In praise of cruelty : Bataille, Kafka, and Ling-Chi -- Fragmentary description of a disaster : Claude Simon -- The resistance to pathos and the pathos of resistance : Peter Weiss -- Medeamachine : the "fallout" of violence in Heiner Müller -- Epilogue : Francis Bacon, or, The brutality of fact.

This paper is a test case for the claim, made famous by Myles Burnyeat, that the ancient Greeks did not recognize subjective truth or knowledge. After a brief discussion of the issue in Sextus Empiricus, I then turn to Plato's discussion of Protagorean views in the Theaetetus. In at least two passages, it seems that Plato attributes to Protagoras the view that our subjective experiences constitute truth and knowledge, without reference to any outside world of objects. I argue that these (...) passages have been misunderstood and that on the correct reading, they do not say anything about subjective knowledge. I then try out what I take to be the correct reading of the passages. The paper concludes with a brief discussion of the importance of causes in Greek epistemology. (shrink)

El presente artículo busca interrogar el pathos de la vida y de la existencia, a partir del estudiode las obras de Michel Henry y de Henri Maldiney. Dicho intento de ampliar la razón recobrando ladimensión afectiva de la vida o de la existencia ha orientado a la fenomenologíahacia una reflexión profunda sobre una inmanencia absoluta de la vida o sobre la apertura hacia elacontecimiento de sentido que es propia a la existencia. De este modo, nos pregunatremos quéfenomenología se apropia mejor (...) la tarea de ampliar la razón hacia la dimensióndel sentir y de la afectividad. (shrink)

The knowledge of truth, in Plato, is an experience that calls for conversion of the soul (μεταστροφή, περιστροφή). The basic feature of this experience consists in some sort of connection, which is constantly at work, between rational arguments and their non-rational conditions, briefly, lógos and páthos. How does this connection show up in Plato? Its crucial importance emerges many times at both narrative (récit) and theoretical level. In the three parts of my contribution, I show how logos-pathos intertwines with (...) Plato's notion of conversion considered as a double-sided phenomenon, as both "process" of moral education and "noetic event". (shrink)

Jean-Michel Rabaté uses Nietzsche's image of a "pathos of distance," the notion that certain values cannot originate in a community but are created by a few gifted and lofty individuals, as the basis for a wide-ranging investigation into the ethics of the moderns. The expression of "pathos of distance" impressed would-be modernists like the American James Huneker and the Irish poet W. B. Yeats as they confronted the new in the arts. Later, it helped Deleuze and Barthes make sense of (...) modernity when they tried to tease out all the implications of "distance." Despite Benjamin criticism of Nietzsche's doctrine of the "eternal return of the same" in the Arcades Project, in his "Theses on the Philosophy of History" Benjamin envisions a redeemed history that follows Nietzsche's basic intuition about the need to make every moment count for history. By first establishing this unlikely meeting of Nietzsche and Benjamin through their ideas of history and ethics, Rabaté is able then to provide an original genealogy for the ethics of the modern, moving through figures and moments as varied as Yeats and the birth of Irish Modernism, the ethics of courage in Virginia Woolf, Rilke, Apollinaire, and others in 1910, Gide and Genet's ethical impulse to combine erotic liberation with the motivation for political revolution, and Derrida's reading of Joyce's Ulysses and a modern mode of writing that sought to get closer to the senses. The result is a fascinating critique of Nietzsche, Benjamin, affect theory, and the origins of the ethics of modernism. (shrink)

