There is a concern that the widespread deployment of autonomous machines will open up a number of ‘responsibility gaps’ throughout society. Various articulations of such techno-responsibility gaps have been proposed over the years, along with several potential solutions. Most of these solutions focus on ‘plugging’ or ‘dissolving’ the gaps. This paper offers an alternative perspective. It argues that techno-responsibility gaps are, sometimes, to be welcomed and that one of the advantages of autonomous machines is that they enable us to embrace (...) certain kinds of responsibility gap. The argument is based on the idea that human morality is often tragic. We frequently confront situations in which competing moral considerations pull in different directions and it is impossible to perfectly balance these considerations. This heightens the burden of responsibility associated with our choices. We cope with the tragedy of moral choice in different ways. Sometimes we delude ourselves into thinking the choices we make were not tragic ; sometimes we delegate the tragic choice to others ; sometimes we make the choice ourselves and bear the psychological consequences. Each of these strategies has its benefits and costs. One potential advantage of autonomous machines is that they enable a reduced cost form of delegation. However, we only gain the advantage of this reduced cost if we accept that some techno-responsibility gaps are virtuous. (shrink)

In many tragic plays, the protagonist is brought down by a disaster that is a consequence of the protagonist's own error, his or her hamartia, the tragic flaw. Tragic flaws are disconcerting to the audience because they are not known or fully recognized by the protagonist—at least not until it is too late. In this essay, I take tragic flaws to be unreliable belief-forming dispositions that are unrecognized by us in some sense. I describe some different (...) types of flaws and consider what we might do about them. Then I examine three types of policies for managing our tragic flaws: doxastic, dispositional, and methodological. (shrink)

Pandemic-related restrictions can be especially tragic for people whose lives are ending; it seems that the needs and desires of people who are dying should be given extra consideration. Given an additivist view of well-being, however, the last weeks of a person's life can only matter so much relative to the rest of the life they had. This article reflects on the end of my mother's life during the Covid-19 pandemic in order to make the case that the additive (...) view of well-being is part of a broader trend of dehumanizing emergency ethics. (shrink)

As genealogy has gained greater disciplinary recognition over the last two decades, it has become increasingly common to call any historically oriented philosophy, such as Theodor W. Adorno’s, “genealogy.” In this article, I show that Adorno’s philosophy indeed performs genealogy’s defining functions of “problematization” and “possibilization.” Moreover, it does so in unique ways that constitute a significant contribution to genealogical practice. Adorno’s method, here called “tragic genealogy,” is particularly well-suited to the genealogical analysis of traditional philosophical problems and to (...) the critical reanimation of declining, but ethically significant, values. Nevertheless, I also argue that Adorno’s philosophy cannot be assimilated into genealogical practice without rejecting or revising some of its Hegelian influences, particularly its philosophy of history and its modal metaphysics. (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)

The essay discusses the religious and ethical message of Shusaku Endo’s Silence. Briefly focusing first on the plot of the novel, the article proceeds to discuss the moral dilemma that is the core of the novel and asks whether the dilemma is symmetrical or incommensurable. Next, the essay analyzes the dilemma from the point of view of Max Scheler’s theory of the tragic. Finally, to highlight Rodrigues’s tragic situation, it discusses the notion of the hiddenness of God.

The tragic death in Tolstoy's writings has helped both Max Weber and György Lukács in characterizing the modern pathos as a tragic contemplation of the emptiness of life. Through Tolstoy's readings, Weber and Lukács found an interesting source of denying arts and modern sciences autonomy, considering, from the aesthetics sphere, the meaningless of this new immanent reality. Both has assumed Tolstoy main theme from the same perspective, contrasting ancient and modern worldviews. Max Weber presented this theme in his (...) disenchantment of world theory and Lukács, in a very similar way, following the paradox of religious needing as a mainline. -/- O tema da morte trágica, presente nos escritos de Liev Tolstói, auxiliou tanto a Max Weber como a György Lukács a caracterizarem o pathos moderno de pressentimento da morte como uma contemplação do vazio. Weber e Lukács encontraram, através das leituras de Tolstói, uma interessante maneira de questionar a autonomia da arte e da ciência moderna, considerando pela esfera estética, como se mostra sem sentido a recente realidade imanente. Ambos assumiram o tema central das obras de Tolstói segundo uma mesma imagem, derivada do contraste entre o mundo antigo e o moderno. Max Weber adequou esse tema a sua teoria do desencantamento do mundo e Lukács, de modo muito semelhante, seguindo seu conceito do paradoxo da necessidade religiosa. (shrink)

