Towards the end of his philosophical and political theorizations, the Greek-born French philosopher and thinker Cornelius Castoriadis turned his attention to artistic representation, in particular to Greek, or to use a term he preferred, “Athenian” tragedy. The aim of this article is to analyze the role played by his interpretation of tragedy in his understanding of democracy as a tragic regime. In order to address this interrogation, the article will be divided in three parts. The first part is (...) devoted to what Castoriadis deems the “Greek creation”. The second part offers an interpretation of Castoriadis’ formulation of tragedy as both a public institution and a “window to chaos”, emphasizing its connection to democracy, autonomy and judgement. In the final remarks, we critically assess his original conception of tragedy and its political implications for Castoriadis’ idea of democracy. (shrink)

This is an invited introductory discussion of tragedy in Hegel.

Joanna Baillie (1762–1851) came to fame in 1798 with the first volume of her Plays on the Passions, which included her theoretical account of drama, including tragedy. This article reconstructs Baillie's theory of tragedy and shows how the theory informs the design of the Plays on the Passions. For Baillie, all human beings have powerful and dangerous passions that we need to learn to regulate. Tragedy can help with this and can serve an educative purpose (...) by presenting us with narratives in which the protagonists repeatedly fail to check the growth of a particular passion, such as jealousy or hatred. We witness this passion gain more and more hold over the character's mind until they are destroyed. This offers a warning and motivates us to watch out for the growth of our own passions and keep them in check. Baillie's theory of tragedy is original and combines a moral orientation, a voluntarist belief in free will, and optimism about the human condition. For her, the sufferings undergone by tragic characters could have been avoided had the characters made better choices. Thus the message of tragedy is not that suffering is inescapable but that suffering can be minimized if we cultivate self-knowledge and emotional self-control. (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)

본고에서 필자는 근대적 형식으로 재탄생할 경우 비극이 갖추어야 할 개방성의 근원으로서 비극의 태생적 혼종성에 관하여 논하였다. 이는 『비극의 탄생』에서 고대 그리스 비극에 대한 니체의 낭만주의적 서사에 대한 비판적 독해를 요구한다. 비극에 대한 낭만주의적 서사는 예술의 순연성과 이론적 학문성 간의 양립 불가능한 대립에 기초해 있다. 하지만, 『비극의 탄생』의 모체가 된 두 강연(“그리스 악극”, “소크라테스와 비극”)에 대한 주의 깊은 독해를 통해 본고는 이러한 낭만주의적 대립 서사 아래 숨겨져 있는 예술성과 논리성, 서정성과 서사성 간의 혼종 관계가 비극의 태생적 조건임을 밝히고자 하였다. 나아가, 비극의 (...) 이러한 태생적 혼종성은 비극 형식 자체의 비극성을 내포한다는 점을 규명하고자 하였다. 마지막으로, 비극의 태생적 혼종성과 본래적 비극성은 이렇게 재정식화된 비극 예술의 형식이 개방성을 근본 특징으로 하는 근대 문화에 적합한 것임을 시사한다. (shrink)

