 1986, 346). In the third section of this paper, I raise some critical points about Salem's characterization of the nationalism that was associated with the Nasserist project, as well as about the deployment of the concept of modernity in her analysis. I argue that her account of modernity in the book does not distinguish between the concept of modernity as it refers to a certain kind of normative philosophical discourse, and modernization theory qua theory of development. Finally, I draw on Salem's use of the concept of hegemony in order to pose a question regarding the political significance of the contemporary cultural hegemony of Islamist movements in Egypt. (shrink)

Aeschylus’ Persians dramatically represents the Athenian victory at Salamis from the perspective of the Persian royal court at Susa. Although the play is in some sense a patriotic celebration of the Athenian victory and its democracy, nonetheless in both form and function it is a tragedy that generates sympathy for the suffering of its main character, Xerxes. Although scholars have argued whether the play is primarily patriotic or tragic, I argue that the play purposively provides both patriotic and tragic (...) elements in such a fashion as to invite its audience to reflect on the ramifications of Persia’s failed empire for Athens’ own nascent Delian League, which even in 472 was showing imperialistic tendencies. I argue that Aeschylus’ political theory in Persians is aporetic in the sense that its careful balance between patriotism and anti-imperialism generates an impasse which members of the play’s audience are thus given the occasion to puzzle over. (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 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)

Why do people seemingly want to be scared by movies and feel pity for fictional characters when they avoid situations in real life that arouse these same negative emotions? Although the domain of relevant artworks encompasses far more than just tragedy, the general problem is typically called the paradox of tragedy. The paradox boils down to a simple question: If people avoid pain then why do people want to experience art that is painful? I discuss six popular solutions (...) to the paradox: conversion, control, compensatory, meta-response, catharsis, and rich experience theories. (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.

Despite being assailed for decades by disability activists and disability studies scholars spanning the humanities and social sciences, the medical model of disability—which conceptualizes disability as an individual tragedy or misfortune due to genetic or environmental insult—still today structures many cases of patient–practitioner communication. Synthesizing and recasting work done across critical disability studies and philosophy of disability, I argue that the reason the medical model of disability remains so gallingly entrenched is due to what I call the “ableist conflation” (...) of disability with pain and suffering. In an effort to better equip healthcare practitioners and those invested in health communication to challenge disability stigma, discrimination, and oppression, I lay out the logic of the ableist conflation and interrogate examples of its use. I argue that insofar as the semiosis of pain and suffering is structured by the lived experience of unwelcome bodily transition or variation, experiences of pain inform the ableist conflation by preemptively tying such variability and its attendant disequilibrium to disability. I conclude by discussing how philosophy of disability and critical disability studies might better inform health communication concerning disability, offering a number of conceptual distinctions toward that end. (shrink)

In “Tragedy and Resentment” Ulrika Carlsson claims that there are cases when we are justified to feel non-moral resentment against someone who harms us without wronging us, when the harm either consists in their attitude towards us or in the emotional suffering triggered by their attitudes. Since they had no duty to protect us from harm, the objectionable attitude is not disrespect but a failure to show love, admiration, or appreciation for us. I explain why unrequited love is the (...) wrong example to use when arguing for the possibility of justified non-moral resentment – and why, therefore, Carlsson’s claim remains unsubstantiated. Pace Carlsson, people who fail to return our love are not best described as harming us, but as merely failing to benefit us by saving us from harm. Moreover, their role in the causal chain that results in our coming to harm is insufficient to warrant our resentment; more plausibly, we ourselves play a greater and more direct causal role in this process. This is a welcome result: Responding with (non-moral) resentment to someone’s failure to return our love indicates that our love has not taken the form of a genuine gift. When we put conditions on successful gifting by allowing for justified resentment if the gift is not returned we are not in fact giving gifts but making a bid for an exchange: I love you so that you love me back. (shrink)

This essay joins Wilhelm Dilthey’s conception of the metaphysical impulse as a flight from the tragedy of human finitude with Ludwig Wittgenstein’s understanding of how language bewitches intelligence. We contend that there are features of the phenomenology of language that play a constitutive and pervasive role in the formation of metaphysical illusion.

Today professionals have to deal with more uncertainties in their field than before. We live in complex and rapidly changing environments. The British philosopher Ronald Barnett adds the term ‘supercomplexity’ to highlight the fact that ‘we can no longer be sure how even to describe the world that faces us’ (Barnett, 2004). Uncertainty is, nevertheless, not a highly appreciated notion. An obvious response to uncertainty is to reduce it—or even better, to wipe it away. The assumption of this approach is (...) that uncertainty has no advantages. This assumption is, however, not correct as several contemporary authors have argued. Rather than problematising uncertainty, I will investigate the pros and cons of embedding uncertainty in educational practice of professional higher education. In order to thoroughly explore the probabilities and challenges that uncertainty poses in education, I will dwell on the radical ideas on uncertainty of the German philosopher Friedrich Nietzsche. In The Birth of Tragedy (1872) he recognises two forces: the Apollinian, that is the pursuit of order and coherence, and the Dionysian, that is the human tendency to nullify all systematisation and idealisation. Uncertainty is part of the Dionysian. I will argue that when educators take Nietzsche's plea to make room for the Dionysian to heart, they can better prepare students for an uncertain world. If, and only if, students are encouraged to deploy both tendencies—the Apollinian and the Dionysian—they can become professionals who are able to stand their ground in an uncertain and changing (professional) world. (shrink)