For many of the ancient Greek philosophers, the ethical life was understood to be closely tied up with important notions like rational integrity, self-control, self-sufficiency, and so on. Because of this, feeling or passion (pathos), and in particular, pleasure, was viewed with suspicion. There was a general insistence on drawing up a sharp contrast between a life of virtue on the one hand and one of pleasure on the other. While virtue was regarded as rational and as integral to advancing (...) one’s well-being or happiness and safeguarding one’s autonomy, pleasure was viewed as largely irrational and as something that usually undermines a life of reason, self-control and self-sufficiency. I want to try to show that the hedonist Aristippus of Cyrene, a student and contemporary of Socrates, was unique in not drawing up such a sharp contrast. Aristippus, I argue, might be seen to be challenging the conception of passion and pleasure connected to loss of self-control and hubristic behavior. Not only do I try to show that pleasure according to Aristippus is much more comprehensive or inclusive than it is usually taken to be, but that a certain kind of control and self-possession actually play an important part in his conception of pleasure and in his hedonism as a whole. (shrink)

In this essay, I will outline the positive content of George Grant's conception of "particularity" and clarify it by comparing it to Reiner Schürmann's similar concept of "singularity" as a starting point for an engagement with the positive good to which it refers. In conclusion, a five-step existential logic will he presented, which, I will suggest, can resolve the important aspects of the difference between them.

Machine generated contents note: Introduction; Part I. Theoretical Views about Pity and Fear as Aesthetic Emotions: 1. Drama and the emotions: an Indo-European connection? 2. Gorgias: a strange trio, the poetic emotions; 3. Plato: from reality to tragedy and back; 4. Aristotle: the first 'theorist' of the aesthetic emotions; Part II. Pity and Fear within Tragedies: 5. An introduction; 6. Aeschylus: Persians; 7. Prometheus Bound; 8. Sophocles: Ajax; 9. Euripides: Orestes; Appendix: catharsis and the emotions in the definition of tragedy (...) in the Poetics. (shrink)

Frente al interés por construir un discurso que dé cuenta del momento particular del arte contemporáneo, y que, además, pueda esclarecer y proponer diversas respuestas frente a los productos artísticos que se realizan en la difícil circunstancia actual, se han dirigido diferentes propuestas disciplinares que presentan análisis de la obra de arte y la experiencia que surge en su comprensión. La situación, que a veces se caracteriza por la impotencia de la teoría, la historia y la crítica del arte al (...) ocuparse del arte más reciente, proviene, entre otras razones, de un hecho evidente: nunca estas disciplinas habían tenido que entenderse con tal abundancia de prácticas, fenómenos artísticos, y declaraciones artísticas. Asimismo, las complejas formas vividas por el sistema internacional del arte ha planteado a la comprensión de estos fenómenos una serie de retos de fuerte impacto en la misma actividad de los artistas. Y uno de esos retos ha sido examinar la forma material, los soportes y lenguajes artísticos de obra de arte. (shrink)

PATHOS is not the same thing as suffering, though, of course, it is bound up with suffering, just as it is bound up with contingency and loneliness. We suffer when somebody dies whom we loved, but pathos makes its appearance only when we turn up a letter and find in it some characteristic turn of expression, brave and cheerful perhaps in face of pain or disappointment, or an old jacket, or a pipe, or things arranged in a certain way in (...) a bedroom or kitchen. Not that pathos has to wait on death: the boy in John McGahern’s novel The Dark sits by the fire at night after his father has gone to bed, and his mood of enmity and disgust is disturbed and broken by the sight of the heavy country shoes his father had thrown carelessly aside—he meets pathos for the first time, and is deeply changed by it, even though the external father-son relationship seems to remain unchanged.…What has happened in this case is that the boy’s personality has been extended in the direction of manhood; suffering was nothing new to him but this was something new, a new dimension, new horizons of the spirit. (shrink)

One of the most striking differences between ancient and modern writings on Homer is the prominence in the former, and the rarity in the latter, of discussions of pathos. The word barely appears in the most characteristic books of our time on the subject. Thus the inquirer will find in Wace and Stubbings's Companion to Homer an index hospitable enough to include ‘Babylonian cuneiform’, and ‘Kum-Tepe, neolithic-site at’, and ‘Pig-keeping, in Homer’; but for ‘pathos’ he will look in vain.

