By Arthur N. J. M. Cools, Thomas K. M. Crombez, Johan M. J. Taels
Ask for the tragic and Europe will solution. forsaking the philosophers' enthusiasm of the 19th century, 'tragedy' and 'the tragic' now appear little greater than imprecise packing containers. notwithstanding, it seems that we nonetheless find a tragic essence in our own lives. many times tragedy is being registered, written down and staged. This e-book desires to open a latest philosophical standpoint at the tragic. what's the locus of tragedy? Does it relate to metaphysics, the gods, future, and probability? Or is it a question of ethics, of the legislations and its transgression? Does guy himself occupy the locus of tragedy, as a result of his unreasonable and boundless wants, as many philosophers have prompt? Is guy this present day nonetheless capable of account for his tragic ? Or can we find the tragic at the beginning within the esthetic mind's eye? isn't the theatrical style of tragedy the locus authenticus of all issues tragic? Is there extra to the tragic than drama and play?
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Extra resources for The Locus of Tragedy (Studies in Contemporary Phenomenology)
The latter is portrayed as playing a risky game by attacking eloquence in the presence of the most 10 112. John Poulakos, Sophistical Rhetoric in Classical Greece (Columbia, 1995), pp. 74– 11 For a larger contextualisation, see Bruce McComiskey, “Disassembling Plato’s Critique of Rhetoric in the Gorgias (447a–466a),” Rhetoric Review 10 (1992): 205–216. how to perform the polis 35 eloquent man of his time. 13 Next to rhetoric, tragedy seeks to provide cheap satisfaction and pleasure too. Both arts are removed from the beneficial, wholesome philosophical quest for incontrovertible knowledge defended by Plato.
126. 30 bram van oostveldt and stijn bussels differentiating between the poet, the narrator or the actor—and his audience. This quotation appears not only in Plutarch’s De audiendis poetis but also in his De gloria Atheniensium. In the latter, Plutarch specifies that apatè of tragedy is all about handling the difference between representation and the object of representation. ” The audience of the tragic artist, in its turn, is wiser because it uses the status of representation properly. The represented emotions give him empathy and pleasure.
A. Kennedy (Cambridge, 1989), p. 83. 32 bram van oostveldt and stijn bussels a wonderful life by fleeing Menelaus’s Sparta and going to the city of Troy where her young lover lives. To argue the proposition that speech was chiefly responsible for Helen’s deception, Gorgias elaborates on the power of words and refers primarily to poetry. 6 For the poem’s audience, fiction and real emotions go hand in hand. Gorgias continues that the mastery of logos is also strikingly present in eloquence and philosophy.