It has long been the habit of philosophers, and is still a common failing of ordinary playgoers, to see tragedy through the coloured spectacles of an acquired philosophical or religious outlook, and to commend or condemn rather from the standpoint of partiality for a certain view about life in general than from that of one assessing the intrinsic merits of a work of art. Because we all, whether laymen or specialists, theorize about the nature and destiny of that mysterious universe (...) which, for a brief span, our minds illumine, and because the working hypothesis so engendered is inevitably tinged by our personal idiosyncrasies of temperament and taste, there have been—and, building on such a foundation, there must be—almost as many different theoretical explanations of the tragic as theoreticians speculating on this high theme. Besides introducing that personal equation which has always been anathema to science, the distorted vision for which philosophical preconceptions are responsible brings with it minor illusions that are scarcely less injurious; the reading into a play or a novel of notions that had never entered the poet's brain, or the interpolation of history with incidents that never really occurred, the discarding of much that is genuinely tragic because it happens not to fit into the mould shaped by our own ideas, and the acceptance of much that is not merely untragic, but actually inartistic—pacifist, or communist, or feminist, or religious propaganda—because it happens to display the native hue of our own convictions. (shrink)

This book is a full survey of the philosophy of tragedy from antiquity to the present. From Aristotle to Žižek the focal question has been: why, in spite of its distressing content, do we value tragic drama? What is the nature of the 'tragic effect'? Some philosophers point to a certain kind of pleasure that results from tragedy. Others, while not excluding pleasure, emphasize the knowledge we gain from tragedy - of psychology, ethics, freedom or immortality. Through a critical engagement (...) with these and other philosophers, the book concludes by suggesting an answer to the question of what it is that constitutes tragedy 'in its highest vocation'. This book will be of equal interest to students of philosophy and of literature. (shrink)

Unpublished during Nietzsche's lifetime, presents the philosopher's exploration of the culture of the Greeks.

Recently, a number of Anglo-American philosophers of very different sorts--pragmatists, metaphysicians, philosophers of language, philosophers of law, moral philosophers--have taken a reflective rather than merely recreational interest in literature. Does this literary turn mean that philosophy is coming to an end or merely down to earth? In this collection of essays, one of the most insightful of contemporary literary theorists investigates the intersection of literature and philosophy, analyzing the emerging preferences for practice over theory, particulars over universals, events over structures, (...) inhabitants over spectators, an ethics of responsibility over a morality of rules, and a desire for intimacy with the world instead of simply a disengaged knowledge of it. (shrink)

The ontological status of sport: Weiss, P. Records and the man. Schacht, R. L. On Weiss on records, athletic activity, and the athlete. Fraleigh, W. P. On Weiss on records and on the significance of athletic records. Stone, R. E. Assumptions about the nature of movement. Suits, B. The elements of sport. Kretchmar, S. Ontological possibilities: sport as play. Morgan, W. An existential phenomenological analysis of sport as a religious experience. Fraleigh, W. P. The moving "I." Fraleigh, W. P. Some (...) meanings of the human experience of freedom and necessity in sport. Keenan, F. W. The concept of doing.--The ethical status of sport: Keating, J. W. The ethics of competition and its relation to some moral problems in ahtletics. Sadler, W. A., Jr. A contextual approach to an understanding of competition: a response to Keating's philosophy of athletics. Osterhoudt, R. G. On Keating on the competitive motif in athletics and playful activity. Suits, B. The grasshopper: a thesis concerning the moral idea of man. Broekhoff, J. Sport and ethics in the context of culture. Zeigler, E. F. The pragmatic (experimentalistic) ethic as it relates to sport and physical education. Roberts, T. J. and Galasso, P. J. The fiction of morally indifferent acts in sport. Osterhoudt, R. G. The Kantian ethic as a principle of moral conduct in sport and athletics. Thomas, C. E. Do you "wanna" bet: an examination of player betting and the integrity of the sporting event.--The aesthetic status of sport: Kuntz, P. G. The aesthetics of sport. Keenan, F. W. The athletic contest as a "tragic" form of art. Osterhoudt, R. G. An Hegelian interpretation of art, sport, and athletics. (shrink)