Spricht man heute von Pathos, dann meint man meist peinlichen Gefühlskitsch. Diese Abwertung ist das Ergebnis einer Begriffsgeschichte, die um 1800 kippt. Während die Poetik und Ästhetik des 17. und 18. Jahrhunderts den hohen Kunstformen eine pathetische Ausdrucksweise vorschreiben, fasst Hegel das Pathos nur noch als das Leiden des vormodernen naiven Helden. Warburg beschreibt das Pathetische schließlich als eine in der Antike geprägte Stilform. Zu dieser Historisierung des Pathos, das vom zeitlosen Ideal der Kunst zu einer ihrer Entwicklungsstufen wird, gehört (...) die Diagnose vom Pathosverlust in der versachlichten Moderne. Trotz aller Versuche einer Reaktivierung pathetischer Kunst, etwa im Expressionismus, wandert ein mit Übertreibung und Trivialität assoziiertes Pathos im 20. Jahrhundert in die Populärkultur ab. Vom modernen Unbehagen am Pathos aus adressieren die im Band versammelten Beiträge aus Literaturwissenschaft, Rhetorik, Kunstgeschichte und Filmwissenschaft problematische Punkte historischer Pathoskonzepte. Auf der Suche nach Widersprüchen setzen sie an historischen, diskursiven und medialen Übergängen an: am Transfer zwischen Rhetorik und Poetik; zwischen Ethos und Pathos, zwischen realer Gewalterfahrung und ihrer formalisierten Darstellung, zwischen großen Gesten und privatem Gefühlsausdruck im 18. Jahrhundert. Diskutiert werden ebenfalls die Ausprägungen eines prosaischen Pathos im 19. Jahrhundert und dessen Verhältnis zu medizinischen und psychiatrischen Diskursen sowie die Remodellierung des Pathos in den Bildmedien des 20. Jahrhunderts. (shrink)

Celle de Pathos der Distanz est un notion fondamentale de la réflexion que Nietzsche, aux années 80, consacre à la généalogie des valeurs morales et à la corréspondante hiérarchie des hommes. Le Pathos der Distanz, coractérisant et distinguant la forme de vie la plus noble, excellente, est en soi un objection aux revendications d'egalité universelle, puisqu'il s'oppose à la validité universelle des valuers morales. Un aspect plus profond de la valorisation du Pathos der Distanz renvoie au travail de transformation de (...) l'expérience de soi, de récalibration des puissances individuelles ed des potentialités de l'homme . La dissolution des catéegories de la psychologie et de la morale traditionnelles comporte une revision de l'experience méme de soi: Nietzsche essaie d'articular un parcours de réapprentissage, dont l'une de voies d'accès provilégiée est le phénomène affectif d'autoperception du Pathos der Distanz.Der Begriff des Pathos der Distanz ist fundamental für die Überlegungen, die Nietzsche in den 80er Jahern der Genealogie der moarlischen Werte und der zugehörigen Hierarchie der Menschen widmet. Indem es die vornehmste und ausgezeichnete Lebensform charakterisiert, stecht das Pathos der Distanz im Gegensatz zum Anspruch auf universelle gleichheit und allgemeingültige moralische Werte. Ein tieferer Aspekt des Pathos der Distanz liegt in der Transformation der selbsterfahrung und des immer neuren Ins-Gleichgewicht-Kommens der individuellen Kräfte und der Fähigkeiten. Die Auflösung der Kategorien der traditionellen Psychologie und Moral bringt eine Revision der Selbsterfahrung mit sich: Nietzsche veruscht, einen Parcours des Wiedererlemens zu formulieren, zu dessen Hauptwegen das Pathos der Distanz als affektives Phänomen der Selbstwahrnehmung zählt.Pathos der Distanz is a fundamental notion of Nietzsche's reflexions that he concluded in the 80s on the geneology of moral values and corresponding hierarchy of man. By characterising and distinguishing the most noble and excellent form of life, Pathos der Distanz is an objection to universal equality and opposes the universal validity of moral values. A deeper aspect to the valorization of Pathos der Distanz relates to the perspective of transformation of self-experience, to recalibration of individual powers and human capacities. The dissolution of the categories of traditional psychology and morality leads to a revision of self-experience: Nietzsche tries to provide a method of relearning, one of which is the affective phenomenon of self-perception of Pathos der Distanz. (shrink)