Breaking with the orthodoxy, Compassionate Conservationists have taken issue with the way that individual wild animals are routinely sacrificed for the sake of species preservation or for the good of the ecosystem. Though explicitly aligning themselves with virtue ethics, there has been some confusion about what this means in practice. How is the perfectly compassionate person to act when the choice is between intentionally harming animals and protecting biodiversity? And what if the choice is between direct and indirect harm to (...) animals? Some critics suggest that when faced with these kinds of conflicts of value, Compassionate Conservationists will invariably base their choices either on the arbitrary feelings an action elicits in them, or else revert back to the decision-making procedures that characterize Traditional Conservation. In response, I argue (first) that these critics fail to appre- ciate that compassion often plays an essential role in moral deliberation. Second, that being compassionate matters even if it does not end up having a discernable effect on what one chooses to do. When one is faced with a tragic predicament in which harming individual animals is unavoidable, for instance, it matters here that one respond with an appropriate compassion. Third, that even when a situa- tion’s difficulty requires one to appeal to the impersonal norms of justice, here too it is required that one proceed with compassion. I end by illustrating these points through the close consideration of a case study: New Zealand’s controversial preda- tor extermination campaign. (shrink)

There is not as much resistance to COVID-19 mitigation as there seems, but there are structural features that make resistance seem worse than it is. Here we describe two ways that the problem seeming to be worse than it is can make it worse. First, visible hesitation to implement COVID-19 responses signals to the wider society that mitigation measures may not succeed, which undermines people’s conditional willingness to join in on those efforts. Second, our evaluations of others’ willingness to implement (...) these measures are informed by our attempts to mind-read them. Yet attempts to mind-read groups often mislead us, because groups invariably act from diverse motives whereas mind-reading works best when identifying relatively stable and consistent motivations. This means that a small minority of people refusing to implement measures can have an outsized prominence that prompts mind-reading to diagnose widespread hesitation. These two factors form a feedback loop with each other: we see some people’s hesitation, which prompts us to mind-read other people as being more uncertain about the responses than they actually are, which undermines our confidence in the responses, which in turn encourages others to mind-read this hesitation, which further undermines confidence. (shrink)

Jakob Ohlhorst | : This paper introduces the concept of tragic self-deception. Taking the basic notion that self-deception is motivated belief against better evidence, I argue that there are extreme cases of self-deception even when the contrary evidence is compelling. These I call cases of tragic self-deception. Such strong evidence could be argued to exclude the possibility of self-deception; it would be a delusion instead. To sidestep this conclusion, I introduce the Wittgensteinian concept of certainties or hinges: acceptances (...) that are beyond evidential justification. One particular type of certainties—iHinges, which are adopted for motivational reasons—explain the phenomenon of tragic self-deception: they warrant the subject’s dismissal of the evidence without loss of rationality from the subject’s point of view. Subsequently, I deal with some objections that can be raised against this account of self-deception. | : Cet article présente le concept d’auto-illusion tragique. En prenant la notion de base selon laquelle l’auto-illusion consiste en une croyance motivée à l’encontre de meilleures preuves, je soutiens qu’il existe des cas extrêmes d’auto-illusion qui persistent même face à des preuves contradictoires incontestables. J’appelle ces cas : auto-illusion tragique. On pourrait soutenir que des preuves d’une telle force excluent la possibilité d’auto-illusion et qu’il s’agirait plutôt de délire. Afin d’éviter cette conclusion, j’introduis le concept wittgensteinien de certitudes ou de propositions charnières : des admissions qui se situent au-delà d’une justification de nature probante. Un type de certitudes en particulier – iHinges, qui sont adoptées pour des raisons d’ordre motivationnel – rend compte du phénomène d’auto-illusion tragique. Ces certitudes justifient que le sujet rejette la preuve sans que cela implique, de son propre point de vue, une perte de rationalité. Subséquemment, je traite de certaines objections qui peuvent être soulevées contre cette explication de l’auto-illusion. (shrink)

Jonathan Lear argues that the established purgation, purification, and cognitive stimulation interpretations of Aristotle’s concepts of catharsis and tragic pleasure are off the mark. In response, Lear defends an anti-cognitivist account, arguing that it is the pleasure associated with imaginatively “living life to the full” and yet hazarding nothing of importance that captures Aristotle’s understanding of catharsis and tragic pleasure. This analysis reveals that Aristotle’s account of imagination in conjunction with his understanding of both specific intellectual virtues and (...) rational emotions of an educated citizen not only tells against Lear’s anti-cognitivist construal, but also divulges an alternative cognitive stimulation reading. (shrink)

The tragic philosophy of Nietzsche was conceived in his first book: that famous essay The Birth of Tragedy from the Spirit of Music [Die Geburt der Tragödie aus dem Geiste der Musik] published in 1872. In this paper we will approach the intimate relation between greek Art and greek Religions from a philosophical aesthetical point of view, reflecting how the tragic reconciliation of the dionysiac phenomenon would have promoted, according to Nietzsche, a time of great artistic sensibility and (...) relative balance of the political life for the greeks, by creating a permanent tension between the impulse of individuation and the impulse of denial of individuation. (shrink)

