This article attempts to illustrate our confrontation with tragedy in contemporary situation, That is why we are discussing this here in seven issues (Feeding the Ancients with Our Own Blood/ Philosophy’s Tragedy and the Dangerous Perhaps/Knowing and Not Knowing: How Oedipus Brings Down Fate/ Rage, Grief, and War/ Gorgias: Tragedy Is a Deception That Leaves the Deceived Wiser/Than the Nondeceived/Justice as Conflict (for Polytheism)/Tragedy as a Dialectical Mode of Experience). Finally, this article seeks to show that (...) tragedy is a way of experience in our life today. Key words: tragedy, philosophy, Greek. (shrink)

In the Arabic eleventh century, scholars were intensely preoccupied with the way that language generated truth and beauty. Their work in poetics, logic, theology, and lexicography defined the intellectual space between God and the poets. In Language Between God and the Poets, Alexander Key argues that ar-Raghib al-Isfahani, Ibn Furak, Ibn Sina (Avicenna), and Abd al-Qahir al-Jurjani shared a conceptual vocabulary based around the words ma'na and haqiqah. They used this vocabulary to build theories of language, mind, and reality (...) that answered perennial questions: how to structure language and reference, how to describe God, how to construct logical arguments, and how to explain poetic affect."--Provided by publisher. (shrink)

Jaina Studies is a relatively new and rapidly expanding field of inquiry for scholars of Indian religion and philosophy. In Jainism, "yoga" carries many meanings, and this book explores the definitions, nuances, and applications of the term in relation to Jainism from early times to the present. Yoga in Jainism begins by discussing how the use of the term yoga in the earliest Jaina texts described the mechanics ofmundane action or karma. From the time of the later Upanisads, the word (...) Yoga became associated in all Indian religions with spiritual practices of ethical restraint, prayer, and meditation. In the medieval period, Jaina authors such as Haribhadra, Subhacandra, and Hemacandra used the term Yoga in reference to Jaina spiritual practice. In the modern period, a Jaina form of Yoga emerged, known as Preksa Dhyana. This practice includes the physical postures and breathing exercises well known through the globalization of Yoga. By exploring how Yoga is understood and practiced within Jainism, this book makes an important contribution to the fields of Yoga Studies, Religious Studies, Philosophy, and South Asian Studies. (shrink)

Babette Babich is already known for her previous work on Nietzsche; in this, her third book, she focuses more on Nietzsche and Heidegger than Hölderlin, even though the book's title derives from a verse by Hölderlin in which the poet refers to "words, like flowers" . The reference to blood is borrowed from Zarathustra, who only loved what was "written with blood" . We follow the poetic dimensions of these two philosophers' works and their understanding of art, music, and (...) consequently, beauty and tragedy. The poetics and poems of Hölderlin have influenced the two philosophers; in some cases, Babich situates the key explanation of some Nietzschean formulas in his quotes or epigraphs taken from Hölderlin . Eight of the fourteen chapters were previously published in earlier versions. (shrink)

In the debate concerning the education of nurses that is currently taking place in Denmark, two widely differing views are apparent regarding the best way of training nurses such that the ethical aspect of their work is adequately considered. The first of these is based on the premise that practical care is fundamental to and justified by theories on nursing, care and ethics, which is why the theoretical part of nurse education deserves a higher priority. The second view is based (...) on the premise that social care cannot be taught by means of theories, but can be learnt only through practice. The master-apprentice principle of ancient Greece is stressed in connection with this as being a viable alternative to the theoretical model of education. These two very different views can be traced back to Plato’s and Aristotle’s ideas on ethics and teaching respectively; indeed, those engaged in the debate make specific reference to these philosophers. In Denmark, a third fundamental viewpoint exists, known as ‘ontological ethics’. Phenomenologist KE Løgstrup is one of the best-known representatives of this view. Basing the line of argument on Løgstrup’s ethics and the view of education associated with this, this article questions the relevance of ancient Greek thought to today’s world by illustrating a number of problems that are connected with the theoretical model of nurse education and with the master-apprentice principle. Løgstrup associates ethics with the aesthetic principle that ‘the useless is the most useful’ in human life and with the view we also see in Kierkegaard’s and NFS Grundtvig’s writings that ethics can be imparted only by indirect means. Løgstrup bases his understanding of ethics on the Judaeo-Christian concept of Genesis and the view that human beings were created with an ethical potential that is best nourished by aesthetic impressions. (shrink)

