Reading the New Nietzsche is devoted to a comprehensive analysis of the four most important and widely read of Nietzsche's works. After a largely biographical introduction, a chapter is devoted to each work. Read in succession they give an overall philosophical account of Nietzsche's thought.

The main theme of Nietzsche’s first published work, The Birth of Tragedy, is that the affirmation of life requires ‘illusion’ which allows us to cope with the ‘insight into the horrible truth’ of our condition. This article argues that Nietzsche held the same position in his later works: that illusion is a necessary to affirm life. The discussion is organized as follows. Section 1 sets out the core thesis of BT vis-à-vis the relationship between affirmation and illusion. Section 2 (...) examines the role of illusion in one of Nietzsche’s litmus tests of affirmation found in The Gay Science of 1882, ‘amor fati’—that is, the ability ‘to see as beautiful what is necessary in things’. Sections 3, 4, and 5 consider Nietzsche’s understanding of ‘self-creation’ and how, through the employment of ‘distance’ and ‘pretence’, it engenders an affirmation of existence. Finally, Section 6 attempts a provisional assessment of Nietzsche’s conception of affirmation. (shrink)

British philosopher Philippa Foot devoted her life explicating the utility of virtue ethics, aptly summed up as “my attempt to connect good reasoning to goodness.” Shared decision-making is one suc...

What accounts for our pleasure in tragic art? In a widely-cited essay, Susan Feagin argues that this pleasure has moral roots; it arises when we discover ourselves to be the sort of people who respond sympathetically to another’s suffering. Although critical of Feagin’s particular solution to the tragedy paradox, I too believe that our pleasure in tragedy often has moral roots. I trace those roots differently, however, by placing the concept of virtue front and center. I argue that (...) a noble pleasure arises when we perceive virtue in tragic characters and when we practice it ourselves as audience members. My account draws on insights from the history of philosophy, most notably Aquinas’s conception of the virtues of charity and mercy in the Summa. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Birth of The Birth of TragedyDennis SweetIntroductionNietzsche’s first book, The Birth of Tragedy, is ostensibly an account of the psychological motives behind the creation and modifications of Greek drama, but it is really much more than this. It is the author’s first attempt to understand the dynamic processes of human creativity in general—a concern that would occupy him throughout his career. When we look at his own (...) estimation of the value of his first book, however, we see that he maintained something of a love-hate relationship to it. In the second edition, published in 1886, Nietzsche included a prefatory “Attempt at a Self-Criticism,” in which he castigates the style of his first literary effort:[T]oday I find it an impossible book: I consider it badly written, ponderous, embarrassing, image-mad and image-confused, sentimental, in places saccharine to the point of effeminacy, uneven in tempo, without the will to logical cleanliness... disdainful of proof, mistrustful even of the “propriety” of proof... an arrogant and rhapsodic book.... 1Yet Nietzsche was convinced that the book, despite its stylistic flaws, did indeed have its merits. In Ecce Homo he evaluated the positive value of The Birth of Tragedy in the following way:The two decisive innovations of the book are, first, its understanding of the Dionysian phenomenon among the Greeks: for the first time, a psychological analysis of this phenomenon is offered, and it is considered as one root of the whole of Greek art. Secondly, there is the understanding of Socratism; Socrates is recognized for the first time as an instrument of Greek disintegration, as a typical decadent. “Rationality” [End Page 345] against instinct. “Rationality” at any price as a dangerous force that undermines life. 2Since its appearance in 1872 The Birth of Tragedy has been the object of both intensely negative and strongly positive assessments among classical scholars. Either it is dismissed out of hand as a piece of unscholarly romanticism, or it is praised as a unique contribution to the study of Greek art and life, a book of seminal importance for modern classical scholarship. 3 Among those who judge the book to be valuable and original, most follow the author in regarding the “two decisive innovations” spoken of in the above quotation as the heart of the book’s value and originality. Yet few of Nietzsche’s advocates have gone on to show clearly how or in what sense these innovative insights are innovative and insightful.To understand the significance and to appreciate the originality of The Birth of Tragedy it is important to see it against the background of some of the established theories of art and tragedy which preceded it. I shall begin, therefore, by characterizing, in broad strokes, two such theories that emerged in the eighteenth century; then I shall consider how the theory of tragedy that Nietzsche offers in his first book grew out of his dissatisfaction with these earlier views. Finally I shall show how the “two decisive innovations” expressed in The Birth of Tragedy developed during the years preceding the book’s publication. [End Page 346]The Theoretical BackgroundDuring the middle decades of the eighteenth century there emerged a keen interest in providing a theoretical account of the beauty expressed in the works of classical Greek art in general and in the literary achievements of the Attic tragedians in particular. Among German writers the person most responsible for bringing about this interest was the art historian, Johann Joachim Winckelmann. According to Winckelmann, the dominant characteristics of beauty found in ancient Greek works of art are expressed in terms of their “noble simplicity and quiet grandeur [edle Einfalt und stille Grösse].” 4 The ideal qualities of harmony and composure characteristic of classical Greek sculpture reflect and embody the serene and happy world-view of the Greek artists and of classical Greek culture in general. The two best examples of this character are found in the famous “Apollo Belvedere” statue and in the equally well-known statue depicting the Trojan priest Laocoön and his sons’ being devoured by twin serpents—an example of “classical” art that would be utilized by... (shrink)