My dissertation is in two parts. First, it develops a philosophical concept of “tragic uncertainty,” derived from early twentieth-century Spanish philosopher Miguel de Unamuno. Secondly, it demonstrates ethical application of tragic uncertainty to human societal events. The ethical imperative created from tragic uncertainty—and not either tragedy or uncertainty alone—is the following. Given a tragic situation with a great degree of uncertainty, people living with doubt, mental despair, and perpetual anguish because of it should be provided relief. (...) Generally, this relief should be in the form of therapy, by which I mean an affective and emotional release. Two important case studies are explored. One on corrupted political systems in the USA-Mexico border. The other in Honduras, on both climate change and corrupted political systems. These are explained and categorized as tragically uncertain. Corresponding, minimal practical solutions accompany the ethical imperative created to remedy tragic uncertainty. (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)

This essay explores the interrelationship between tragedy and comedy, with specific focus given to the potential that comedy can provide in transforming the most tragic of situations. In building this claim, the very dynamics and distinctions that divide the tragic from the comic are considered in view of the self-negation that the comic posits. That is, while tragedy requires a certain acceptance of the finite, from which destiny and circumstance come to certify the hero’s tragic predicament, in (...) comedy, what succeeds is that which functions through an act of self-negation. This, it is argued, offers a subversive redefining of tragedy, one that proves constitutive of a comic fatalism that does not mourn one’s tragic predicament or fated end, but, instead, fully identifies with our comic predicament. Going beyond the pitfalls of political nicety and moral condemnation, which seek easy gratification or cynical distance, the conclusion examines the conceptual artist, Vanessa Place, and her performance of rape jokes. (shrink)

Bernard Williams articulated his later political philosophy notably in response to Ronald Dworkin, who, striving for coherence or integrity among our political concepts, sought to immunize the concepts of liberty and equality against conflict. Williams, doubtful that we either could or should eliminate the conflict, resisted the pursuit of conceptual integrity. Here, I reconstruct this Dworkin–Williams debate with an eye to drawing out ideas of ongoing philosophical and political importance. The debate not only exemplifies Williams's political realism and its connection (...) to his critique of the morality system. It also illustrates the virtues and hazards of contemporary efforts to ameliorate or engineer our concepts; it indicates what political philosophy might look to in appraising political concepts; it adverts to the different needs these concepts have to meet if they are to sustain a politics of pluralism, deal with polarization, and secure the consent of those who end up on the losing side of political decisions; and it presents us with two starkly contrasting conceptions of politics itself, of the place of political values within it, and of our prospects of reducing the uncomfortably conflictual character of those values through philosophy. (shrink)

This article brings out ethical aspects arising in Plato’s classical critique of narrative and imitative art in The Republic, especially when it comes to reading stories about the past. Socrates’s and Glaucon’s most important suggestion, I argue, is to cultivate an ethical consciousness where one ought to see the distinctions between how the real and the imaginary in narratives are to be conceived, and what that insight ethically demands of the reader. Taken as an ethical insight for the reader when (...) engaging in narrative understanding, this should be to resist the temptation to think that past suffering and misery as told in a story can be read analogously to narratives having a tragic plot. The article clarifies the meaning of Plato’s critique through the ideas of Simone Weil, Emmanuel Lévinas and Iris Murdoch. These existential moral philosophers work towards having an ethical consciousness in one’s personal relationship with stories of our lifeworld. (shrink)