The aim of the current article is to analyze the concept of tragic cases and its different implications based on Manuel Atienza, one of the jurists who specially addressed the issue, and on Robert Alexy, whose work is one of the main references in contemporary Legal Philosophy. According to parameters exposed by Alexy (correctness, rationality, legal argumentation, human rights), some of Atienza’s central assertions about tragic cases (lack of correct answer, legal rationality limitation, option for the lesser evil) are herein (...) demonstrated as inadmissible. Based on Alexy’s work, it is possible to justify the opposite conclusion about tragic cases, i.e., cases where there is more than one correct answer and these answers are opposed to each other. (shrink)

Western political thought during the past two centuries has been inspired by a dream of liberation that has left it prey to ideological visions of utopia. Various attempts have been made to counteract this vulnerability, but one of the most ambitious has been relatively neglected. This is the use of the tragic vision to emphasize the limits imposed upon political action by the existence of ineliminable tensions inherent in the human condition. What is of especial interest in this connection is (...) the attempt made by Nikolai Berdyaev to bring the tragic vision to bear on the reformulation of socialism in particular. The article explores the strengths and weaknesses of his tragic version of socialism. (shrink)

This article elaborates a claim, first introduced by Wilhelm Dilthey, that metaphysics represents an illusory flight from the tragedy of human finitude. Metaphysics, of which psychoanalytic metapsychologies are a form, transforms the unbearable fragility and transience of all things human into an enduring, permanent, changeless reality, an illusory world of eternal truths. Three “clinical cases” illustrate this thesis in the work and lives of a philosopher and two psychoanalytic theorists: Friedrich Nietzsche and his metaphysical doctrine of the eternal return of (...) the same, Sigmund Freud and his dual instinct theory, and Heinz Kohut and his theoretical language of the self. It is contended that the best safeguard against the pitfalls of metaphysical illusion lies in a shared commitment to reflection on the constitutive contexts of all our theoretical ideas. (shrink)

This article explores the ways in which Paul Ricoeur uses examples from Greek tragedy to help mount his own philosophical arguments. It argues that in works such as The Symbolism of Evil and Oneself as Another, Ricoeur uses tragedy to illustrate the inevitable conflicts that occur within rationality. It also argues that Ricoeur's approach to tragedy should be seen as an alternative to Hegel's. For Hegel, tragedy shows us the necessity of moving beyond tragic conflicts. For Ricoeur, by contrast, it (...) offers a type of instruction that is impossible to transcend, an instruction wholly immanent to the tragic itself. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Philosophy of Isaiah Berlin by Johnny LyonsMario ClemensThe Philosophy of Isaiah Berlin, by Johnny Lyons; 276 pp. London: Bloomsbury Academic, 2020.A well-established Isaiah Berlin scholar recently pointed out, "Berlin gets us interested in value pluralism, but he leaves us with many questions."1 Therefore, is it really the case—as value pluralism holds—that human life in general and politics in particular are characterized by potentially conflicting values that cannot (...) be brought into a hierarchy, thus leaving us with tough and sometimes tragic choices? Does pluralism, thus understood, not lead to moral relativism? And what are the political implications of value pluralism?In the Philosophy of Isaiah Berlin, an encompassing study of Berlin's extensive oeuvre, Johnny Lyons makes an original suggestion for how to address these sustained riddles of Berlin scholarship. For Lyons, the key to understanding Berlin's political theory is his particular notion of philosophy. The author seeks to show "that it is only by unearthing Berlin's conception of philosophy that we can make sense of his political theory" (p. xv).Lyons—who taught philosophy for six years, then abandoned academia in the late 1990s to work in corporate communications, and now has reentered the philosophical debate with this study on Berlin's philosophy—is highly skeptical of the mainstream way of doing philosophy. Lyons sees much of anglophone moral and political philosophy engaged in a "self-styled scientific enterprise" (p. 213), where philosophy is "identifying itself too closely with science or at the very least with a severely naturalistic mindset" (p. 219). This has led to "weirdly formal and systematic moral theorizing" (p. 214), resulting in "predominantly formal, abstruse and largely unreadable work" (p. 213), which moreover ignores the insights of the "the historical turn" (p. 154, emphasis in the original). According to Lyons, this "current state of largely sterile detachment and ossifying specialization is neither inevitable nor useful" (p. 218).What Berlin had, and what, according to Lyons, contemporary anglophone philosophy lacks, is the awareness of more than one legitimate way of describing and understanding the world. Notwithstanding the crucial achievements of the natural sciences, this philosophy's positivist methods are not the only possible approaches to genuine insights.For Lyons, the primary task of philosophy is "to make sense of the world we live in" and to help "us to determine how best to live our lives within that world" (p. 215). And in the light of such a definition of philosophy, Berlin's approach appears preferable to the mainstream analytic tradition.The claim that scientific explanations do not exhaust the possibilities of rational insight is, of course, not new. Lyons himself points to the parallels between Berlin's "humanistic philosophy" (p. 214) and "the twentieth-century phenomenological turn to capture the Lifeworld or Lebenswelt, the intelligible field of our common subjective experience" (p. 221). Moreover, there is an [End Page 472] obvious parallel to the hermeneutic tradition (from Friedrich Schleiermacher, via Wilhelm Dilthey, to Hans-Georg Gadamer), which emphasizes understanding (Verstehen) as opposed to explaining (Erklären).Innovative, then, is not Lyons's claim that he has found a philosopher with a more human-centered way of doing philosophy. Instead, what is noteworthy is his suggestion that the themes Berlin scholars grapple with will appear in a new light once we pay sufficient attention to Berlin's particular understanding of philosophy.The book consists of five parts. In his "general introduction," Lyons introduces readers, especially those unfamiliar with Berlin, to his political philosophy. Lyons also addresses some of the likely objections against treating Berlin as a political philosopher (as opposed to a historian of ideas or "mere" essayist).In part two, Lyons explores Berlin's particular understanding of philosophy. For Lyons, two insights set Berlin apart from the dominant analytic tradition. First, Berlin adopts Immanuel Kant's claims that we see the world through concepts and categories of our own making. Second, Berlin takes on board two of Giambattista Vico's observations: we cannot look at the world from outside history, only through historical perspectives; and we nevertheless do have access to the outlooks of past epochs and their thinkers because our shared humanity enables... (shrink)