This chapter addresses the morality of two types of national security electronic surveillance (SIGINT) programs: the analysis of communication “metadata” and dragnet searches for keywords in electronic communication. The chapter develops a standard for assessing coercive government action based on respect for the autonomy of inhabitants of liberal states and argues that both types of SIGINT can potentially meet this standard. That said, the collection of metadata creates opportunities for abuse of power, and so judgments about the trustworthiness and competence (...) of the government engaging in the collection must be made in order to decide whether metadata collection is justified in a particular state. Further, the moral standard proposed has a reflexive element justifying adversary states’ intelligence collection against one another. Therefore, high-tech forms of SIGINT can only be justified at the cost of justifying cruder versions of signals intelligence collection practiced by a state’s less-advanced adversaries. (shrink)

This paper develops an analysis of the relationship between politics and suffering in the writings of Friedrich Hölderlin (1770-1843) and Friedrich Nietzsche (1844-1900). Both thinkers uphold the tragic idea of suffering as a crucible in which the uniquely human powers of self-creation - having reached, apparently, their lowest point - are revealed in all of their grand majesty. Yet they diverge dramatically when it comes to working out the political implications of this idea. Whereas Hölderlin deploys the tragic revaluation of (...) suffering on behalf of democracy, Nietzsche deploys this same revaluation against democracy. My argument suggests that the differences between Hölderlin and Nietzsche refer more to their different points in the development of the modern age than to any substantive difference in the structure of their thinking, and that unearthing Nietzsche's origins in Hölderlin enables us to retrieve the wider compass of the idea of suffering on which Nietzsche relies in developing his critique of modern democratic politics, and so also a wider compass for settling some of the debates that have arisen around his political thought. Key Words: democracy • Hölderlin • Nietzsche • suffering • tragedy. (shrink)

The early Greek understanding of time is characterized by the fact that it develops various concepts of different forms of time but it is itself not exhausted by the total sum of its own concepts. Homer already employs a differentiated concept of time, depending on whether he speaks of chronos, émar or aión. From Hesiod comes the earliest literary record of the concept kairós. Even richer than substantivized time is time in its epic form, unfolding three-dimensionally, historically. That is why (...) an adequate understanding of the early Greek conception of time can only be reached through literature. Pre-socratic philosophy is embedded in a context which includes lyric poetry and tragedy as well as Homer and Hesiod. Predominant here is Pindar, whose work supplied Plato with key words and who resolved the traditional concepts of time in the movement of his fundamental idea. (shrink)

Among the sources of Hannah Arendt's philosophy of action is an unexplored one: the account of agency in Hegel's Phenomenology of Spirit. Drawing on a consideration of what has been called the 'dramaturgical' character of Arendt's philosophy of action, the article compares the accounts of action in Arendt's Human Condition and in the 'Spirit' chapter of the Phenomenology. Both works share a similar overall structure: in each case, the account of action begins with the opening-up of previously unseen or unexpected (...) tragic consequences within action and concludes with an exploration of what can be forgiven or reconciled in action. The Arendtian and Hegelian appropriations of tragedy and forgiveness reveal nonetheless important differences in their view of what counts as action and how its tragic elements are to be understood. Key Words: action • agency • Arendt • forgiveness • Hegel • tragedy. (shrink)

Bloom provides a masterful synthesis of recent advances in word-learning, placing them within the framework of abiding theoretical issues. I will augment and challenge his approach by underscoring the significance of word extension for questions concerning (a) the origin and evolution of infants' expectations, and (b) domain-specificity in word-learning.