Miguel de Unamuno’s theory of tragic sentiment is central to understanding his unique contributions to religious existential thought, which centers on the production of perhaps the most unavoidable and distinctive kind of human feeling. His theory is rightly attributed with being influenced by the gestational thought of, inter alios, Schopenhauer, Kierkegaard, and Nietzsche, but within these pages I should like to suggest a peculiar kinship between seemingly strange bedfellows, namely, between Unamuno and Immanuel Kant. Although the relationship between Unamuno (...) and Kant is conflicted, ranging from clear indications of influence to expressions of antipathy, there has been relatively little comparative research done on these two thinkers. Moreover, this scant literature has mainly explored connections between Unamuno’s existential thought and Kant’s first two Critiques. In these works, however, feelings are regarded as inclinations and thus receive no serious consideration. In what follows, I therefore juxtapose Unamuno’s analysis of tragic feeling in The Tragic Sense of Life with Kant’s discussion of the feelings of beauty and the sublime in the Critique of Judgment. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Hume Studies Volume 30, Number 2, November 2004, pp. 213-236 Pleased and Afflicted: Hume on the Paradox of Tragic Pleasure E. M. DADLEZ How fast can you run? As fast as a leopard. How fast are you going to run? A whistle sounds the order that sends Archie Hamilton and his comrades over the top of the trench to certain death. Racing to circumvent that order and arriving (...) seconds too late, Archie's friend Frank screams in rage and despair. Archie is cut down before he has run twenty yards. Peter Weir's film Gallipoli is a chronicle of the disastrous Dardanelles campaign of the first World War, but it is also a film about racing. Archie is trained by his uncle Jack to run "as fast as a leopard." The film begins as it ends, with Archie sprinting in response to a whistle. Frank is first shown racing after a train, along with friends who are on their way to enlist. Archie and Frank meet while competing in a race, they race in Cairo once they have enlisted, and they finally race death. From the beginning, Archie has been faster; even at the end he is the first to die. And from the beginning he has swept Frank along in his wake, encouraging him, pushing him, inspiring him, and helping him to positions for which he is inadequately qualified. In the end, Archie's compassion and kindness prompt a decision which has grim consequences both for himself and for hundreds of others. Knowing that his friend fears death in the trenches, Archie recommends Frank as a substitute for himself, a designated message runner. But Frank is not fast enough, and falls short by mere seconds which Archie would not have lost. This is what leads to the failure of the one real effort to countermand the fatal charge. E. M. Dadlez is Professor of Humanities and Philosophy, University of Central Oklahoma, Edmond, OK 73034, USA. e-mail: [email protected] 214 E. M. Dadlez I am an emotional wreck by the time the movie is over, though I should admit that most of my tears are the result of sheer rage. Both my dogs exited the room in some haste once I began to shout at the television and the unpardonably dimwitted British officers who sat sipping tea at a comfortable distance as they gave the order for soldiers to commit suicide. But it isn't just the scope of the real human disaster, or the enormity of the blunder, or the pointlessness of the entire enterprise, or even my renewed conviction that stupidity is, in fact, evil, that is so unsettling. The film unnerves with respect to personal as well as global concerns, focusing attention on the chance of vanity's leading one to undertake responsibilities beyond one's competence, the possibility of advancement or security being achievable only at the expense of another, and the realization of how easy it might be to let those things happen. Gallipoli is a sad, disturbing film, and the spectator is grieved and disturbed in the course of watching it. Yet, having said that, I must own to having a copy in my possession, and to having watched it more than once. I recommend it to friends, offering to lend them my videotape. In fact, I press it on them. I say that it is a terrific, rewarding work which they should take the time to see. How is it that I can describe my experience of the film in such glowing terms and at the same time acknowledge the extreme distress I felt in the course of watching it? How can I reconcile the discordant aspects of my experience? David Hume explores some possible answers in his essay "Of Tragedy."1 He begins by calling attention to the paradox of tragic pleasure: It seems an unaccountable pleasure, which the spectators of a well written tragedy receive from sorrow, terror... and other passions, which are in themselves disagreeable and uneasy. The more they are touched and affected, the more are they delighted with the spectacle.... The whole art of the poet is employed in rousing and supporting the compassion and... (shrink)

O objetivo deste artigo é apontar cinco aspectos do pensamento nietzschiano que podem ser relevantes para os debates da filosofia da ciência em torno da natureza e representação do conhecimento científico. Para tanto, é realizada uma revisão de literatura com o objetivo de selecionar trechos de obras nietzschianas como O nascimento da tragédia, Genealogia da moral, A gaia ciência e outras que permitam interpretar Nietzsche como um filósofo da ciência preocupado com a construção do conhecimento cientifico sobre a realidade física. (...) Como resultado é possível identificar uma proposta epistemológica na perspectiva nietzschiana, cuja representação objetiva do mundo deve apontar para uma estética da vida. -/- The purpose of this article is to point out five aspects of Nietzschean thought that may be relevant to debates in the philosophy of science around the nature and representation of scientific knowledge. To this end, a literature review is carried out with the aim of selecting excerpts from Nietzschean works such as The Birth of Tragedy, Genealogy of Morals, The Gay Science and others that allow us to interpret Nietzsche as a philosopher of science concerned with the construction of scientific knowledge about the physical reality. As a result, it is possible to identify an epistemological proposal in the Nietzschean perspective, whose objective representation of the world should point to an aesthetics of life. (shrink)

Nietzsche’s Birth of Tragedy overcomes the opposition between scientific optimism and Schopenhauerian pessimism with the image of a music-making Socrates, who symbolizes the aesthetic affirmation of life. This article shows how the aesthetic ideal is an illusion whose metaphysical solace undermines itself in being recognized as such, thereby ceasing to be comforting. While I agree with recent commentaries that contest the pervasive Schopenhauerian reading of The Birth, most of these commentaries still support the view that Nietzsche wishes to communicate some (...) fundamental truth about nature or meaning in life. By contrast, I argue that he treats any such truth as a cultural fiction that emerges from the poetic staging of reality, leaving us with a contradiction of appearances deprived of any intelligible ground. (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.