This paper argues that Plato’s Apology can be read as a tragedy analogous to Oedipus Tyrannus. Jacob Howland has argued that the elements of tragedy laid out Aristotle’s Poetics are present, but the relation of the Apology to Oedipus Tyrannus and other aspects of Sophocles’ tragedy have not been noted. With this procedure, Plato means to argue that a philosopher should hide his refutations more than Socrates did.

The acknowledged masterpiece of Unamuno expresses the anguish of modern man as he is caught up in the struggle between the dictates of reason and the demands of his own heart.

Peter Szondi´s pathbreaking work is a succinct and elegant argument for distinguishing between a philosophy of the tragic and the poetics of tragedy espoused by Aristotle. The first of the book´s two parts consists of a series of commentaries on philosophical and aesthetic texts from twelve thinkers and poets between 1795 and 1915: Schelling, Hölderlin, Hegel, Solger, Goethe, Schopenhauer, Vischer, Kierkegaard, Hebbel, Nietzsche, Simmel, and Scheler. The various definitions of tragedy are read not so much in terms of their specific (...) philosophies, but rather in the way their views assist in analyzing tragedies with an aim to establish a general concept of the tragic. The second part presents exemplary analyses of eight tragedies: Sophocles’Oedipus Rex, Calderon´s Life Is a Dream, Shakespeare´s Othello, Gryphius´ Leo Armenius, Racine´s Phaedra, Schiller´s Demetrius, Kleist’s The Schroffenstein Family and Büchner’s Danton's Death. The readings neither presuppose a concept of the tragic determined by context (as in Hegel's idea of the conflict between two orders of right), nor do they focus exclusively on the texts´ explicit contents. Instead, they elaborate the dialectical or aporetic structures at the heart of the tragic. The works analyzed represent the four great epochs of tragic poetry: the age of Greek tragedy; the Baroque era in Spain, England, and Germany; French Classicism; and the age of Goethe. (shrink)

There is a concern that the widespread deployment of autonomous machines will open up a number of ‘responsibility gaps’ throughout society. Various articulations of such techno-responsibility gaps have been proposed over the years, along with several potential solutions. Most of these solutions focus on ‘plugging’ or ‘dissolving’ the gaps. This paper offers an alternative perspective. It argues that techno-responsibility gaps are, sometimes, to be welcomed and that one of the advantages of autonomous machines is that they enable us to embrace (...) certain kinds of responsibility gap. The argument is based on the idea that human morality is often tragic. We frequently confront situations in which competing moral considerations pull in different directions and it is impossible to perfectly balance these considerations. This heightens the burden of responsibility associated with our choices. We cope with the tragedy of moral choice in different ways. Sometimes we delude ourselves into thinking the choices we make were not tragic ; sometimes we delegate the tragic choice to others ; sometimes we make the choice ourselves and bear the psychological consequences. Each of these strategies has its benefits and costs. One potential advantage of autonomous machines is that they enable a reduced cost form of delegation. However, we only gain the advantage of this reduced cost if we accept that some techno-responsibility gaps are virtuous. (shrink)