Among modern scholars of ancient Greek it is almost universally accepted that the historical present is only used for events and not for states and activities. A survey of the extant complete tragedies shows that this view is untenable: there are passages where static verbs like κεῖμαι ‘lie’ and εὕδω ‘sleep’ are used in the historical present and where the historical present describes a state or activity which is extended in time. On the one hand this shows that punctuality or (...) decisiveness cannot be regarded as the basic function of the historical present; on the other it leads to new interpretations of a number of passages in Greek tragedy. (shrink)

This article explores Aristotle’s understanding of the value of tragedy. The primarily technical analyses of the Poetics are not sufficient for this purpose: they must be read in the context of Aristotle’s philosophical anthropology. An outline of Aristotle’s understanding of the structure of human motivation provides a framework within which to interpret his discussion of the uses of music, and in particular of music’s status as an intrinsically valuable component of cultivated leisure. Applying that model to tragedy requires (...) an explanation of what motivates engagement with drama that evokes distressing affects. Aristotle’s account of musical katharsis, if read with sufficient attention to its structure and interpreted in the light of his analysis of pleasure, provides a solution. If the importance which Aristotle attaches to intrinsically valuable leisure activities is overlooked, it is not possible to understand his conception of a good human life, or his aesthetics. (shrink)

Every order lies on the claim or pretension to give itself as an accomplished realm, i.e. as a closed scene which is capable to give shape, orientation and sense to the totality of elements embraced by it. Yet, from the same operation of ordering, a paradox soon arises, in that no order can avoid its contingent genealogy, that means: it cannot avoid the fact that, in enclosing and including something, it must simultaneously exclude something else, which, therefore, can always challenge (...) and threaten its stability or total “delimitation”. In this sense, that which is excluded can be seen as an alien element, which structurally prevents order from a definite closure and thus keeps it in a permanent movement. Now, what I would like to convey in my following reflections is that this dynamics of impossible closure of order, given to a non-appropriable alienness, is exactly the one operative in the realms of translation and tragedy, so that, once we carefully investigate these realms, we may dare to affirm that saying that orders are unclosed scenes is as much true as to say that they are constantly “in translation”, always “in tragedy”. (shrink)

