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In this text Bruns investigates the recent phenomenon of philosophers taking an interest in literature and literary theory.
A provocative argument that environmental thinking would be better off if it dropped the concept of “nature” altogether and spoke instead of the built environment. Environmentalism, in theory and practice, is concerned with protecting nature. But if we have now reached “the end of nature,” as Bill McKibben and other environmental thinkers have declared, what is there left to protect? In Thinking like a Mall, Steven Vogel argues that environmental thinking would be better off if it dropped the concept of “nature” altogether and spoke instead of the “environment”—that is, the world that actually surrounds us, which is always a built world, the only one that we inhabit. We need to think not so much like a mountain (as Aldo Leopold urged) as like a mall. Shopping malls, too, are part of the environment and deserve as much serious consideration from environmental thinkers as do mountains. Vogel argues provocatively that environmental philosophy, in its ethics, should no longer draw a distinction between the natural and the artificial and, in its politics, should abandon the idea that something beyond human practices (such as “nature”) can serve as a standard determining what those practices ought to be. The appeal to nature distinct from the built environment, he contends, may be not merely unhelpful to environmental thinking but in itself harmful to that thinking. The question for environmental philosophy is not “how can we save nature?” but rather “what environment should we inhabit, and what practices should we engage in to help build it?”
A critical re-examination of the views of Plato, Aristotle, Hegel and Nietzsche on tragedy. Ancient Greek tragedy is revealed as surprisingly modern and experimental, while such concepts as mimesis, catharsis, hubris and the tragic collision are discussed from different perspectives.
In it, Aristotle offers an account of what he calls "poetry" (a term which in Greek literally means "making" and in this context includes drama - comedy, tragedy, and the satyr play - as well as lyric poetry and epic poetry). They are similar in the fact that they are all imitations but different in the three ways that Aristotle describes: 1. Differences in music rhythm, harmony, meter and melody. 2. Difference of goodness in the characters. 3. Difference in how the narrative is presented: telling a story or acting it out. In examining its "first principles," Aristotle finds two: 1) imitation and 2) genres and other concepts by which that of truth is applied/revealed in the poesis. His analysis of tragedy constitutes the core of the discussion. Although Aristotle's Poetics is universally acknowledged in the Western critical tradition, "almost every detail about his seminal work has aroused divergent opinions."
Martin Heidegger is widely regarded as one of the most influential philosophers of the twentieth-century, and his seminal text Being and Time is considered one of the most significant texts in contemporary philosophy. Yet his name has also been mired in controversy because of his affiliations with the Nazi regime, his failure to criticize its genocidal politics and his subsequent silence about the holocaust. Now, according to Heidegger's wishes, and to complete the publication of his multi-volume Complete Works, his highly controversial and secret 'Black Notebooks' have been released to the public. These notebooks reveal the extent to which Heidegger's 'personal Nazism' was neither incidental nor opportunistic, but part of his philosophical ethos. So, why would Heidegger, far from destroying them, allow these notebooks, which contain examples of this extreme thinking, to be published? In this revealing new book, Peter Trawny, editor of Heidegger's complete works in German, confronts these questions and, by way of a compelling study of his theoretical work, shows that Heidegger was committed to a conception of freedom that is only beholden to the judgement of the history of being; that is, that to be free means to be free from the prejudices, norms, or mores of one's time. Whoever thinks the truth of being freely exposes themselves to the danger of epochal errancy. For this reason, Heidegger's decision to publish his notebooks, including their anti-Jewish passages, was an exercise of this anarchical freedom. In the course of a wide-ranging discussion of Heidegger's views on truth, ethics, the truth of being, tragedy and his relationship to other figures such as Nietzsche and Schmitt, Trawny provides a compelling argument for why Heidegger wanted the explosive material in his Black Notebooks to be published, whilst also offering an original and provocative interpretation of Heidegger's work.
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.
The question of why Seneca wrote tragedy has been debated since at least the 13th century. Since Seneca was a Stoic, critics assumed he wrote with the standard Stoic theory of literature as education in philosophy in mind. This book argues that Seneca was influenced by Aristotle's famous defense of tragedy against Plato's critique.
"In sum, this original inquiry uniquely respects the cognitional diversity that distinguishes the revelatory poetic spirit from the discursively speculative spirit, even as it demonstrates their deep affinities and mutual implications in the life of the imaginative intelligence."--BOOK JACKET.
Jacques Derrida remains a leading voice of philosophy, his works still resonating today—and for more than three decades, one of the main sites of Derridean deconstruction has been the arts. Collecting nineteen texts spanning from 1979 to 2004, Thinking out of Sight brings to light Derrida’s most inventive ideas about the making of visual artworks. The book is divided into three sections. The first demonstrates Derrida’s preoccupation with visibility, image, and space. The second contains interviews and collaborations with artists on topics ranging from the politics of color to the components of painting. Finally, the book delves into Derrida’s writings on photography, video, cinema, and theater, ending with a text published just before his death about his complex relationship to his own image. With many texts appearing for the first time in English, Thinking out of Sight helps us better understand the critique of representation and visibility throughout Derrida’s work, and, most importantly, to assess the significance of his insights about art and its commentary.
Athens in Paris explores the influence of ancient Greece on a group of seminal post-war French thinkers (including Lacan, Derrida, and Foucault) writing about modern politics. Miriam Leonard demonstrates the ways in which ancient debates about democracy and citizenship continue to be relevant to modern political and philosophical preoccupations.