(1989). THE CLAIMS OF TRAGEDY: AN ESSAY IN MORAL PSYCHOLOGY AND AESTHETIC THEORY. Philosophical Papers: Vol. 18, No. 1, pp. 7-26. doi: 10.1080/05568648909506308.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Archive Feelings: A Theory of Greek Tragedy by Mario TelòSean LambertTelò, Mario. Archive Feelings: A Theory of Greek Tragedy. Ohio State University Press, 2020. 344pp.In Archive Feelings: A Theory of Greek Tragedy, Mario Telò takes aim at one of the most canonical (if also one of the most contested) features of Greek tragedy: its potential to deliver catharsis (12).1 Through careful (...) close readings of Greek tragedies informed by psychoanalytic theory and deconstruction, Telò makes a persuasive case that tragedy is anti-cathartic. “The Freudian take on catharsis is complicated, or even undercut,” he writes in the introduction, “by its own anti-cathartic latencies… We can accordingly look at tragedy as a form of dramatic poetry that finds its affective raison d’être… in these anti-cathartic feelings” (34).Telò states that the intent of Archive Feelings is mainly to intervene in the age-old debate, asking: “why do human beings enjoy tragedy?” (14). He suggests that the pleasure of tragedy is, in fact, a masochistic one: a denial of release or pleasure (such as would come from catharsis) that an audience or reader enjoys in its specifically joyless jouissance. At stake is “feeling material,” a “fantasy” of “merging into the impersonal, anorganic, universal matter of elemental life” (44) evoked in tragedy’s death-driven withdrawal from action. With this concept in mind, Telò goes beyond even his own ambitions for his project. More than merely intervening in debates about the pleasures of tragedy, he argues powerfully for the continuing relevance of Greek tragedy for critical theory today, particularly in light of the so-called “affective” and “material” turns in the humanities. Archive Feelings is thus a useful book for classicists conducting interdisciplinary and/or trans-historical research, but even more so for any scholar working within the constellation of psychoanalysis, deconstruction, queer theory, affect theory or critical race theory. Telò makes a persuasive case for tragedy as a lodestar within this firmament–a vital tool for thinking through problems within and across disciplines.In striking contradistinction to previous theorists of Greek tragedy, including Aristotle and Nietzsche, Telò locates the engine of Greek tragedy in the death drive. In so doing, he reads in ancient narratives a number of experiences such as “acceleration, hoarding, vertiginous suspension, [End Page 113] breathless looping, affective bulimia or binge-eating, serial cutting, trying to enter or fold in upon oneself, auto-immune inflammation” (14), and finds in “the orgasm as an unfinished, non-teleological pleasure,” a desire to return to a state of “inert matter” (13).2 Noting that the original meaning of the Greek word archê is “origin,” Telò connects this impulse to once again become “inert” with the desire to create archives. Thus, Telò sees Greek tragedies as both a model for projects of archival reconstruction as well as archival projects themselves: they are “anxious and debilitating” attempts to “re-create the past as it was” (13).3Telò’s study is divided into three parts: Archival Time, Archival Space, and Archival Endings, which attempt to “structurally reproduce the psychological temporalities of the archive” (49). In each of his five chapters, Telò elaborates the diverse narrative masochisms of Greek tragedy, exploring the various stakes and species of tragic anti-catharsis. In Chapter 1, Telò reads the “archive fever” of Sophocles’ Oedipus at Colonus against the “archive fatigue” of Euripides’ Phoenissae, finding in both of these plays—near the end of the epoch of ancient tragedy—an impulse toward “textual hoarding” (76) that both undermines the possibility of catharsis and “exhausts” (106) the possibilities of the genre (107). In both the “synchronic gathering of disparate fragments of experience” into the body of Oedipus before his death and the aesthetics of boredom, fatigue, and inertia that suffuse the Phoenissae, Telò locates a desire to store up, rather than purge, emotions such as pity and fear, in a flouting of the normal formula for catharsis (73).In Chapter 2, Telò looks at the figures of Heracles and Medea in their original myths and tragic incarnations, seeing in both the compulsion to recircle around scenes of their respective “primordial traumas” (145). In Euripides’s Medea, this move manifests in repeated references... (shrink)

As Smith points out, Reinhold Niebuhr's political ethic is closely linked to his philosophy of history. This view of history blends a dualistic understanding of human nature and rigorous contingency of experience - all sobered by a creative sense of tragedy.

The Birth of Tragedy is one of the seminal philosophical works of the modern period. Nietzsche's discussion of the nature of culture, of the conditions under which it can flourish and of those under which it will decline, his analysis of the sources of discontent with the modern world, his criticism of rationalism and of traditional morality, his aesthetic theories and his conception of the 'Dionysiac' have had a profound influence on the philosophy, literature, music, and politics of the (...) twentieth century. This edition presents a new translation by Ronald Speirs and an introduction by Raymond Geuss that sets the work in its historical and philosophical context. The volume also includes two essays on related topics that Nietzsche wrote during the same period, and that throw further light on the themes treated in the main text. (shrink)

After an exceedingly short treatment of six theories of tragedy, the author concludes that while each has emphasized a necessary component of the tragic, none has really come to grips with its basic "paradox": the fact that while the art of tragedy attempts to explain the mystery of human suffering, such an attempt is doomed to failure.--D. C. B.

Affect Theory, Genre, and the Example of Tragedy employs Silvan Tomkins' Affect-Script theory of human psychology to explore the largely unacknowledged emotions of disgust and shame in tragedy. The book begins with an overview of Tomkins' relationship to both traditional psychoanalysis and theories of human motivation and emotion, before considering tragedy via case studies of Oedipus, Hamlet, and Death of a Salesman. Aligning Affect-Script theory with literary genre studies, this text explores what motivates fictional (...) characters within the closed conditions of their imagined worlds and how we as an audience relate to and understand fictional characters as motivated humans. (shrink)

We offer a new answer to the paradox of tragedy. We explain part of the appeal of tragic art in terms of its acknowledgement of sad aspects of life and offer a tentative explanation of why acknowledgement is a source of pleasure.