Since Peter Singer’s Animal Liberation, many philosophers have addressed the ethics of our relations with other animals with skill and insight. By and large, they have argued that something is badly wrong and therefore in need of radical reform, though there have been dissenters, like Peter Carruthers, in The Animals Issue. One feature many such works have had in common is the reliance of their authors upon contentious theoretical stances. There have been utilitarian, Kantian, and contractarian arguments, with theses and (...) arguments in philosophy of language, philosophy of mind, and cognitive science called upon for supporting evidence. -/- Such an approach is hazardous to the extent that it makes it appear that persons interested in the issue must first be convinced of one or more complicated and controversial philosophical theories, and must also follow and agree with a further abstruse line of argument supposed to lead from the theories to practical conclusions. Especially in applied ethics, where the aim is, in part, to improve our practice, the heavily theoretical strategy runs the risk of making the discussion academic in the worst sense of the term, something of interest only to specialists. It would be an important gain if the theory-intensive approach to animal ethics could be avoided, without compromising rigor or substantive argument. (shrink)

The problem of tragedy is the problem of explaining why tragedy gives us the pleasure that it does, given that it has the content that it has. I propose a series of constraints that any adequate solution to the problem must satisfy. Then I develop a solution to the problem that satisfies those constraints. But I do not claim that the solution I develop uniquely satisfies the constraints I propose. I aim merely to narrow the field of contending solutions, and (...) then to draw attention to an overlooked contended in that narrowed field. (shrink)

Thomas Mann's "Death in Venice" is a profound fable, delivering a poignant moral lesson: suppressing one's desires can lead to distortion and an unhealthy, obsessive attachment. This, in turn, may trigger frantic and perverse attempts to obtain the initial object of desire. Aschenbach's inability to confront and satisfy his sexual urges ultimately becomes his undoing. This moral framework enables me to delve deeper into Aschenbach's actions, shedding light on the underlying animal instincts that drive his inner struggle. As a character, (...) Aschenbach embodies the archetype of the rational individual who endeavors to govern his primal, carnal urges. However, when his intellectual defenses crumble in the face of his raw desires, the battle between restraint and longing escalates into a whirlwind of uncontrollable actions. These actions catch Aschenbach off guard, and he never anticipated falling victim to them, nor did he mistrust his ability to control them. Paradoxically, he regains a semblance of control through his commitment to literary honor and morality. (shrink)

In 1924, the Munich-school phenomenologist Moritz Geiger argued that there are dynamic essences. His two examples are the tragic, and being human, his main ideas are that what it takes to be tragic varies over time historically and that what makes an organism human varies across different stages of its ontogenetic development. He hence points to two ways in which essences may be dynamic, that is, subject to change. The current paper takes Geiger’s view seriously and assumes that (...) it poses an explanatory challenge for the, then and now, standard view that essences are ‘Platonic’, i.e. cannot be subject to change. In the first part of the paper, I introduce Geiger’s view and a bit of its historical context. In the second, I first formulate the challenge it poses to the standard ‘platonic’ view of essence, then discuss how this challenge can be met by a contemporary view of essence discussing three potential responses. The first relies on a notion of relativized essence, the second on the distinction between determinables and determinates, the third and last one on multidimensional properties. Finally, I argue that the last of these three proposals may be preferable to the other two. (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)

In Poetics 13, Aristotle claims that the protagonist in the most beautiful tragedies comes to ruin through some kind of ‘failure’—in Greek, hamartia. There has been notorious disagreement among scholars about the moral responsibility involved in hamartia. This article defends the old reading of hamartia as a character flaw, but with an important modification: rather than explaining the hero's weakness as general weakness of will (akrasia), it argues that the tragic hero is blinded by temper (thumos) or by a (...) pursuit for fine, good and desirable things—that is, by what may be labelled ‘qualified’ weakness of will. The upshot is that hamartia ends up as being less blameworthy than ‘proper’ akrasia, but still explains why morally outstanding people are unsuitable for the most beautiful tragedies. (shrink)

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)

There is a particular ressonance between the thinking of Walter Benjamin and that of the German jurist Carl Schmitt, including the fact that both analyse the 16th and 17th centuries in order to understand the 20th. Regarding this fact, the article attempts to clarify some themes that lead Schmitt’s work, i.e that of State of Exception, that of theologization of politics, the critique of parliamentarism as support of the Modern State, the tension between democracy and dictatorship, to explain how the (...) dialog between the two thinkers occurs, seeking thus for a better understanding of key works of Benjamin, specially The Origin of German Tragic Drama. (shrink)

The aim of this article is to present the assumptions of Nietzsche's critique of the notion of “truth” that allow to consider his “perspectivism” an excellent critical and epistemological alternative to philosophy of science. It takes place, therefore, an interpretation of the Nietzschean expressions “tragedy”, “tragic knowledge”, “life”, “perspectivism” and “truth”. Nietzsche seems to be convinced that the belief in the notion of “truth” cannot be consistent with “life”, since “life” is also “tragedy” and therefore cannot be reduced to (...) a concept. On the other hand, the notion of “truth” found in natural science seeks to consolidate a concept about reality, which nullifies the plurality of perspectives on life. Thus, an analogy between this aspect behind Nietzsche's perspectivism and the construction of scientific knowledge allows us to consider that the construction of scientific knowledge needs to disregard the notion of truth and to consider all the individual perspectives of scientists – science must not seek truths but metaphors or perspectives on “life” – which allows to show an excellent contribution of Nietzsche to the debates about the notion of truth in the philosophy of science. (shrink)