In this article I elaborate and defend a rights-based understanding of climate politics, that is, one that takes climate politics to concern the rights to access of natural resources as opposed to people’s economic incentives. The argument contains two parts. The first is negative: to demonstrate that the tragedy of the commons as a story of climate change is inadequate. The second is positive: to suggest a more satisfactory framework, which I call the tragedy of the few. In (...) this view, climate politics is neither primarily mitigation nor economic incentive politics, but one of distributing rights to access natural resources in a fair and environmentally-friendly way. By changing both the narrative and underlying methodological assumptions, my goal is to enable us to accommodate the rights to access natural resources as a key moral issue in climate politics. I begin by sketching the main features of the tragedy of the commons and demonstrate its inadequacy. I then provide an account of the rights-based view of climate change that consists of two arguments. First, I demonstrate the normative side of the argument by highlighting the importance of environmental rights, and second, I outline the empirical side of the argument by discussing recent studies on the properties of natural resources and on the corporate agents who extract the resources that emit greenhouse gasses. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:TragedyA Lesson in SurvivalChristopher Perricone (bio)Tragedy and Its Historical Context"Tragedy" in the strict sense of the word refers to an ancient Greek literary genre, a form of drama for the most part performed publicly in the theater. As is well known, the word "tragedy" literally means "goat song." The belief among scholars is that early singers of tragedy wore goatskin costumes in imitation of satyrs. (...) Also, as is well known, Aristotle defines "tragedy" in the strict sense of the word as "the imitation of an action that is serious and also having magnitude, complete in itself; in language with pleasurable accessories, each kind brought in separately in the parts of the work; in a dramatic, not in a narrative form; with incidents arousing pity and fear, wherewith to accomplish its catharsis of such emotions."1 Of course, when one thinks of tragedy in the strict sense the names that come to mind are Aeschylus, Sophocles, and Euripides. It is arguable that these men not only set the stage for and developed the idea of tragedy in the strict sense, but they also laid the foundations of tragedy for centuries to come.After the Greeks, not surprisingly, tragedy evolves. The strict sense of the term as a point of reference, origin, or nucleus, remains—that is, after the Greeks, tragedy still retains that sense of "an imitation of an action that is serious." However, when one considers what later goes by the name of tragedy, one is hard-pressed, without resorting to Procrustean measures, to fit with any precision those later works of tragedy into the original Greek mold. After the Greeks, Seneca composes tragedies, as do Marlowe, Shakespeare, Corneille, Racine, Goethe, Schiller, Ibsen, Chekov, Lorca, Anouilh, Miller, et al. Even the sense of "serious" is not exactly the same: is the seriousness of Hedda Gabler's or Willie Loman's fate at all comparable to the fates of [End Page 70] Medea or Oedipus? The former cases surely seem serious in some domestic sense, whereas the latter clearly are intended to imply seriousness on a much grander and perhaps cosmic scale.The reason I mention all this is that "tragedy," both in what I call the strict and nuclear ancient Greek sense of the term (which does not imply that tragedy is clearly and distinctly defined, even in ancient Greece) and in the looser, derived sense of the word, has a long and compelling history. Tragedy is a form of drama to which we continually return. It is a genre that seems intrinsic not only to our very idea of theater but also to the very nature of art itself. Although one may debate the plausibility of writing tragedies in a disillusioned and nonheroic age, nevertheless one can hardly imagine the theater existing without tragedy. One way or another, it seems tragedies, whether in the strict or loose sense, will always be performed, and not merely out of nostalgia. Indeed, given the compelling nature of tragedy, it seems no accident that among the giants of literature, the tragedians are significantly represented. The compelling nature of tragedy is nicely expressed by the literary critic F. L. Lucas, and his statements should be considered a complement to Aristotle:Tragedy, then, is a representation of human unhappiness, which pleases us notwithstanding, by the truth with which it is seen and the fineness with which it is communicated—"l'amertume poignante et fortifiante de tout ce qui est vrai." ["The invigorating and poignant bitterness of whatever is true"; my translation.] The world of everyday seems often a purposeless chaos, a mangy tiger without even the fearful symmetry of Blake's vision; but the world of tragedy we can face, for we feel mind behind it and the symmetry is there. Tragedy, in fine, is man's answer to this universe that crushes him so pitilessly. Destiny scowls upon him; his answer is to sit down and paint her where she stands.2It is not only true that tragedy as practice and performance has a long and rich history; the study of tragedy has an equally long and rich history. The idea of tragedy has attracted, tantalized, frustrated, and exercised... (shrink)