O presente estudo tem por objetivo analisar as disparidades existentes entre dois momentos fundamentais quanto à constituição da polis grega, a saber, o trágico e o ligado ao logos e à racionalidade, denominado período socrático/platônico. Primeiramente, lançaremos nosso olhar sobre o chamado período trágico da cultura helênica, buscando contemplar o homem enredado pelo pathos trágico e sua consequente idiossincrasia dionisíaca. Ainda no século V a.C. contemplaremos este que representa um dos principais pilares de sustentação da filosofia do período antropológico do (...) pensamento grego: Platão. Contudo nos deteremos a alguns aspectos do socratismo tendo como ideia disparadora a possibilidade da akrasia. Deste modo entendemos que nos são apresentados dois modelos de homem: O ligado ao período trágico e o oferecido pela ética platônica guiado pelo logos. Utilizaremos como aporte teórico, a contribuição de helenistas como Jean-Pierre Vernant e Romilly, assim como o filósofo alemão Nietzsche. Quanto à contribuição platônica nos deteremos sobres os diálogos platônicos Laques, Protágoras e Górgias. Exatamente por sua importância quanto ao tema da akrasia nos diálogos da primeira fase platônica. (shrink)

A philosophical critique of George Grant's use of Heidegger that refers in detail to Reiner Schurmann to distinguish the terms "particularity" and "singularity.".

In Aristotle's Rhetoric, logos must be conceived as enthymematical argumentation relative to the issue of the case. Ethos and pathos also can take the form of an enthymeme, but this argumentation doesn't relate (directly) to the issue. In this kind of enthymeme, the conclusion is relative to the ethos of the speaker or (reasons for) the pathos of the audience. In an ideal situation — with a good procedure and rational judges — logos dominates and in the real situation of (...) Aristotle's time — with an imperfect procedure and irrational judges — ethos and pathos prevail. (shrink)

Resenha de Figueiredo, V. A paixão da igualdade: uma genealogia do indivíduo moral na França. Belo Horizonte: Edições Relicário, 2021.

En el presente artículo se pretende clarificar el significado del pathos de lo divino como atributo de la emocionalidad en Dios. Son señalados algunos aspectos esenciales de la tradición judía, refiriendo los vínculos y controversias temáticas entre Heschel, Maimónides y Spinoza en torno a los atributos de Dios y su relación con los hombres. También se alude la crítica que Spinoza dirigió a la tradición judía y las consecuencias de esa actitud para el pensador holandés, incluyendo el rechazo de otros (...) eruditos del judaísmo. Por último, se explican algunas de las confrontaciones recientes hacia la concepción antropomórfica de lo divino y las implicaciones de asumir que Dios tiene emociones. (shrink)