Bernard Williams articulated his later political philosophy notably in response to Ronald Dworkin, who, striving for coherence or integrity among our political concepts, sought to immunize the concepts of liberty and equality against conflict. Williams, doubtful that we either could or should eliminate the conflict, resisted the pursuit of conceptual integrity. Here, I reconstruct this Dworkin–Williams debate with an eye to drawing out ideas of ongoing philosophical and political importance. The debate not only exemplifies Williams's political realism and its connection (...) to his critique of the morality system. It also illustrates the virtues and hazards of contemporary efforts to ameliorate or engineer our concepts; it indicates what political philosophy might look to in appraising political concepts; it adverts to the different needs these concepts have to meet if they are to sustain a politics of pluralism, deal with polarization, and secure the consent of those who end up on the losing side of political decisions; and it presents us with two starkly contrasting conceptions of politics itself, of the place of political values within it, and of our prospects of reducing the uncomfortably conflictual character of those values through philosophy. (shrink)

_A moving meditation on recent geopolitical crises, viewed through the lens of ancient and modern tragedy__ “Spare, elegant and poignant.... If there is a single contemporary book that should be pressed into the hands of those who decide issues of war and peace, this is it.”—John Gray, _New Statesman_ “It is tragic that Robert D. Kaplan’s luminous _The Tragic Mind_ is so urgently needed.”—George F. Will_ Some books emerge from a lifetime of hard-won knowledge. Robert D. Kaplan has learned, from (...) a career spent reporting on wars, revolutions, and international politics in Europe, the Middle East, and East Asia, that the essence of geopolitics is tragedy. In _The Tragic Mind_, he employs the works of ancient Greek dramatists, Shakespeare, German philosophers, and the modern classics to explore the central subjects of international politics: order, disorder, rebellion, ambition, loyalty to family and state, violence, and the mistakes of power. The great dilemmas of international politics, he argues, are not posed by good versus evil—a clear and easy choice—but by contests of good versus good, where the choices are often searing, incompatible, and fraught with consequences. A deeply learned and deeply felt meditation on the importance of lived experience in conducting international relations, this is a book for everyone who wants a profound understanding of the tragic politics of our time. (shrink)

This volume brings together fourteen of the best papers by the late Philip Quinn, one of the world's leading philosophers of religion. It covers the following topics: religious epistemology, religious ethics, religion and tragic dilemmas, religion and political liberalism, topics in Christian philosophy, and religious diversity.

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)

The philosophy of Bernard Williams, recognised as a prominent expression of ethical thought, presents an intense dialogue with ancient Greek tragic culture. Combining erudition and elegance, Williams evokes Greek tragedies to discuss modern ethical ideas and conceptions. Our article intends to consider Williams’ thought from a cultural point of view: we propose analysing Williams’ cultural methodology, which may be described as a way of thinking beyond the traditional dichotomies between the ancient and the modern, especially concerning the notion of the (...) tragic. Accordingly, we shall examine the affinities between ancient and modern tragic cultures by identifying common narrative and poetical elements. To do so, we shall consider the interpretation of Hamlet, developed by the classicist scholar H.D.F. Kitto. In Form and Meaning in Drama: A Study of Six Greek Plays and of “Hamlet” (1956), Kitto proposes reading Hamlet in close alliance with Oedipus Tyrannus. Kitto maintains that both tragedies are poetical expressions of a shared tragic element: miasma, or “pollution”, a concept thoroughly treated by Williams in the third chapter of Shame and Necessity. Our article aims to combine Williams’ cultural methodology—we may call it the deconstruction of the repeated theoretical frameworks regarding the differences between the ancient and the modern—and Kitto’s reading of Hamlet in line with Oedipus Tyrannus, which may be understood as an illustration of the persistence of common tragic elements beyond time and the historical separation of cultural periods. Our perspective shall be both cultural and aesthetical. (shrink)