If the cortex is an associative memory, strongly connected cell assemblies will form when neurons in different cortical areas are frequently active at the same time. The cortical distributions of these assemblies must be a consequence of where in the cortex correlated neuronal activity occurred during learning. An assembly can be considered a functional unit exhibiting activity states such as full activation (“ignition”) after appropriate sensory stimulation (possibly related to perception) and continuous reverberation of excitation within the assembly (a putative (...) memory process). This has implications for cortical topographies and activity dynamics of cell assemblies forming during language acquisition, in particular for those representing words. Cortical topographies of assemblies should be related to aspects of the meaning of the words they represent, and physiological signs of cell assembly ignition should be followed by possible indicators of reverberation. The following postulates are discussed in detail: (1) assemblies representing phonological word forms are strongly lateralized and distributed over perisylvian cortices; (2) assemblies representing highly abstract words such as grammatical function words are also strongly lateralized and restricted to these perisylvian regions; (3) assemblies representing concrete content words include additional neurons in both hemispheres; (4) assemblies representing words referring to visual stimuli include neurons in visual cortices; and (5) assemblies representing words referring to actions include neurons in motor cortices. Two main sources of evidence are used to evaluate these proposals: (a) imaging studies focusing on localizing word processing in the brain, based on stimulus-triggered event-related potentials (ERPs), positron emission tomography (PET), and functional magnetic resonance imaging (fMRI), and (b) studies of the temporal dynamics of fast activity changes in the brain, as revealed by high-frequency responses recorded in the electroencephalogram (EEG) and magnetoencephalogram (MEG). These data provide evidence for processing differences between words and matched meaningless pseudowords, and between word classes, such as concrete content and abstract function words, and words evoking visual or motor associations. There is evidence for early word class-specific spreading of neuronal activity and for equally specific high-frequency responses occurring later. These results support a neurobiological model of language in the Hebbian tradition. Competing large-scale neuronal theories of language are discussed in light of the data summarized. Neurobiological perspectives on the problem of serial order of words in syntactic strings are considered in closing. Key Words: associative learning; cell assembly; cognition; cortex; ERP; EEG; fMRI; language; lexicon; MEG; PET; word category. (shrink)

This book offers a unique interpretation of tragic literature in the Western tradition, deploying the method and style of Analytic philosophy. Richard Gaskin argues that tragic literature seeks to offer moral and linguistic redress for suffering. Moral redress involves the balancing of a protagonist's suffering with guilt : Gaskin contends that, to a much greater extent than has been recognized by recent critics, traditional tragedy represents suffering as incurred by avoidable and culpable mistakes of a cognitive nature. Moral redress (...) operates in the first instance at the level of the individual agent. Linguistic redress, by contrast, operates at a higher level of generality, namely at the level of the community: its fundamental motor is the sheer expressibility of suffering in words. Against many writers on tragedy, Gaskin argues that language is competent to express pain and suffering, and that tragic literature has that expression as one its principal purposes. The definition of tragic literature in this book is expanded to include more than stage drama: the treatment stretches from the Classical and Medieval periods through to the early twentieth century. There is a special focus on Sophocles, but Gaskin takes account of most other major tragic authors in the European tradition, including Homer, Aeschylus, Euripides, Virgil, Seneca, Chaucer, Marlowe, Shakespeare, Corneille, Racine, Lessing, Goethe, Schiller, Kleist, Büchner, Ibsen, Hardy, Kafka, and Mann; lesser-known areas, such as Renaissance neo-Latin tragedy, are also covered. Among theorists of tragedy, Gaskin concentrates on Aristotle and Bradley; but the contributions of numerous contemporary commentators are also assessed. Tragedy and Redress in Western Literature: A Philosophical Perspective offers a new and genuinely interdisciplinary perspective on tragedy that will be of considerable interest both to philosophers of literature and to literary critics. (shrink)

