Dans un contexte de compréhension de l’être humain en tant que créé à l’image et à la ressemblance divine, Nicolas de Cues a considéré que la vision et l’union avec l’Absolu conduit, d’une part, au bonheur, et implique aussi, d’autre part, l’expression de la plus grande liberté que puisse atteindre l’humain, c’est-à-dire la pleine possession de soi. Cette conviction se présente dans son œuvre, le De visione Dei, dans une ambiance mesurée par l’attitude de la personne en prière, qui s’adresse (...) à Dieu dans la recherche de soi-même, et dans l’aspiration à accéder à ce qui est sciemment inaccessible. À la fin de la Renaissance, Giordano Bruno est l’auteur qui marquera indiscutablement le tournant anthropologique dans le sens d’une subjectivité ne prétendant plus à une union avec l’Absolu, mais qui se retourne vers elle-même. Cela se produit dans un système dans lequel l’être humain et le monde s’auto-impliquent dans une totalité dynamique qui ne laisse pas de place à un Absolu transcendant. (shrink)

Dans cette étude, l’auteur veut montrer que le conflit, dans la Phénoménologie de l’esprit, ne se réduit pas à la confrontation des consciences de soi débouchant sur le rapport maître-esclave : en fait, le conflit apparaît, dans chaque section de la Phénoménologie de l’esprit, au moment correspondant à la conscience de soi. Ce sont ces différentes figures qui sont ici résumées. En conclusion, l’auteur suggère que la « philosophie de l’identité » de Schelling pourrait être la source principale de la (...) conception hégélienne du conflit.In this study, the author intends to show that in PhG, conflict is not just the confrontation of self-consciousness leading up to a master-slave relationship : in fact, conflict appears in each section of PhG at the time corresponding to self-consciousness. These different figures are summarized here. In conclusion, the author suggests that Schelling’s « identity philosophy » could be the main root of Hegelian conception of conflict. (shrink)

_The Incident at Antioch_ is a key play marking Alain Badiou's transition from classical Marxism to a "politics of subtraction" far removed from party and state. Written with striking eloquence and extraordinary poetic richness, and shifting from highly serious emotional and intellectual drama to surreal comic interlude, the work features statesmen, workers, and revolutionaries struggling to reconcile the nature and practice of politics. This bilingual edition presents _L'Incident d'Antioche_ in its original French and, on facing pages, an expertly executed English (...) translation. Badiou adds a special preface, and an introduction by the scholar Kenneth Reinhard connects the play to Paul Claudel's _The City_, Saint Paul and the early history of the Church, and the innovative mathematical thinking of Paul Cohen. The translation includes Susan Spitzer's extensive notes clarifying allusions and quotations and hinting at Badiou's intentions. An interview with Badiou encompasses the play's settings, themes, and events, as well as his ongoing literary and conceptual experimentation on stage and off. (shrink)

_The Incident at Antioch_ is a key play marking Alain Badiou's transition from classical Marxism to a "politics of subtraction" far removed from party and state. Written with striking eloquence and extraordinary poetic richness, and shifting from highly serious emotional and intellectual drama to surreal comic interlude, the work features statesmen, workers, and revolutionaries struggling to reconcile the nature and practice of politics. This bilingual edition presents _L'Incident d'Antioche_ in its original French and, on facing pages, an expertly executed English (...) translation. Badiou adds a special preface, and an introduction by the scholar Kenneth Reinhard connects the play to Paul Claudel's _The City_, Saint Paul and the early history of the Church, and the innovative mathematical thinking of Paul Cohen. The translation includes Susan Spitzer's extensive notes clarifying allusions and quotations and hinting at Badiou's intentions. An interview with Badiou encompasses the play's settings, themes, and events, as well as his ongoing literary and conceptual experimentation on stage and off. (shrink)

Dans La naissance de la tragédie, Nietzsche semble reprendre à son compte la conception schillérienne du choeur tragique. L'apport du dionysiaque en modifie pourtant le sens en soustrayant celui-ci à la problématique esthético-morale pour développer une esthétique qui motive « physiologiquement » l'acquiescement à la vie d'une collectivité exaltée par Dionysos et transfiguré par Apollon. « The chorus as a living wall ». Physiology and tragedy in The birth of tragedy, Nietzsche seems to make as his own motto the (...) Schillerian conception of the tragic chorus. The contribution of the dionysiac however changes its meaning by shirking the latter to the aesthetico-moral problematics in order to develop an aesthetics « physiologically » motivating the assent to the life of a community as exalted by Dionysos and transfigured by Apollo. (shrink)

Nous voulons réfléchir sur ce que Sénèque choisit de révéler et de taire, de montrer et de cacher sur la scène tragique, à travers l'étude de deux situations de Phèdre. En étudiant la parole de la protagoniste lors de deux moments cruciaux (face à Hippolyte à qui elle veut avouer son amour et face à Thésée à qui elle doit expliquer son souhait de mourir), nous mettons en lumière le processus de métamorphose du personnage à l'acte II, scandé par trois (...) occurrences du verbe miserere. Phèdre insère dans sa tirade des signa amoris de plus en plus explicites, jusqu'à la révélation finale qui la consacre en tant qu'amans. Cela s'accompagne de la métamorphose d'un objet, l'épée d'Hippolyte, qui, tout d'abord absente et symbolique, apparaît ensuite sur scène et reçoit un rôle significatif : des mains du jeune homme, elle passe à celles de sa belle-mère, devenant tour à tour arme qui peut blesser, objet souillé, gage d'amour et de mort, puis preuve qui accuse – pignus sceleris – grâce aux indices savamment distillés par la nourrice et par Phèdre. (shrink)