This paper outlines and defends a notion of 'tragic-remorse'. This moral emotion properly accompanies those actions that involve unavoidable moral wrongdoing in general and dirty hands scenarios in particular. Tragic-remorse differs both phenomenologically and conceptually from regret, agent-regret and remorse. By recognising the existence of tragic-remorse, we are better able to account for our complex moral reality which at times makes it necessary for good persons to act in ways that although justified leave the agent with a moral stain and (...) a particular emotional response. (shrink)

This volume brings together fourteen of the best papers by the late Philip Quinn, one of the world's leading philosophers of religion. It covers the following topics: religious epistemology, religious ethics, religion and tragic dilemmas, religion and political liberalism, topics in Christian philosophy, and religious diversity.

Gareth Evans was arguably the finest philosopher of his generation; he died tragically young, but the work he completed has had a seismic impact on the philosophies of language and mind. In this volume an outstanding international team of contributors offer illuminating perspectives on Evans's groundbreaking work, paying tribute to his achievements and leading his ideas in new directions. Contributors Josi Luis Bermzdez, John Campbell, Quassim Cassam, E. J. Lowe, John McDowell, Christopher Peacocke, Ian Rumfitt, Ken Safir, Mark Sainsbury.

This paper outlines and defends a notion of ‘tragic-remorse’. This moral emotion properly accompanies those actions that involve unavoidable moral wrongdoing in general and dirty hands scenarios in particular. Tragic-remorse differs both phenomenologically and conceptually from regret, agent-regret and remorse. By recognising the existence of tragic-remorse, we are better able to account for our complex moral reality which at times makes it necessary for good persons to act in ways that although justified leave the agent with a moral stain and (...) a particular emotional response. (shrink)

Twelve scholars in religion and the humanities present Christian interpretations of tragedy in literature, including works by Nietzsche, Kafka, Faulkner, Shakespeare, Milton and others.

Why did Greek tragedy and "the tragic" come to be seen as essential to conceptions of modernity? And how has this belief affected modern understandings of Greek drama? In Genealogy of the Tragic, Joshua Billings answers these and related questions by tracing the emergence of the modern theory of the tragic, which was first developed around 1800 by thinkers associated with German Idealism. The book argues that the idea of the tragic arose in response to a new consciousness of history (...) in the late eighteenth century, which spurred theorists to see Greek tragedy as both a unique, historically remote form and a timeless literary genre full of meaning for the present. The book offers a new interpretation of the theories of Schiller, Schelling, Hegel, Hölderlin, and others, as mediations between these historicizing and universalizing impulses, and shows the roots of their approaches in earlier discussions of Greek tragedy in Germany, France, and England. By examining eighteenth-century readings of tragedy and the interactions between idealist thinkers in detail, Genealogy of the Tragic offers the most comprehensive historical account of the tragic to date, as well as the fullest explanation of why and how the idea was used to make sense of modernity. The book argues that idealist theories remain fundamental to contemporary interpretations of Greek tragedy, and calls for a renewed engagement with philosophical questions in criticism of tragedy. (shrink)

The very idea of such a neutral system is an illusion. Rather, what is needed, Julen Etxabe argues in this book, is a heightened awareness of the difficulty of judgment.

Originally published in Norwegian in 1941, this is the magnum opus of one of Norway's most celebrated philosophers, now made available in English for the first time. It examines the concept of the tragic and attempts to construct a more precise and useful definition, on the basis of a "biosophical" look at the situation of organisms in their environment and their attempt to realize interests on multiple fronts through abilities they possess in a variety of degrees. This is a theory (...) of genius, and of the dangers that frequently accompany it, and a sober account of the perils of consciousness for the human species. The robust and thorough treatment includes in-depth analysis of the relationship between real-world tragedies and those portrayed in theater and literature. This widely anticipated translation will be of interest to academics as well as to all readers who are interested in philosophical pessimism and tragedy. (shrink)

The concept of ‘world visions’, first elaborated in the early work of Georg Lukàcs, is used here as a tool whereby the similarities between Pascal’s Pensées and Kant’s critical philosophy are contrasted with the rationalism of Descartes and the empiricism of Hume. For Lucien Goldmann, a leading exponent of the most fruitful method of applying Marxist ideas to literary and philosophical problems, the ‘tragic vision’ marked an important phase in the development of European thought from rationalism and empiricism to the (...) dialectical philosophy of Hegel, Marx and Lukàcs. The book is not a collection of isolated essays on Kant, Pascal, Racine, the status of the legal nobility in seventeenth-century France and the exact nature of the religious movement known as Jansenism, but an attempt to formulate, by an examination of these different topics, a general approach to the problems of philosophy, of literary criticism, and of the relationship between thought and action in human society. (shrink)