Tragedy as Philosophy in the Reformation World' examines how sixteenth- and seventeenth-century poets, theologians, and humanist critics turned to tragedy to understand providence and agencies human and divine in the crucible of the Reformation. Rejecting familiar assumptions about tragedy, vital figures like Philipp Melanchthon, David Pareus, Lodovico Castelvetro, John Rainolds, and Daniel Heinsius developed distinctly philosophical ideas of tragedy,irreducible to drama or performance, inextricable from rhetoric, dialectic, and metaphysics. In its proximity to philosophy, tragedy afforded (...) careful readers crucial insight into causality, probability, necessity, and the terms of human affect and action. With these resources at hand, poets and critics produced aseries of daring and influential theses on tragedy between the 1550s and the 1630s, all directly related to pressing Reformation debates concerning providence, predestination, faith, and devotional practice. Under the influence of Aristotle's Poetics, they presented tragedy as an exacting forensic tool, enabling attentive readers to apprehend totality. And while some poets employed tragedy to render sacred history palpable with new energy and urgency, others marshalled a precise philosophicalnotion of tragedy directly against spectacle and stage-playing, endorsing anti-theatrical theses on tragedy inflected by the antique Poetics. In other words, this work illustrates the degree to which some of the influential poets and critics in the period, emphasized philosophical precision at the0expense of-even to the exclusion of-dramatic presentation. (shrink)

Robert Solomon criticized the philosophy of death for abstracting from human reality to treat our mortality as a collection of metaphysical puzzles. Nowhere is death less abstract than in our response to the death of our loved ones. The public face of our response is the memorial service and the eulogies that move us. Our experience of a eulogy can be as cathartic as Aristotle theorized as part of great tragedy. However, treating the oration as a work of art (...) seems inappropriate; seeking to understand our engagement in aesthetic terms disrespectful to the grieving. This paper attempts to resolve this paradox by exploring analogies between the structures of eulogies and those of tragedy, and showing that, rather than traditional aesthetics' "promise of happiness," our engagement is concerned with the "promise of meaning." Psychological research on the nature of empathy theorizes that humans are hard-wired to feel the experiences of others and this is undoubtedly at work in our emotional responses to literature and eulogies. Drawing on the work of Dacher Keltner, the paper argues that the key to the aesthetics of eulogies and literature lies in their power to invoke our "awe" in response to their words. (shrink)

This book is a tool intended to give readers a knowledge of, and feel for, the most basic building blocks of vocabulary, namely the roots that are the basis of so many English words. Knowing these roots enables readers to gain greater reading fluency. Armed with these roots, readers can guess the meanings of unfamiliar words without a feeling of helplessness and without unnecessary dependence upon a dictionary. In this way, reading becomes more fluid, more rewarding, less burdensome, (...) and—most important—less frustrating. (shrink)