본 논문은 소크라테스의 아크라시아 불가능성 테제와 이를 수정하고 극복하여 아크라시아의 성립 가능성을 옹호하는 아리스토텔레스의 아크라시아론 각각이 고대 그리스 비극의 철학적 가치에 관한 두 철학자의 양립 불가능한 태도와 밀접한 연관이 있다는 것을 논증하는 데에 그 목적이 있다. 이에 관한 일련의 논의의 출발점은 플라톤이 어떤 정치적인 의도에서 일상의 경험에 배치되는 아크라시아 불가능성 테제를 역설하고 있는지 그리고 어떤 이유로 아리스토텔레스가 플라톤의 논변을 정면으로 반박하면서 아크라시아의 성립 가능성을 항변하게 됐는지에 대한 지적 호기심이다. 우선 플라톤의 논변과 관련하여 구술 문화와 문자 문화라는 보다 폭넓은 인류학적 전통에서 (...) 철학과 시(詩) 사이의 오랜 불화라는 플라톤의 정치 철학적 관점에서 소크라테스의 아크라시아 부정 테제에 대한 탐구를 시도할 것이다. 이를 통해 아크라시아의 원인이 무지라는 그의 주장이 사실상 아크라시아 현상을 옹호했던 시(詩)에 대해 플라톤이 가했던 주지주의적 철퇴임을 밝힐 것이다. 다음으로 플라톤과 대조적으로 아크라시아의 성립 가능성을 견지했던 아리스토텔레스의 논증을 추적할 것인데, 그가 앎과 무지의 성격 각각을 규명하고 무지가 발생하게 되는 기제를 면밀하게 파헤침으로써 플라톤의 아크라시아 개념을 수정할 뿐 아니라 이를 새로운 차원에서 재정립시키고 있다는 점을 부각시킬 것이다. 왜냐하면 앎의 소유와 활용, 개별 전제의 활성화 문제 그리고 완전한 지식의 소유 여부 등에 대한 후속 논의를 통해 그는 아크라시아적 행동을 유발시키는 원인으로 욕구와 같은 감정을 지적함과 동시에 숙고를 거쳐 참된 앎을 갖고 있어도 구체적인 상황에서 감정에 이끌려 도덕적 행위에 실패할 수 있는 유약한 부류의 아크라테스 논의를 통해 자신의 아크라시아론을 개진하고 있기 때문이다.BR 이와 같이 플라톤과 아리스토텔레스 각각의 아크라시아론의 의미와 한계를 비교 검토한 후 두 철학자가 아크라시아에 대해 상반된 입장을 갖게 된 이유에 대한 논의가 본격적으로 다뤄질 것이다. 시의 중요 장르인 비극과 그것의 가치를 두고 두 철학자가 취한 상반된 태도를 살펴본 다음, 시에 대한 그 둘의 태도와 각자의 아크라시아론이 상호간에 밀접하게 연관되어 있다는 것을 설득력 있게 주장할 것이다. 전반적으로 시에 적대적이었던 플라톤과 달리, 아리스토텔레스는 비극이 갖는 철학적 가치를 긍정적으로 수용했다는 데서 이성과 감정에 대한 두 철학자의 태도가 극명하게 갈리기 때문이다. 의식의 진화에 대해 말하자면, 구술성과 그것에서 연원하는 문자성의 성장 둘 다가 반드시 필요하기 때문에 플라톤을 넘어서 철학과 시 둘 다를 수용하는 아리스토텔레스의 혜안이 더욱 빛을 발하게 될 것이다. 탈진실 시대에는 이성이란 악기 독주자가 지휘자도 겸한 상태에서 감정이나 욕구 등과 같은 오케스트라와 경쟁하듯 협력하는 ‘성찰적 절충주의’라는 콘체르토가 더 큰 울림을 줄 것이기 때문이다. (shrink)

Where science has often been used to explore the questions raised by art, this book does the reverse, suggesting that art can address a problem raised by science: the deep challenge to ethics posed by Darwin’s discovery that we are intentional beings living in an unintentional world. Using Hamlet, Othello, and Macbeth, among others, Angus Fletcher shows how the physical experience of art can transform Darwin’s discouraging theory into a practice-based ethics that establishes pluralism, curiosity, and cooperation as the basis (...) of progressive life. (shrink)

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)

The main thesis of this dissertation is set out in its very title, and to prove it will be necessary to eliminate the usual negative or melodramatic meaning of the two concepts that appear there and take them rather as the two extremes of the dialectical process of redefining the sociopersonal consciousness. In accordance with this, any catastrophe implies the violent breakup of the normal conditions of existence due to a natural or human factor whose direct consequences each one must (...) understand and overcome on the triple ontological, social, and psychological determinations of the self. For its part, tragedy stands for the phase of critical and reflective integration that follows the catastrophe, which goes a lot beyond the sheer negativity of sorrow and even death, since even if the person or the people carried away by the catastrophe die, others will be able to make the most of that and the sociopersonal consciousness will be rearticulated. Of course, this implies that the self at issue is not only the individual one, so that other members of the lifeworld must be considered for the phenomenon to reveal a new or critical sense of existence beyond any previous approach to it. Thus, although there is an undeniably negativity throughout, it aims at a deeper level of comprehension of existence, which finally implicates that catastrophe is contextualized in a concrete cultural framework and not only as a sudden unsettlement and that tragedy is accordingly conceived as a philosophical tool more than as a literary genre that deals with the cruelty of fate. To get its aims, the dissertation will be divided into three sections of variable length: in the first one it will be analysed the experience and sense of catastrophe; in the second one, that of tragedy; in the third one, it will briefly be shown why understanding the nexus of both phenomena is axial for the current intellectual dynamics. (shrink)