Cet article confronte la réception du sublime kantien chez Schiller et chez Schelling, ainsi que leurs analyses du tragique, en particulier du héros tragique. Ce dernier incarne pour les deux auteurs la réalisation sublime de la liberté humaine. Toutefois, malgré les similitudes qu’offrent leurs pensées, des différences majeures existent. L’article vise à faire voir ces différences et à les comprendre en faisant appel aux positions philosophiques plus larges aussi bien de Schelling que de Schiller concernant la liberté humaine. Ce faisant, (...) l’article analyse également les appropriations et réinterprétations par Schelling de certaines des pensées de Schiller sur le sublime. (shrink)

In this article, I oppose ‘cognitivist’ interpretations of Aristotle’s Poetics (Belfiore, Donini, Gallop, Halliwell, Wolff) which defend the idea that the pleasure proper to tragedy is a pleasure of an intellectual nature, and I defend an ‘emotivist’ interpretation according to which this pleasure is essentially of an emotional nature. I pass in review the passages of chapters 4, 9, 14 and 26 wherein the question of the ‘pleasure proper’ to tragedy is dealt with, in comparing them with what Aristotle tells (...) us about musical pleasure in Politics VIII. (shrink)

I argue that the tragedies envisioned by the Symposium are two, both of which are introduced in the dialogue: (i) within months of Agathon's victory, half the characters who celebrated with him suffer death or exile on charges of impiety; (ii) Socrates is executed weeks after the dramatic date of the frame. Thus the most defensible notion of tragedy across Plato's dialogues is a fundamentally epistemological one: if we do not know the good, we increase our risk of making mistakes (...) and of suffering what are sometimes their catastrophic consequences. (shrink)

The Tragedy of the Commons is often associated with an n-person Prisoner’s Dilemma. But it can also have the structure of an n-person Game of Chicken, an Assurance Game, or of a Voting Games (or a Three-in-a-Boat Game). I present three historical stories that document tragedies of the commons, as presented in Aristotle, Mahanarayan and Hume and argue that the descriptions of these historical cases align better with Voting Games than with any other games.

Robert R. Williams offers a bold new account of divergences and convergences in the work of Hegel and Nietzsche. He explores four themes - the philosophy of tragedy; recognition and community; critique of Kant; and the death of God - and explicates both thinkers' critiques of traditional theology and metaphysics.

The discourse of tragedy has significant value in a military context, reminding us of the temptations of hubris, the prevalence of moral dilemmas, and the inescapable limits of foresight. Today, however, this discourse is drawn upon too heavily. Within the tragicized politics of nuclear and drone violence, foreseeable and solvable problems are reconceptualized as intractable dilemmas, and morally accountable agents are reframed as powerless observers. The tragedy discourse, when wrongly applied by policymakers and the media, indulges the very hubris the (...) tragic recognition is intended to caution against. This article clarifies the limits of “tragedy” in the context of military violence and argues for a renewed focus on political responsibility. (shrink)

The Kleinian psychoanalyst Hanna Segal argues for the reparative nature of art, and especially of the genre of classical tragedy. According to Kleinian theory, healthy psychological development requires that early infantile aggressive and destructive emotions are worked through; such “working through” is necessary for the development of conscience, for feelings of empathy, as well as for cognitive development. It is also a necessary condition for creative activity. Segal examines the roots of the impulse to create by looking specifically at the (...) genre of classical tragedy; she argues that the pleasure we derive from tragedy is non-contingently related to the distressing elements of the drama. Thus not only are the formal and aesthetic elements important for the containment of powerfully distressing emotions, but the distressing emotions themselves are a necessary ingredient of the aesthetic pleasure This paper will examine Segal’s discussion of tragedy in the light of her commitments to Kleinian theory, and it will attempt to explore more fully the contributions of difficult or painful emotions towards aesthetic pleasure. (shrink)

Oedipus the tyrant and the limits of political rationalism -- Blind faith and enlightened statesmanship in Oedipus at colonus -- The pious heroism of Antigone -- Conclusion: Nietzsche, Plato, and Aristotle on philosophy and tragedy.

Classic, influential study of Greek tragedy.

From the time of Plato’s proposed expulsion of the poets, tragedy has repeatedly proposed a challenge to philosophical and theological certainties. This is apparent already in early Christianity amongst leading figures during the patristic age. But this raises the question: Why was the theme of tragedy still accepted and deployed throughout the history of Christianity nevertheless? Is this merely an accident or is there something more substantial at play? Can Christian theology take the tragic seriously? Must Christianity ultimately deny the (...) tragic to be coherent, or might it be able to sustain its negativity? Some like George Steiner, David Bentley Hart, and John Milbank have doubts about such a coherency, but others think differently. This book aims to examine this debate, laying out the lines of disagreement and continuing tensions. Through a critical examination of the work of Donald MacKinnon and the eminent Christian thinker Rowan Williams, the book aims to show that there is a path for reconciling the claims of Christian orthodoxy and the experience of tragedy, one that is able to maintain a metaphysical foundation for both real transcendence and unfolding historicity, without denying either. (shrink)