In this article, it has been aimed to examine Nietzsche’s main critique towards different understandings of morals in his era. With this criticism, it is aimed to integrally understand the opinions -which are articulated directly or metaphorically- towards morals which have been encountered. In here, while keeping in mind the difference between the concepts of immoralism and amoralism, Nietzsche’s views are interpreted. Being parallel to that aim mentioned above, it has been investigated if there is a thinking in Nietzsche which (...) can be seen as a kind of understanding of morals (maybe as the understanding of morals without morals) or not. And finally, it has been thought that if Nietzsche’s views on morals have any value for the 21st century and upcoming 22nd century human or not, whether there’s something left to learn for this human from his critiques or not. (shrink)

The death of God and the death of eternity stand at the portals of modernity. Hegel’s Phenomenology of Spirit, which Kojève called the modern counterpart to the Bible, concludes with the death of G...

Hegel's theory of tragedy has polarized critics. In the past, many philosophers have claimed that Hegel's theory of tragedy removes Kant's critical insights and returns to pre-critical metaphysics. More recently, several have argued that Hegel does not break faith with tragic experience but allows philosophy to be transformed by tragedy. In this paper I examine the strength of this revised position. First I show that it identifies Hegel's insightful critique of Kant's theoretical assumptions. Yet I then argue that it fails (...) to note the practical importance of Kant's separation of knowledge and aesthetics. I propose an alternative approach to tragedy that builds from the revised view and yet maintains the autonomy of aesthetics. Tragedy represents an action, a set of events that are internally unified and yet cannot be reduced to theory. This is to say that tragedy confronts us with an aesthetic sphere of making and doing that, while constrained, is incessantly open and free. (shrink)

Hegel's theory of tragedy has polarized critics. In the past, many philosophers have claimed that Hegel's theory of tragedy removes Kant's critical insights and returns to pre-critical metaphysics. More recently, several have argued that Hegel does not break faith with tragic experience but allows philosophy to be transformed by tragedy. In this paper I examine the strength of this revised position. First I show that it identifies Hegel's insightful critique of Kant's theoretical assumptions. Yet I then argue that it fails (...) to note the practical importance of Kant's separation of knowledge and aesthetics. I propose an alternative approach to tragedy that builds from the revised view and yet maintains the autonomy of aesthetics. Tragedy represents an action, a set of events that are internally unified and yet cannot be reduced to theory. This is to say that tragedy confronts us with an aesthetic sphere of making and doing that, while constrained, is incessantly open and free. (shrink)