The review of this anthology of essays shows the lifelessness of the contributors. They systematically misread everyone from Plato to Kierkegaard. The false ratiocination about love is also foregrounded in this review. Earlier this reviewer had the misfortune to review The Oxford Handbook of the Philosophy of Death . Then an American cloistered Benedictine Abbot wrote to this author in an email this: ""Yes, indeed, the book is not very serious. When the authors die some day, they will understand better, (...) as we all shall see". And this same Abbot has written this after reading this review: "Yes, Professor, for some time now, our Western culture, having lost its reference to authentic Christianity, prefers to indulge in the self-pity of a kind of false heroism of resignation in the face of death. There is no sense of immortality, therefore, the modern Hamlet perceives himself as a tragic hero who glories in his empty agnosticism and admires his own resolution in the face of the inevitable. Neither East nor West ever really lived from such a Philosophy: only the decadent Christian or Jew. But the reality is elsewhere. Thanks. " It must be remarked I am just a tenured Assistant Professor but the Abbot does not listen. Further, this book along with that earlier book this author reviewed on the philosophy of death can now be contextualized in the light of the resurgence of Covid 19. Basic epidemiology says its going nowhere soon. Therefore everyone everywhere has experienced death in ways we never imagined. The contributors to this anthology too were too glib in their times. And now, they have experienced death. These books arise from loveless lives which hover around departmental chairs and absurd academic flip-flops to gain brownie points. Perhaps, they were all as prescient as the Abbot. The editor, for reasons known alone to him, has given the meaning of facile in square brackets. (shrink)

My purpose in this paper is to argue that we are not vulnerableto inescapable wrongdoing occasioned by tragic dilemmas. I directmy argument to those who are most inclined to accept tragicdilemmas: those of broadly Nietzschean inclination who reject``modern moral philosophy'''' in favor of the ethical ideas of theclassical Greeks. Two important features of their project are todeny the usefulness of the ``moral/nonmoral distinction,'''' and todeny that what are usually classified as moral reasons always oreven characteristically ``trump'''' nonmoral reasons in anadmirable (...) agent''s deliberations.I show critics of modern moral philosophy such as BernardWilliams that their acceptance of tragic dilemmas underminestheir project of denying the moral/nonmoral distinction and thepriority of moral reasons. The possibility of tragic dilemmasrequires an account of practical deliberation in which moralreasons appear as already in-force obligations, with blame andguilt ready to be invoked, while nonmoral reasons appear as merereasons. This makes moral reasons importantly different fromnonmoral reasons in how they achieve their deliberative weight,and also makes them characteristically weightier. Thus,accommodating tragic dilemmas reinforces the moral/nonmoraldistinction and the priority of moral reasons, the very thingsthese critics want to deny. By accepting the possibility oftragic dilemmas, these critics are undermining their own project.The standard normative theories are dead set against tragicdilemmas, and the critics of modern moral philosophy shouldreject tragic dilemmas for the good of their project. Thus we allshould reject tragic dilemmas. (shrink)

I defend Hume's account of tragic pleasure against various objections. I examine his account of the emotions in order to clarify his "conversion theory". I also argue that Hume does not give us a theory of tragedy as an aesthetic genre, but rather elucidates the felt experience of a particular work of tragedy. I offer a partial reading of King Lear by way of illustration. Finally, I suggest that the experiences of aesthetic pleasure, and aesthetic sadness, share certain qualities. "Tragic (...) pleasure" is possible, in part, because the pity of tragedy is realised through the pleasure of the aesthetic. (shrink)