Simone Weil’s supernaturalist interpretations of tragedy challenge not only the philosophical skepticism but also the religious rationalism characteristic of the modern age. This book boldly points out a supernaturalist alternative to contemporary, post-structuralist literary theory. This study of classical tragic drama offers a sacralizing impetus to secular discussions of literature. The book’s Platonic premises and its grounding in the transcendental outlook of the religious traditions furnish a sacred illumination. Religious mystery and the cross of Christ both overshadow and (...) deepen philosophical approaches to literary criticism, including theories of tragedy. Simone Weil’s conception of tragic art, rooted in a mystical Christian metaphysics, offers original insight into the nature of tragedy. In contradiction of the prevailing secular outlook, Weil regards classical tragedy as a sacred art form. Tragic masterpieces evoke not the chaotic or irrational, as modernist interpreters hold, but rather a good which is absolute. (shrink)

[Final version in Philosophical Papers, 2000] Much has been made over the past few decades of two related problems in aesthetics. First, the "feeling fiction problem," as I will call it, asks: is it rational to be moved by what happens to fictional characters? How can we care about what happens to people who we know are not real?[i] Second, the so-called "paradox of tragedy" is embodied in the question: Why or how is it that we take pleasure in (...) artworks which are clearly designed to cause in us such feelings as sadness and fear?[ii] Various solutions to these puzzles have been proposed, but my primary aim is neither to offer a novel solution nor to summarize and critique most of the alternatives.[iii] My focus instead will be on the issue of consciousness and, more specifically, to view these problems from the point of the view of the so-called "higher-order thought theory of consciousness" . Although some work on these puzzles have raised important questions about the nature of consciousness and "aesthetic experience," no attempt has yet been made to examine them in light of a specific theory. (shrink)

The Birth of Tragedy is one of the seminal philosophical works of the modern period. Nietzsche's discussion of the nature of culture, of the conditions under which it can flourish and of those under which it will decline, his analysis of the sources of discontent with the modern world, his criticism of rationalism and of traditional morality, his aesthetic theories and his conception of the 'Dionysiac' have had a profound influence on the philosophy, literature, music, and politics of the (...) twentieth century. This edition presents a new translation by Ronald Speirs and an introduction by Raymond Geuss that sets the work in its historical and philosophical context. The volume also includes two essays on related topics that Nietzsche wrote during the same period, and that throw further light on the themes treated in the main text. (shrink)

In a small portion of The Origin of German Tragic Drama, Walter Benjamin engages in a critique of Nietzsche’s understanding of tragedy in The Birth of Tragedy. He argues that Nietzsche’s account divests individuals of significance in the tragic worldview. The corrective to Nietzsche’s view, according to Benjamin, is a reflective, historical approach to the Greek social and literary phenomenon of tragic poetry. I argue that Benjamin’s approach to tragedy and to The Birth of Tragedy is (...) inherently flawed. The paper has threesections: (1) a presentation of Benjamin’s critique of Nietzsche in The Origin of German Tragic Drama; (2) a refutation of that critique on the basis of a reading of The Birth of Tragedy; and (3) a rejection of Benjamin’s theory of tragedy on the basis of Nietzsche’sinsights into the relation to human significance of both tragedy and the science of history. (shrink)

The Liberal Theory of Science, best articulated by Michael Polanyi, held that science advanced when autonomous scientists followed their best hunches and spontaneously coordinated their efforts as a result of their mutual dependence, in a setting devoted to scientific truth with a tradition supporting it, in a quest for a comprehensive understanding of reality. Pure science was for him an international community with the characteristics of the Republic of Letters of the past. This image of science was an idealization (...) at the time he wrote, and became less applicable as science grew and became more dependent on funding decisions, and therefore also on peer review, which compromised autonomy. From the painful attempts to make sense of these changes, particularly in the writings of John Ziman, we can reconstruct the effects of these changes: initially from a focus on discovery to the production of “reliable knowledge” for sponsors. This change made science more useful, but at a price, and made the Liberal Theory of Science increasingly irrelevant to actual science, but still useful as a basis for critique. (shrink)

We explore the classical philosophical problem of the “paradox of tragedy”—the problem of accounting for our apparent pleasure in feeling pity and terror as audiences of staged tragedies. After outlining the history of the problem in philosophy, we suggest that Apter’s reversal theory offers great potential for resolving the paradox, while explaining some of the central intuitions motivating philosophical proposals—an ideal starting point to bridge a narrowing gap between philosophy and psychology.

