Philosophy and Tragedy: Explain and critically discuss the relevance of one of the following Aristotelian concepts to the analysis of tragedy. Either a.) mimesis, or b.) hamartia, or c.) katharsis.
What understanding does Aristotle think that tragedy can provide? Discuss the ways in which his views differ on this from those of Plato.
Do you agree that tragedy explores aspects of moral conflict which philosophical treatments have not adequately expressed?
Is tragedy still a real dramatic possibility or is tragic experience incompatible with either the Christian or modern scientific views of the world?
‘The great tragic plots explore the gap between our goodness and our good living, between what we are (our character, intentions, aspirations, values) and how humanly well we manage to live.’ (Martha Nussbaum, The Fragility of Goodness, p. 382) Discuss.
‘The tragic sense of responsibility makes its appearance at the point when, in human action, a place is given to internal debate on the part of the subject, to intention and premeditation, but when this human action has still not acquired enough consistency and autonomy to be entirely self-sufficient. The true domain of tragedy lies in the border zone where human actions are hinged together with divine powers, where – unknown to the agent – they derive their true meaning by becoming an integral part of an order that is beyond man and eludes him.’ (Jean-Pierre Vernant, ‘Myth and Tragedy’ in A.O. Rorty Essays on Aristotle’s Poetics, p. 37) Discuss.
Explain and evaluate the significance and coherence of Nietzsche’s distinction between the Apollonian and the Dionysian in The Birth of Tragedy.
How does Nietzsche employ a Greek understanding of the ‘tragic dimension of life’ and the role of art as a way of criticizing the dominance of scientific rationality?
Explain Hegel’s distinction between divine and human law in his reading of Antigone. What historical and theoretical implications does this have for our understanding of tragic art?
Compare and contrast Hegel’s theory of the two forms of tragic conflict as exemplified in Antigone and Oedipus Rex. Explain why Hegel thinks the former is more ‘essential’ and critically assess whether he is right.
Is comedy more modern than tragedy?
What is Kierkegaard’s distinction between an ancient and a modern tragedy?
Consider the importance of doubt in Othello. In what ways does Cavell think that the drama illuminates philosophical problems of scepticism? [You may also, if you wish, draw on Cavell’s reading of King Lear in answering this question.]
What sorts of representations of femininity or race are apparent in Othello? Do they bear upon the tragedy that the plot relates?
What objections have recent feminist critics made against Hegel’s interpretation of Antigone? How far do you agree with their criticisms?
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