This book examines tragedy and tragic philosophy from the Greeks through Shakespeare to the present day. It explores key themes in the links between suffering and ethics through postcolonial literature. Ato Quayson reconceives how we think of World literature under the singular and fertile rubric of tragedy. He draws from many key works – Oedipus Rex, Philoctetes, Medea, Hamlet, Macbeth, and King Lear – to establish the main contours of tragedy. Quayson uses Shakespeare's Othello, Chinua Achebe, Wole (...) Soyinka, Tayeb Salih, Arundhati Roy, Toni Morrison, Samuel Beckett and J.M. Coetzee to qualify and expand the purview and terms by which Western tragedy has long been understood. Drawing on key texts such as The Poetics and The Nicomachean Ethics, and augmenting them with Frantz Fanon and the Akan concept of musuo (taboo), Quayson formulates a supple, insightful new theory of ethical choice and the impediments against it. This is a major book from a leading critic in literary studies. (shrink)

This is the second of two articles that are connected in a reading of The plague by Albert Camus. The other article is a determined narration of the events of a tragedy that befalls a city on the coast of Algeria. That article resists analysis beyond the decisions that are made regarding text to use, and of course interpretations to make. This article is juxtaposed to the first, with the intention of taking key themes of education and narration and (...) considering them within the context of another tragedy and another kind of narration. In this article the narratives of government education policy are considered in relation to the event of a tragic earthquake in Christchurch, New Zealand. The government narratives are then replaced by the narratives of Oran to consider alternative ways of thinking about tragedy and education and in particular to think about the ways in which the narrative relates to the tragedy and to any learning that might happen as a result of, and during, a tragedy. (shrink)

In recent years much attention has been devoted to Hegel’s interpretation of Greek tragedy. To be sure, authors dealing with Hegel’s understanding of tragedy have adopted different perspectives. However they do share one common basic assumption, namely, that tragedy plays a crucial role in shaping some key features of Hegel’s philosophy. This article pursues along these lines, and demonstrates that tragedy, or some aspects of tragedy, reinterpreted and reformulated, inform Hegel’s theory of ethical agency. It (...) performs this task on the basis of a reading of Hegel’s early essay The Spirit of Christianity and Its Fate. (shrink)

In recent years much attention has been devoted to Hegel’s interpretation of Greek tragedy. To be sure, authors dealing with Hegel’s understanding of tragedy have adopted different perspectives. However they do share one common basic assumption, namely, that tragedy plays a crucial role in shaping some key features of Hegel’s philosophy. This article pursues along these lines, and demonstrates that tragedy, or some aspects of tragedy, reinterpreted and reformulated, inform Hegel’s theory of ethical agency. It (...) performs this task on the basis of a reading of Hegel’s early essay The Spirit of Christianity and Its Fate. (shrink)

Ostension is bodily movement that manifests our engagement with things, whether we wish it to or not. Gestures, glances, facial expressions: all betray our interest in something. Ostension enables our first word learning, providing infants with a prelinguistic way to grasp the meaning of words. Ostension is philosophically puzzling; it cuts across domains seemingly unbridgeable -- public--private, inner--outer, mind--body. In this book, Chad Engelland offers a philosophical investigation of ostension and its role in word learning by infants. Engelland discusses (...) ostension (distinguishing it from ostensive definition) in contemporary philosophy, examining accounts by Quine, Davidson, and Gadamer, and he explores relevant empirical findings in psychology, evolutionary anthropology, and neuroscience. He offers original studies of four representative historical thinkers whose work enriches the understanding of ostension: Wittgenstein, Merleau-Ponty, Augustine, and Aristotle. And, building on these philosophical and empirical foundations, Engelland offers a meticulous analysis of the philosophical issues raised by ostension. He examines the phenomenological problem of whether embodied intentions are manifest or inferred; the problem of what concept of mind allows ostensive cues to be intersubjectively available; the epistemological problem of how ostensive cues, notoriously ambiguous, can be correctly understood; and the metaphysical problem of the ultimate status of the key terms in his argument: animate movement, language, and mind. Finally, he argues for the centrality of manifestation in philosophy. Taking ostension seriously, he proposes, has far-reaching implications for thinking about language and the practice of philosophy. (shrink)