In the realm of pixels and virtual spaces, the art of placemaking transcends physical confines, weaving a digital mosaic of voices and visions. Feminist digital placemaking emerges as a vibrant brushstroke on this canvas, painting online environments with the hues of inclusion, safety, and empowerment. The "Woman, Life, Freedom" movement in Iran, mirrored in the "Year of Hope" digital exhibition, showcases the transformative power of feminist digital placemaking in amplifying voices, knitting solidarity, and challenging oppressive narratives. The "Woman, Life, Freedom" (...) movement, sparked by the tragic demise of Mahsa (Jina) Amini, unfolds like a poignant narrative, with women scripting the chapters of resistance. This movement, a collage of courage and defiance, has found a digital stage in the "Year of Hope" exhibition, where each artwork tells a story, each pixel a testament to the unyielding spirit of Iranian women. (shrink)

The painful and tragic experience of the African- Americans in the United States of America led them to struggle for and establish an identity of their own. The survey of the history of the African- American people in different geographical spaces such as the African homeland, the middle passage, the American South and then the industrialized North, presents a picture where identity has been the foremost casualty in a history of displacement and migration, embittered by a conflict with the (...) majority voice, engaged in a struggle for survival against unexpected suffering. The tragedy was that the African- American’s quest for identity began over the things for which he himself was not responsible- his black colour, his race, his ancestors, and his physic. All this led the black men to turn himself into an object. It is under such circumstances that an unending and always expanding quest for identity began. Both the African- American men and women were the victims but there is a marked difference in their approach. While the men had to fight only in terms of race and class, the women were additionally burdened with the issues of gender as they saw that it is not only the white man but also the black man who often ill-treated them or misrepresented them in the literature. (shrink)

Anorexia Nervosa (AN) is a complex disorder characterised by self-starvation, an act of self-destruction. It is often described as a disorder marked by paradoxes and, despite extensive research attention, is still not well understood. Much AN research focuses upon the distorted body image that individuals with AN supposedly experience. However, based upon reports from individuals describing their own experience of AN, I argue that their bodily experience is much more complex than this focus might lead us to believe. Such research (...) often presents an overly cognitive understanding of bodily experience in AN, underplaying the affective, felt experience of individuals with AN, as well as descriptions of empowerment, strength and control reported in the early stages of AN. This paper seeks to enrich our understanding of bodily experience in AN as it progresses throughout the various stages of the disorder. I show how the classical phenomenological distinction between the body-as-subject and the body-as-object, as well as Leder’s conception of the visceral body, can inform our understanding of bodily experience in AN. I suggest that the project of self-starvation is an attempt to overcome the noisy demands of the visceral body, which are experienced as threatening the body-as-subject, through a process of objectifying the body-as-object. By cashing out AN as a project of radical bodily control that, tragically, comes to control the individual, we can capture important aspects of the bodily experience of AN and the temporal progression of the disorder. -/- . (shrink)

With the publication of A Theory of Justice in 1971, John Rawls not only rejuvenated contemporary political philosophy but also defended a Kantian form of Enlightenment liberalism called “justice as fairness.” Enlightenment liberalism stresses the development and exercise of our capacity for autonomy, while Reformation liberalism emphasizes diversity and the toleration that encourages it. These two strands of liberalism are often mutually supporting, but they conflict in a surprising number of cases, whether over the accommodation of group difference, the design (...) of civic education, or the promotion of liberal values internationally. During the 1980’s, however, Rawls began to jettison key Kantian characteristics of his theory, a process culminating in the 1993 release of Political Liberalism and completing the transformation of justice as fairness into a Reformation liberalism. -/- Reconstructing Rawls argues that this transformation was a tragic mistake because it jeopardized the most important features of his theory, viz. the lexical priorities of right, liberty, and fair equality of opportunity as well as the difference principle. Controversially, this book contends that Rawls’s so-called “political turn,” motivated by a newfound interest in diversity and the accommodation of difference, has been unhealthy for autonomy-based liberalism and has pushed liberalism more broadly towards cultural relativism, be it in the guise of liberal multiculturalism or critiques of cosmopolitan distributive-justice theories. The book then demonstrates that the central elements of justice as fairness can only be defended within the context of a Kantian Enlightenment liberalism and that Rawls’s hope for a more pluralistic grounding for his theory, endorsed by a wide variety of belief systems present in modern democratic societies, is illusory. -/- Reconstructing Rawls is the first book to systematically compare Rawls’s and Kant’s theories and the first to offer an internal critique and reconstruction of justice as fairness, reconceiving it as a comprehensive, universalistic Kantian liberalism. By doing so, it gives us both the vision of a liberal world order—“a republicanism of all states, together and separately,” as Kant put it—and a mode of justification addressed to all men and women, not as members of particular nations, races, and faiths, but as human beings, as citizens of the world. In short, it reclaims Rawls for the Enlightenment. (shrink)

