Tragic Thoughts At The End Of Philosophy

In this text Bruns investigates the recent phenomenon of philosophers taking an interest in literature and literary theory.

Completed shortly before her death in 2019, Tragedy and Philosophy. A Parallel History is the sum of Agnes Heller’s reflections on European history and culture, seen through the prism of Europe’s two unique literary creations: tragedy and philosophy.

The Hitchhiker's Guide to the Galaxy provides an excellent way of looking at some intriguing issues in philosophy, from vegetarianism and Artificial Intelligence to God, space and time. This is an entertaining yet thought provoking volume for students, philosophers and fans of The Hitchhiker's series.

Reframes philosophical understanding of, and engagement with, tragedy. In The Tragedy of Philosophy Andrew Cooper challenges the prevailing idea of the death of tragedy, arguing that this assumption reflects a problematic view of both tragedy and philosophy—one that stifles the profound contribution that tragedy could provide to philosophy today. To build this case, Cooper presents a novel reading of Immanuel Kant’s Critique of Judgment. Although this text is normally understood as the final attempt to seal philosophy from the threat of tragedy, Cooper argues that Kant’s project is rather a creative engagement with a tragedy that is specific to philosophy, namely, the inevitable failure of attempts to master nature through knowledge. Kant’s encounter with the tragedy of philosophy turns philosophy’s gaze from an exclusive focus on knowledge to matters of living well in a world that does not bend itself to our desires. Tracing the impact of Kant’s Critique of Judgment on some of the most famous theories of tragedy, including those of G. W. F. Hegel, Friedrich Nietzsche, Martin Heidegger, and Cornelius Castoriadis, Cooper demonstrates how these philosophers extend the project found in both Kant and the Greek tragedies: the attempt to grasp nature as a domain hospitable to human life.

In our current age of cynicism, John McGowan suggests that the time is right to take a fresh look at pragmatism, the philosophy of American democracy. As McGowan shows, pragmatism can be an inspiring alternative to the despair that seems to dominate contemporary American politics. Pragmatist Politics is passionate and convincing, both heartfelt and clear-eyed. It offers an expansive vision of what the United States could be and should be. From John Dewey and William James, McGowan derives a history of democracy as a way of life, characterized by a distinctive ethos and based on an understanding of politics as potentially effective collective agency. That democratic ideal is wedded to a liberalism that focuses on extending the benefits of democracy and of material prosperity to all. Beyond the intellectual case for liberal democracy, McGowan turns to how James, especially, was attuned to the ways that emotional appeals often trump persuasion through arguments, and he examines the work of Kenneth Burke, among others, to investigate the link between liberal democracy and a comic view of human life. Comedy, McGowan notes, allows consideration of themes of love, forgiveness, and generosity that figure far too infrequently in philosophical accounts of politics. In McGowan's work, the combination of pragmatism and comedy takes us on a wide-ranging exploration of what American politics--and by extension American life--could actually be like if it truly reflected American values.

Poetry is philosophically interesting, writes Gerald L. Bruns, "when it is innovative not just in its practices, but, before everything else, in its poetics (that is, in its concepts or theories of itself)." In The Material of Poetry, Bruns considers the possibility that anything, under certain conditions, may be made to count as a poem. By spelling out such enabling conditions he gives us an engaging overview of some of the kinds of contemporary poetry that challenge our notions of what language is: sound poetry, visual or concrete poetry, and "found" poetry. Poetry's sense and meaning can hide in the spaces in which it is written and read, says Bruns, and so he urges us to become anthropologists, to go afield in poetry's social, historical, and cultural settings. From that perspective, Bruns draws on works by such varied poets as Gertrude Stein, Ezra Pound, Steve McCaffery, and Francis Ponge to argue for three seemingly competing points. First, poetry is made of language but is not a use of it. That is, poetry is made of words but not of what we use words to produce: concepts, narratives, expressions of feeling, and so on. Second, as the nine sound poems on the CD included with the book demonstrate, poetry is not necessarily made of words but is rooted in, and in fact already fully formed by, sounds the human body can produce. Finally, poetry belongs to the world alongside ordinary things; it cannot be confined to some aesthetic, neutral, or disengaged dimension of human culture. Poetry without frontiers, unmoored from expectations, and sometimes even written in imaginary languages: Bruns shows us why, for the sake of all poetry, we should embrace its anarchic, vitalizing ways.

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.

Three narratives intertwine to tell a tale of escalating madness and heroism: A lone renegade in the future, living as an exile on a starship that comes under attack. A miserable 21st C. philosopher sinking into madness as he tries to solve the problems of humanity. A girl unbound by time, who fleets through epochs as a mystical wanderer.