Abstract
In our present world we often resort to the tragic mode of arranging experience in order to give sublime sense to traumatic events. When we interpret a particular event (genocide, a terrorist attack) as tragic, however, we ultimately justify it by reference to a transcendent agency. By extricating that traumatic irruption in our lives from its historical context, by declaring it ineluctably imposed on us, what we ultimately do is occlude our own involvement in the decision-making process that led to so much suffering, as well as our own responsibility for its outcome.
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Notes
Jacques Derrida, Adieu to Emmanuel Levinas, trans. Pascale-Anne Brault and Michael Naas (Stanford: Stanford University Press, 1999), p. 117, translation slightly altered. Derrida refers here to Levinas’s view on the political.
Walter Benjamin, The Origin of German Tragic Drama, trans. John Osborne (London: Verso, 1985), p. 115.
Martha Nussbaum, The Fragility of Goodness: Luck and Ethics in Greek Tragedy and Philosophy (Cambridge: Cambridge University Press, 1986), p. 127.
Here I am inspired by Roland Barthes, On Racine, trans. Richard Howard (Berkeley and Los Angeles: University of California Press, 1992), pp. 44–7
Paul Ricoeur, The Symbolism of Evil, trans. Emerson Buchanan (Boston: Beacon Press, 1967), pp. 212–20.
See, for example, G. W. F. Hegel’s Aesthetics: Lectures on Fine Art, trans. T. M. Knox (Oxford: Clarendon Press, 1975), vol. 2, p. 1215.
Emmanuel Levinas, Otherwise than Being, trans. Alphonso Lingis (Pittsburgh: Duquesne University Press, 1998), p. 157.
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© 2004 Gabriela Basterra
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Basterra, G. (2004). Introduction: Self-Denying Creativity. In: Seductions of Fate. Palgrave Macmillan, London. https://doi.org/10.1057/9780230508194_1
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DOI: https://doi.org/10.1057/9780230508194_1
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