English summary: In "Also Spoke Zarathustra," Nietzsche referred to, considerably more than in his other writings, the sum-total of the western tradition and condensed within it our cultural heritage in a stupendous synthesis, which he configured in a curious space of citations, parodies, and echoes. Already the colorful singularity makes the text an important bearer and filter of tradition and a model case, on which literary and philosophical approaches, confronted with the question of cultural memory and Nietzsche's reassessment of it, (...) are able to mutually compliment and illuminate each other. This anthology documents a spectrum of possible avenues into Nietzsche's chief work, into his characteristic dynamic of recreation, and to the specific forms in which he actualized the compression of western tradition in "Zarathustra." The pathos of "Zarathustra," Nietzsche's parody, and the concept of cryptomnesia (the forgotten memory), in which the transvaluation of tradition is placed within the horizon of productive forgetting, are therefore special challenges for literary studies as well as the thinking of the present. German description: In 'Also sprach Zarathustra' bezieht sich Nietzsche weit mehr als in anderen Schriften auf den Fundus der abendlandischen Uberlieferung und verdichtet mithin unser kulturelles Erbe in einer riesigen Synthese, die sich als eigentumlicher Spielraum von Zitaten, Parodien und Anklangen konfiguriert. Gerade die schillernde Singularitat dieser Synthese macht den Text zu einem bedeutenden Trager und Filter der Tradition und somit zu einem Modellfall, an dem sich literaturwissenschaftliche und philosophische Zugangsweisen, die sich mit der Frage nach dem kulturellen Gedachtnis und dessen Umwertungspraxis bei Nietzsche konfrontieren, erganzen und gegenseitig beleuchten konnen. Der Sammelband dokumentiert ein Spektrum moglicher Zugange zu Nietzsches Hauptwerk, zu seiner charakteristischen Dynamik der Neuschopfung und zu den spezifischen Formen, in denen sich die Verdichtung der Tradition im 'Zarathustra' artikuliert. Das Pathos Zarathustras, Nietzsches Parodie und der Kryptomnesie-Begriff, der die Umwertung der Tradition in den Horizont eines produktiven Vergessens stellt, werden dabei zu besonderen Herausforderungen der Literaturwissenschaft sowie des Denkens der Gegenwart. (shrink)

Resumen : A partir de algunas consideraciones propuestas por Georges Didi-Huberman, el artículo se dedica a explorar las vinculaciones que conducen del pathos a la acción política. A través de las concepciones de la imagen como pasaje de la pasión a la acción y de la imagen en su relación con el gesto y la revuelta, se formula un abordaje de No intenso agora. Teniendo en cuenta las indagaciones de El acorazado Potemkin emprendidas por Didi-Huberman, nos proponemos estudiar allí un (...) motivo icono-cinematográfico: la imagen de jóvenes arrojando piedras contra las fuerzas represivas. Si Moreira Salles construye desde allí su interpretación del fenómeno histórico de las insurrecciones del 68 en Brasil, París y China, ponemos esa imagen en relación con sus apariciones en el cine militante latinoamericano de los años sesenta para analizar sus derivas. Finalmente, se plantea una aproximación a la actualidad a partir de la concepción benjaminiana de la melancolía. Palabras clave : Pathos; Didi-Huberman; Revuelta; Cine latinoamericano; Cine político.: Based on some considerations proposed by Georges Didi-Huberman, the article explores the lines that lead from pathos to political action. Through conceptions of the image as a passage from passion to action and the image related to gesture and revolt, these pages pose an approach of No intenso agora. Taking into account the inquiries of Battleship Potemkin undertaken by Didi-Huberman, we propose to study there an icon-cinematographic motive: the image of young people throwing stones at repressive forces. If Moreira Salles builds from there his interpretation of the historical phenomenon of the insurrections of '68 in Brazil, Paris and China, we propose to put that image in relation to his appearances in the Latin American militant cinema of the sixties to analyze its drifts. Finally, the article proposes an approach to the present based on the Benjaminian conception of melancholy. Key Words : Pathos; Didi-Huberman; Riot; Latin American cinema; Political cinema. (shrink)

This paper aims to discuss ridicule in Plato. Often neglected in modern accounts of emotions, ridicule is in fact considered a pathos by Plato and extensively deployed in his dialogues. I will analyse ridicule from a descriptive, a normative, and a “practical” perspective, paying attention to how Plato understands its basic functioning, how he thinks that it should be regulated, and how he uses it in his dialogues. More generally, this paper will be an opportunity to explore some issues related (...) to the “pathe of the dialogue”, by which I mean both the emotions that are staged through the characters of Platonic fiction and the emotions which Plato aimed to elicit in his audience. (shrink)

Pleidooi voor de beleving als kennis-instrument.

Esse trabalho procura demonstrar; que o paqoV do heroi, de Aquiles em particular, se instaura, entre outras coisas, em funçáo de seu desejo de reconhecimento.