This paper investigates Hannah Arendt’s writings on tragic unreconciliation and pariah humour as offering creative strategies for confronting the deadening of emotion that enables people to become reconciled to what they should refuse or resist. She offers a distinctive contribution to debates on reconciliation and justice, I suggest, by articulating a tragic approach to unreconciliation. Yet Arendt recognised that tragic accounts of violence can reinforce denial and resignation. In writings on the ‘hidden tradition’ of the ‘Jew as pariah,’ Arendt suggests (...) that humour can be an important response to tragic accounts of political violence and a strategy for awakening an emotional response in those who cannot perceive tragedies to which they have become reconciled. As arts of refusal, tragic unreconciliation and pariah humour invoke and subvert the tragic imagination to reveal possibilities for solidarity, responsibility, and transformation that challenge problematic forms of reconciliation – reconciliation to one’s role as a participant in, or bystander to abuse, reconciliation as self-abnegating assimilation, and reconciliation as compromise, scapegoating, or denial. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Tragic Vision of African American ReligionPaul E. CapetzThe Tragic Vision of African American Religion Matthew V. Johnson New York, N.Y.: Palgrave Macmillan, 2010. 189 pp. $75.00Matthew Johnson’s profound book The Tragic Vision of African American Religion sheds new light upon the distinctive nature of African American religion. Adequate interpretation of this topic requires understanding the traumas inflicted upon Africans sold into slavery, their existential predicaments before and (...) after emancipation, and the ongoing plight of their descendants whose psyches have been indelibly scarred by this traumatic history. Johnson avails himself of the resources of philosophical theology, psychoanalytic theory, and literary criticism to argue his thesis that African American religion expresses a tragic vision of reality. Besides providing an illuminating analysis of the traumatic experience underlying this religious vision, Johnson presents a compelling constructive proposal as to the broader implications of his thesis for Christian theology at large.As a student of David Tracy and Langdon Gilkey, Johnson sees the necessity for rigorous philosophical reflection in theology. Because the spirituality of the black church stands in some real tension with the traditional theological categories inherited from Europe, Johnson proceeds with “a phenomenological orientation grounded in a philosophical hermeneutical approach” that allows him to excavate the traumatic experiences informing this spirituality (4). He skillfully uses the concepts of mourning, loss, longing, and desire developed in psychoanalytical theory to probe the significance of trauma for grasping the dynamics of African American spirituality. He engages literary criticism and argues convincingly for a distinction between “tragedy” as a literary genre and the tragic vision it articulates. Indeed, the tragic vision is prior to tragedy. The tragic is not the encounter with meaninglessness per se but “the always already aesthetic representation of the encounter, which preserves its terrible truth in a transfigured vision of reality” (6). This vision affirms life while facilitating “the recognition and embrace of the darker, more fundamental truths of life” (7).Cognizant that other theologians have declared the incompatibility of Christian faith with a tragic vision of reality, Johnson believes otherwise. He insists that the tragic is fundamental to human experience as such, although it is frequently evaded by strategies of foreclosure—including those of Christian theology—that falsify the experience. Yet the distinctive thing about the black religious experience is the way African Americans made the Christian faith [End Page 215] their own by transforming it at a deep spiritual level through their tragic vision. Mildly critical of previous formulations of black theology, Johnson contends that this involved much more than the affirmation that God cares about the sociopolitical liberation of oppressed people. The Christian tragic vision of the black experience offers the possibility of a new basis for “theology in an African American key” (6). Since he understands himself primarily as a Christian theologian, however, Johnson addresses an audience consisting of more than fellow black theologians. He rightly highlights a profound truth that white theologians have largely failed to grasp: the contribution of the black church “transcends the confines of African American culture to speak meaningfully to a Christian faith struggling to remain viable in a meaningful way” (10).James Cone once issued this challenge: “Why don’t white theologians make racism their issue?” White theologians who ponder Johnson’s book will begin to understand the full import of this challenge: by opening ourselves unreservedly to the pain of our black sisters and brothers, we may discover anew the meaning of that genuine humanity to which the gospel summons all people. A theological reformulation of Christian faith as tragic in the light of the traumas of the black experience could occasion a much needed reformation of the white churches in America.Paul E. CapetzUnited Theological Seminary of the Twin CitiesCopyright © 2012 The Society of Christian Ethics... (shrink)

Aharon Aviram; The Paradoxes of Education for Democracy, or the Tragic Dilemmas of the Modern Liberal Educator, Journal of Philosophy of Education, Volume 20, I.

I. Introduction This paper aims to explain Nietzsche’s understanding of tragedy, and in particular his self-characterization as the “tragic philosopher.” What I shall claim is that, according to Nietzsche, to recognize the self-determining or self-creating character of our agency is to reveal it as tragic. Tragedy accordingly illuminates the most fundamental issue in Nietzsche’s mature philosophy: the possibility of affirmation.