This article addresses Eric L. Santner’s claim that “there is more political theology in everyday life than we might have ever thought” by analyzing the “theologico-political problem” in the work of three prominent twentieth-century political thinkers—Carl Schmitt, Leo Strauss, and Hannah Arendt. Schmitt, Strauss, and Arendt share a preoccupation with the crisis of modern political liberalism and confront the theologico-political problem in a similar spirit: although their responses differ dramatically, their individual accounts dwell on the absence of incontestable principles in (...) modern society that can justify life-in-common and the persistence of the political order. Their writings thus engage with the question of the place of “the absolute” in the political realm. In particular, Arendt’s indirect approach to the theologico-political problem is crucial to understanding the radicality of a political world in which traditional certainties can no longer be re-established. The theoretical trajectory I present suggests that the dispersion of political theology in everyday life has a specific corollary: modern politics operates within the tragic and paradoxical nature of its unstable and common origins that cannot be incorporated in exceptionalist versions of the body politic. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Too Expensive to Treat? Finitude, Tragedy, and the Neonatal ICU by Charles C. CamosyAutumn Alcott RidenourReview of Too Expensive to Treat? Finitude, Tragedy, and the Neonatal ICU CHARLES C. CAMOSY Grand Rapids, MI: Eerdmans, 2010. 208 pp. $18.00In Too Expensive to Treat? Charles Camosy makes an important contribution to bioethics and Christian ethics by making the case for the need to consider social factors when treating (...) imperiled newborns. Arguing for both the full moral status of newborns and Roman Catholic social teaching’s emphasis on the just allocation of resources, Camosy calls the medical community, bioethicists, and [End Page 209] Christian ethicists to account for current practices that disproportionately favor exorbitant costs for imperiled infants over other even more basic medical needs within the US health care system. Written before the adoption of the Affordable Care Act under the Obama administration, Camosy’s argument has only increased in significance given the national need to prioritize resources in view of the government’s expansion of health care coverage.Born within twenty-two to twenty-four weeks of gestation and weighing between 500 and 850 grams, some imperiled infants absorb hundreds of thousands of dollars in short-term care that may extend into millions of dollars given long-term costs (146, 171–93). Recognizing the tragic reality in which “we have virtually unlimited health care needs” coupled with “limited health care resources,” Camosy contends that current Medicaid funds that privilege the NICU (neonatal intensive care unit) should be reevaluated (1–3). In an effort to temper the “autonomous,” patient-driven principle with “justice,” Camosy poses a challenging philosophical, theological, and practical proposal for what he identifies as the “gray area” of the NICU.Maintaining a twofold commitment to human dignity that values the moral worth of the infant, on the one hand, and the common good that privileges a preferential option for the poor, on the other, Camosy develops his argument in four major steps. First, he validates the moral status of newborn infants and rejects social quality of life models that dismiss their intrinsic status as “persons.” Second, he dismisses arguments that emphasize personal dignity at the expense of considering the social quality of life, pointing out that such arguments disregard Catholic social teaching’s emphasis on the link between relational anthropology and human personhood (100). Third, he contends that “weak” social quality of life models that privilege the patient or individual over social considerations do not take seriously either Catholic social teaching’s emphasis on the common good or the potentially overwhelming economic and practical burdens they might place on families and society as a whole. Finally, Camosy presents a constructive proposal for limiting NICU resources that seeks to counter a culture of overtreatment that idolizes technology and is at the mercy of an unrestrained free market (162). Emphasizing the need for a just allocation of resources, he supports withholding and withdrawing life-sustaining treatment in some cases, thus foreseeing the possible death of some infants. Although he does not accept the direct killing of these infants, he does maintain that Catholic social teaching would allow for the withdrawal of life-sustaining treatment based on certain criteria.Camosy raises a host of important considerations relevant to decisions about imperiled infants. Yet a few questions remain. First, from a Christian point of view, does he not fall into a kind of soft utilitarianism, even though he himself desires to avoid the pitfalls of utilitarianism? Second, how might Camosy envision Christian practices that care for “exposed” infants left without life-sustaining treatment? Finally, what about the difficult emotions that accompany [End Page 210] the death of an infant or child? Do certain kinds of grief complicate our rationing choices that appear to pit the old against the young? While perhaps unanswerable, these questions merit further discussion.Autumn Alcott RidenourMerrimack CollegeCopyright © 2015 Society of Christian Ethics... (shrink)

Hegel’s viewpoint on Greek tragedy is a valuable way-station in any theoretical as well as practical consideration of dramatic play. Hegel considered Greek tragedy from the perspective of his dialectical system, thereby indirectly influencing dramaturgical practice in the 19th and 20th centuries. This is why the paper explores Sophocle’s tragedy Oedipus Rex from the viewpoint of Hegel’s theoretical perspective, as well as practical perspectives based on an influential textbook on playwriting by Lajos Egri. The paper further explores (...) the different understandings of dialectics in philosophical and dramatic dialogue. Also, it addresses the kind of applied dialecticism in the work of Greek artists of the 5th century BC. Finally, the text explores the early Greek literary form gnome, which is – hypothetically speaking – the source of the later Greek understanding of dialectics. (shrink)