Climate change mitigation has become a paradigm case both for externalities in general and for the game-theoretic model of the Tragedy of the Commons (ToC) in particular. This situation is worrying, as we have reasons to suspect that some models in the social sciences are apt to be performative to the extent that they can become self-fulfilling prophecies. Framing climate change mitigation as a hardly solvable coordination problem may force us into a worse situation, by changing real-world behaviour to (...) fit our model, rather than the other way around. But while this problem of the performativity of the ToC has been noted in a recent paper in this journal by Matthew Kopec, his proposed strategies for dealing with their self-fulfilling nature fall short of providing an adequate solution. Instead of relying on the idea that modelling assumptions are always strictly speaking false, this paper shows that the problem may be better framed as a problem of underdetermination between competing explanations. Our goal here is to provide a framework for choosing between this set of competing models that allows us to avoid a ‘Russian Roulette’-like situation in which we gamble with existential risk. (shrink)

AN ATTEMPT AT SELF- CRITICISM. I. Whatever may lie at the bottom of this doubt- ful book must be a question of the first rank and attractiveness, ...

First published in 1960, The Paradox of Tragedy raises the fundamental question, why do we enjoy tragic drama with its themes of death and disaster? D. D. Raphael offers a new theory of Tragedy, as a conflict between two forms of the sublime.

This book boldly points our a supernaturalist alternative to contemporary, post-structuralist literary theory. This study of classical tragic drama offers a sacralizing impetus to secular discussions of literature.

Abstract: Hegel's theory of tragedy is often considered to be primarily a theory of the objective powers involved in tragic conflicts—for Hegel, these are paradigmatically competing ethical notions—and of the rationality which underlies and drives such conflicts. Such a view follows naturally from a close reading of Hegel's discussion of classical Greek tragedy in his Lectures on Aesthetics. However, this view gives rise to the question of whether Hegel's theory of tragedy can account for (...) the significance of tragic experience, in particular the experience of tragic suffering; it has been argued repeatedly that it cannot. In contrast, I want to suggest in this paper that a theory of tragic experience can be derived from Hegel's Phenomenology of Spirit. This Hegelian theory of tragic experience, I argue, should be understood as complementing rather than challenging Hegel's theory of objective tragic conflict. (shrink)

In this essay, I want to provide an introduction to Aristotle's theory of the Greek Tragedy, which he outlines in his book, the Poetics . Many philosophers since Aristotle, including Friedrich Nietzsche and Walter Benjamin, have analysed tragic art and developed their own theories of how it works and what it is for. What makes Aristotle's theory interesting is that it is as relevant to art today as it was in Ancient Greece because it explains the features (...) of not just tragic art, but of the films and stories that we enjoy today. I will explain the features that Aristotle says make a good tragic play and give examples of them from popular culture. The examples I give will be from tragedy, but also from romance, crime and fantasy to demonstrate how he has outlined, not just the features of Greek Tragedy, but also the internal workings of the drama that we enjoy today. The contemporary relevance of Aristotle's theory is in the fact that the features he outlines are basic features of great stories, which I think is best illustrated by applying Aristotle's analysis to popular Hollywood movies. (shrink)

The plague narrates the stories of a group of men whose lives interconnect around the experience of exile during the event of a plague. This article selects and summarizes themes from each of their stories. The purpose of these selections is to present an interpretation of Camus’ narratives that can be juxtaposed to an analysis, overleaf, of the educational nature of narratives, and in particular of the event of the tragedy. This article then maps out the narrative of the (...) town and of seven men. It may be read alone as a reading of Camus’ novel with rich, yet unmapped, contributions to thinking about education, or it may be read concurrently with its analytical partner through which the meaning of Camus’ work is traced onto a contemporary tragedy and a city’s educational responses. (shrink)

Rather than representing a break with his earlier philosophical undertakings, The Birth of Tragedy can be seen as continuous with them and Nietzsche's later works. James Porter argues that Nietzsche's argumentative and writerly strategies resemble his earlier writings on philology in his 'staging' of meaning rather than in his advocacy of various positions. The derivation of the Dionysian from the Apollinian, and the interest in the atomistic challenges to Platonism, are anticipated in earlier works. Also the theory of (...) the all-too-human subject is a thread that runs throughout Nietzsche's oeuvre, critically undoing what his philosophy appears to erect, confirming that Nietzsche is a most unreliable witness to his own meaning. As well as studying the relation of The Birth of Tragedy to later writings, the author examines it on its own terms as a self-standing and complete piece of imagining, with close regard to the self-presentation of the work itself. (shrink)

The aim of this paper is to explore the metaphysical foundations of Throne of Blood , Kurosawa's reworking of Shakespeare's Macbeth . Using Hegel's theory of tragedy, I develop the distinction between Greek and modern tragedy, with their differing bases in ethical and subjective freedom. I then show that Noh drama also includes a very different metaphysical account, stemming from its theoretical roots in Buddhism. I then use these three differing accounts (Greek, modern and Noh drama) to (...) explore the effect of Kurosawa's use Noh aesthetics in Throne of Blood on the metaphysical ground of the film itself. (shrink)