In Eichmann in Jerusalem , Hannah Arendt struggled to defend the possibility of judgment against the obvious problems encountered in attempts to offer legally valid and morally meaningful judgments of those who had committed crimes in morally bankrupt communities. Following Norrie, this article argues that Arendt’s conclusions in Eichmann are equivocal and incoherent. Exploring her perspectival theory of judgment, the article suggests that Arendt remains trapped within certain Kantian assumptions in her philosophy of history, and as such sees the question (...) of freedom in a binary way. The article argues that Adorno’s philosophy of freedom provides the resources to diagnose and overcome Arendt’s shortcomings. Adorno’s position provides a way of embracing the antinomical character of judgment, by emphasising the need for elements of reason and nature in the phenomenon of freedom. In Adorno’s lights, judgment becomes an attempt to express a ‘spirit of solidarity’ with the tragic status of the potentially free but actually unfree subject of modernity. (shrink)

Many seem to think that AI-induced responsibility gaps are morally bad and therefore ought to be avoided. We argue, by contrast, that there is at least a pro tanto reason to welcome responsibility gaps. The central reason is that it can be bad for people to be responsible for wrongdoing. This, we argue, gives us one reason to prefer automated decision-making over human decision-making, especially in contexts where the risks of wrongdoing are high. While we are not the first to (...) suggest that responsibility gaps should sometimes be welcomed, our argument is novel. Others have argued that responsibility gaps should sometimes be welcomed because they can reduce or eliminate the psychological burdens caused by tragic moral choice-situations. By contrast, our argument explains why responsibility gaps should sometimes be welcomed even in the absence of tragic moral choice-situations, and even in the absence of psychological burdens. (shrink)

To commemorate the tragic event of Super Typhoon Yolanda (International Name: Haiyan) last 2013, local leaders of the province of Leyte, Philippines, are speculating on establishing a Haiyan Museum in 2023, a decade later. With connotations of ‘dark tourism’, one way to look at the speculative decade-inspired establishment is through Amy Sodaro’s ‘memorial museums’ with the purpose of ‘education-based memorialization.’ Juxtaposing this with Paul Morrow’s philosophical perception of objects in memorial museums as possible provocateurs of repulsive feelings, there is (...) a lingering suspicion of whether exhibits in the museum can really flesh out educational, therapeutic reflections or healing. Then, the crucial question to be addressed is: will this Haiyan Museum house feelings of healing, 10 years later, or trauma? To answer this question, I take insights from survivor-curators or the museum curators of Region VIII, Philippines, who experienced the Haiyan tragedy at, or proximate to, the landfall and aftermath first-hand. The notion of a ‘survivor-curator’ is a vital coinage that would represent a close perception of the museum and its museum objects. The responses are then thematised into a more coherent discussion to see how museums can be spaces of healing in their communal aspect and future museum projects. (shrink)

Of all the risks we face in life, ranging from unemployment to old age, early death is among the most tragic and yet most neglected by modern states. Liberal egalitarians might find it easy to dismiss social insurance against early death, but I argue they should not. Early in this paper, I explain why social insurance should include the risk of premature death by replying to four common criticisms. What follows is a case for a novel form of insurance (...) that is more liberal and egalitarian across ages than the status quo. More specifically, I show that granting storable pensions in all life stages - youth, middle and old age - promotes liberty and reduces lifetime inequality. Writers on age group and longevity justice often overlook the extent to which liberal lifetime equality can supply insightful arguments against inequality across ages. These call for a policy that gives each age group the freedom to draw a storable pension. I call that policy "freetirement". (shrink)

A challenge we face in a world that has been shaped by, and continues to be shaped by, racist attitudes and institutions is that the evidence is often stacked in favor of racist beliefs. As a result, we may find ourselves facing the following conflict: what if the evidence we have supports something we morally shouldn’t believe? For example, it is morally wrong to assume, solely on the basis of someone’s skin color, that they’re a staff member. But, what if (...) you’re in a context where, because of historical patterns of discrimination, someone’s skin color is a very good indicator that they’re a staff member? When this sort of normative conflict looms, a conflict between moral considerations on the one hand and what you epistemically ought to believe given the evidence on the other, what should we do? It might be unfair to assume that they’re a staff member, but to ignore the evidence would mean risking inaccurate beliefs. Some, notably Tamar Gendler (2011), have suggested that we simply face a tragic irresolvable dilemma. In this chapter, I consider how these cases of conflict arise and I canvass the viability of suggested resolutions of the conflict. In the end, I argue that there’s actually no conflict here. Moral considerations can change how we epistemically should respond to the evidence. (shrink)

In Ciudad Juarez, Mexico, the border city across from El Paso, TX, the intersection of "Machismo” (EntreMundos 2019), micro-machismo (EntreMundos 2019), the manufacturing industry—maquilas—and the Narco War has brought immense suffering to women. The Feminist Movement, born from gender violence intensified by the Narco War and entrenched cultural norms, is a response to these issues. Borderland women have raised their voices through protests on Women's International Day, advocating for legal reforms like nationwide abortion legalization and using social media to spotlight (...) these tragic realities. Despite facing violence and adversity, Juarense women persist in their unwavering pursuit of societal change. This article explores the driving forces behind this uprising and the resilient efforts of Juarez women to instigate meaningful societal shifts in their region. (shrink)