Nietzsche's The Birth of Tragedy, andearly 20th century Russians' interpretationsand embellishments of it, informed Losev'stheories of music and myth and his studies ofthe religions of Apollo and Dionysus. Hiscomplex musical aesthetic includes the ideathat music is the expression of a fundamentallyDionysian reality structured by Apollonianelements. In The Dialectic of Myth, heargued that myth is a dialectical necessity(not just a necessity), attacked the secularmythologies of the Enlightenment and Marxism,and upheld ``Christian mythology'' (his term). In The Mythologies of the Greeks andRomans, (...) he traced the religions of Zeus,Apollo, and Dionysus from paleolithic Crete tothe end of the Roman Empire. (shrink)

China's encounter with Western cultures since the late Qing was generally viewed as a one-side “borrowing” and a radical “break” from traditional culture. “Westernization” became the dominant characteristic of the descriptions and interpretations of modern Chinese culture. Although Wang's work on comparative Chinese and Western philosophical studies has received much attention, there has been little attention given to the problem of Western influences, the domination of which, when appraising Wang's thought has persisted for a long time and has caused many (...) misunderstandings regarding his literary-aesthetic and philosophical thinking. Using the hermeneutical lens of Kierkegaard and especially Heidegger to look through to help correct our vision of interpreting Wang in light of his own culture, we propose that there is a specific Chinese sensibility crucial for understanding his use of Schopenhauer and Nietzsche, a sensibility that has been ignored by those who later sought to reconstruct and evaluate his earlier studies. We use the idea of “tragedy” heuristically to show the connections and differences between Wang Guowei and Schopenhauer and propose how renjian jingshen played an important role in Wang's cultural “borrowing” from Schopenhauer. Such a conclusion is contrary to the common understanding of Wang as a devoted follower of Schopenhauer's “pessimistic” philosophy. (shrink)

Novelties introduced into traditional myths are an essential characteristic of Greek tragedy. Each and every play demonstrates, in different ways, how tragedians were versatile and innovative in handling mythic material. Modern prefaces to individual tragedies often discuss the possible innovations in the dramatization of a myth compared to previous or subsequent versions. Innovations advanced in a play sometimes became so familiar that they came to be regarded as ‘standard’. Such examples include the condemnation and death of the protagonist in (...) Sophocles’ Antigone and, in all likelihood, Medea's filicide in Euripides’ Medea. (shrink)

Those who are concerned about the weakness of the Kyoto Protocol should first focus on persuading the United States to join, since this is the best way to let the process work and avoid a tragedy of the commons.

The magnificence and gift of Janusz Korczak has not been totally forgotten. Small groups throughout the world are still his devotees. But the word must be spread. The legacy that he left behind must be cultivated so that more people can be reached. Poland, the land that he loved, should try to become the model for the world of the progressive society that Korczak envisioned. Korczak, and all that he represents, is one of the country’s most valuable resources. Teachers need (...) to be taught to value children in the Korczak way. Intolerance and anti-Semitism on Polish soil must be met with the courage of Korczak and done away with. The history of the hundreds of years of Jewish culture, contributions and Jewish life in Poland needs to be comprehensively taught and become a standard part of the school curriculum. (shrink)

This article explores the ways in which Nietzsche’s conception of subjectivity, as rehearsed in The Birth of Tragedy, draws close to other modern models of split subjectivity as described by Hegel, Freud, or Althusser. Although the subjectivity depicted by Nietzsche is constituted in the tension between reaffirming and dissolving its boundaries, and this tension may seem to put the possibility of identity at risk, in effect individuation and dissolution function as symmetrical contraries. Rather than disrupting the boundaries of reason, (...) the Dionysian contributes to Apollonian equilibrium by temporarily destroying Apollonian rigidity, so that the polis can periodically overcome limitations, assimilate its others and gather new strength. Identity is thus seemingly reinforced through the controlled illusion of its shattering: it is protected from the irruption of real otherness. Unlike Nietzsche’s dialectical dramaturgy, Greek tragedy depicts an incipient rationality wounded by contradictions, institutionalizing conflict. Because of the ambiguity of the Greek tragic world, the fissures of its organizing powers and the ambivalent agency of tragic subjects, a parallel between Attic tragedy and modern subjectivity may illuminate the latter. (shrink)