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Switch to: References
Citations of:
Tragic Pathos: Pity and Fear in Greek Philosophy and Tragedy
Cambridge University Press (2011)
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This article considers how mourning is configured as a site of political and aesthetic conflict in Aeschylus’ Persae. Aeschylus represents the Persian defeat at Salamis as a catastrophe that unsettles the Persians’ habitual modes of visualizing and quantifying the empire’s population as an ordered whole. Drawing on the work of Jacques Rancière and Alain Badiou, I show how characters in Persae construct novel representations of the war dead as social collectivities that do not fit into the hierarchical structures of dynastic (...) |
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While the aim of the present paper is to analyze Olympiodorus’ commentary to Plato’s Phaedo, particular attention will be paid here to the role of hēdonē. The first part of the text presents the four conceptions of the pleasure that can be found in Plato’s dialogue. Although pleasure does not play the most prominent role either in the Plato’s dialogue or in the Neoplatonic commentary, Olympiodorus’ attitude to this issue reveals an important change and difference between the philosophical views of (...) No categories |
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The aim of this article is to explore the ways in which the engagement with Greek tragedy may contribute fruitfully to the unfolding of empathy in medical students and practitioners. To reappraise the general view that classical texts are remote from modern experience because of the long distance between the era they represent and today, I propose an approach to Greek tragedy viewed through the lens of historical empathy, and of the association between past situations and similar contemporary experiences, in (...) |
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ABSTRACT This work explains the practical benefits of a new and pluralistic notion of empathy that I call relational empathy. Rather than defining empathy as a thing or an activity, as most scholars have done, I define empathy as a set of three conceptually distinct though experientially overlapping relations: the relations of feeling into, feeling with, and feeling for. I then turn to historical discourses about empathy from the late 1700s to the present to demonstrate how different conceptualizations and definitions (...) |
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Focusing on a single funerary monument of the late archaic period, this paper shows how such a monument could be used by a bereaved individual to externalize and communalize the cognitive, perceptual, and emotional effects of loss. Through a close examination of the monument’s sculpted relief and inscribed epigram, I identify a structural framework underlying both that is built around a disjunction between perception and cognition embedded in the self-identified function of the monument as a mnema or memory-object. Through the (...) |
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Chariton’s novel, Chaereas and Callirhoe, is intensely interested not only in the emotional experience of the protagonists but also in the emotional effect the narrative has on readers. Among the many emotions depicted within the text, one stands out for its architectonic function: jealousy. Jealousy articulates the plot and propels it forward. Jealousy is also represented as a fundamentally “readerly” emotion: scenes of reading focus on the potential of written texts to stir jealous emotions. Similarly, scenes of embedded narration focus (...) |
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In this chapter I invite the reader to consider the philosophical assumptions which underpin the early career aims and objectives of Barrie Kosky. A focus will be his “language” of opera, and the processes by which the audience is prompted to interpret it. The result will be to see how Kosky creates mystery and meaning while avoiding fantasy and escapism; and can express psychological truth while stimulating subjective interpretations. The point will be to show that Kosky’s oeuvre demonstrates a central (...) |
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