In a single aphorism in The Gay Science, Nietzsche arrays “The Problem of the Artist” in a reticulated constellation. Addressing every member of the excluded grouping of disenfranchised “others,” Nietzsche turns to the destitution of a god of love keyed to the selfturning absorption of the human heart. His ultimate and irrecusably tragic project to restore the innocence of becoming requires the affirmation of the problem of suffering as the task of learning how to love. Nietzsche sees the eros (...) of art as what can teach us how to make things beautiful, desirable, lovable in the routine truth of reality: “When they are not.” The stumbling block for those of us paralyzed by impotence and frozen in a technological age of anxiety, longing for being not becoming (eternal youth), is that one can never possess but can only win great health, again and again (like erotic desire), because one gives it away again and again as sacrifice or affirmation without reserve: that is to say, with erotic artistry. (shrink)

Journal impact factor is a value calculated annually based on the number of times articles published in a journal are cited in two, or more, of the preceding years. At the time of its inception in 1955 , the inventor of the impact factor did not imagine that 1 day his tool would become a controversial and abusive measure, as he confessed 44 years later . The impact factor became a major detrimental factor of quality, creating huge pressures on authors, (...) editors, stakeholders and funders. More tragically, in some countries the number of publications in journals with “high impact factors” condition the allocation of government funding for entire institutions . Based on the assumption that IF reflects scientific quality, the impact factor produces a widespread impression of prestige and reputation, though no experimental data support this hypothesis .The impact factor was originally conceived as a bibliome .. (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.

In this paper, I defend the view that self-deception is a moral failure. Instead of saying that self-deception is bad because it undermines our moral character or leads to morally deleterious consequences, as has been argued by Butler, Kant, Smith, and others, I argue the distinctive badness of self-deception lies in the tragic relationship that it bears to our own values. On the one hand, self-deception is motivated by what we value. On the other hand, it prevents us from (...) valuing those things properly. I argue that we owe it ourselves to take seriously our own values, by striving to properly value them. This gives us both prudential and moral reasons to avoid self-deception. (shrink)

This paper reconsiders the Idealistic aesthetics of tragedy from an unconventional point of view. It investigates the relationship between theory and dramatic canon by focusing on those works and authors that are excluded from the canon by the theoretical discourse. My aim is to show that Idealist philosophers and Romantic critics concur in constructing a unitary model of the tragic conflict that is partly defined through its contraposition to the ‘Senecan’ conception of tragedy as a representation of suffering and (...) as a dialectic of passions. Seneca here stands for an entire line of European dramaturgy, which involves Shakespeare and culminates in French Classicism. This contrast does not merely concern a literary model, but also, more generally, the conception of subjectivity underlying the dramaturgy of passions. This paper thus helps to shed light on the controversial relationship between the idealistic philosophy of the tragic with modern tragedy at large. -/- Keywords: Theory of Tragedy, Idealism, Seneca, Hegel, Pathos . (shrink)

We often have affective responses to fictional events. We feel afraid for Desdemona when Othello approaches her in a murderous rage. We feel disgust toward Iago for orchestrating this tragic event. What mental architecture could explain these affective responses? In this paper I consider the claim that the best explanation of our affective responses to fiction involves imaginative desires. Some theorists argue that accounts that do not invoke imaginative desires imply that consumers of fiction have irrational desires. I argue (...) that there are serious worries about imaginative desires that warrant skepticism about the adequacy of the account. Moreover, it is quite difficult to articulate general principles of rationality for desires, and even according to the most plausible of these possible principles, desires about fiction are not irrational. (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)

Although a safe, effective, and licensed coronavirus vaccine does not yet exist, there is already controversy over how it ought to be allocated. Justice is clearly at stake, but it is unclear what justice requires in the international distribution of a scarce vaccine during a pandemic. Many are condemning ‘vaccine nationalism’ as an obstacle to equitable global distribution. We argue that limited national partiality in allocating vaccines will be a component of justice rather than an obstacle to it. For there (...) are role-based and community-embedded responsibilities to take care of one’s own, which constitute legitimate moral reasons for some identity-related prioritisation. Furthermore, a good form of vaccine nationalism prioritises one’s own without denying or ignoring duties derived from a principle of equal worth, according to which all persons, regardless of citizenship or identity, equally deserve vaccine-induced protection from COVID-19. Rather than dismissing nationalism as a tragic obstacle, it is necessary to acknowledge that a limited form of it is valuable and expresses moral commitments. Only then can one understand our world of competing obligations, a world where cosmopolitan duties of benevolence sometimes conflict with special obligations of community membership. Once these competing obligations are recognised as such, we can begin the work of designing sound ethical frameworks for achieving justice in the global distribution of a coronavirus vaccine and developing practical strategies for avoiding, mitigating or resolving conflicts of duty. (shrink)