Hegel’s Phenomenology: The Fate of Tragedy

2014 ◽  
Author(s):  
Joshua Billings
Keyword(s):  
Greek Tragedy ◽  
The Other ◽  
Literary Genre ◽  
Ancient Greek ◽  
Phenomenology Of Spirit ◽  
Greek Society ◽  
Historical Processes ◽  
First Time ◽  
Historical Necessity ◽  
Insight Into

This chapter focuses on Hegel's The Phenomenology of Spirit (1807). The Phenomenology treats tragedy both as a model for historical processes in ancient Greek society, and, for the first time, as a literary genre in its own right, with a particular historical place and cultural role within the Athenian polis. In both contexts, tragedy is the process through which loss becomes constructive, furthering the development of consciousness in and beyond antiquity. Yet Greek tragedy is also importantly limited for Hegel: both its content and its form have been rendered irrevocably past by the very historical transformations it represents. Hegel's theory of tragedy encompasses moments of both loss and gain, and the power of his appropriation in the Phenomenology results from the tension between the insight into historical necessity that tragedy offers on one hand and the emotion of sorrow that it brings with it on the other.

Temperature and Time of Development of the Two Sexes in Drosophila

1926 ◽  
Vol 4 (2) ◽  
pp. 186-195 ◽  
Author(s):  
GERT BONNIER
Keyword(s):  
Statistical Significance ◽  
Pupal Stage ◽  
The Other ◽  
Female Development ◽  
Short Intervals ◽  
Influence Of Temperature On ◽  
The Times ◽  
The Moment ◽  
First Time ◽  
Insight Into

1. The time of development at 25°C. up to the moment of pupation is found to be for females and males respectively 116.62 ± 0.19 and 116.78 ± 0.20 hours. During the pupal stage the two times are 111.36 ± 0.15 and 115.46 ± 0.13 hours. 2. At 30° C. the corresponding figures are (in the same order): 99.95 ± 0.49, 103.37 ± 0.43, 78±15 ± 0.50 and 84.26 ± 0.34 hours. 3. These figures show that there is a statistical significance in the differences of the times of development of the two sexes for both the periods at 30°C. but only for the pupal stage at 25° C. It is pointed out that the fact that the longer time of male development as compared with female development at 25° C. is confined to the pupal stage, may be correlated with the other fact that the essential parts of the secondary sexual characters are developed during this stage. 4. It is shown that there is a negative correlation between the pre-pupal and pupal times of development, indicating that the longer the first time is, the shorter is, as a rule, the other time and vice versa. 5. With the aid of statistical methods it is shown that the shortening of the time of development at 30°C. as compared with the time at 25° C. is much more pronounced for the pupal than for the pre-pupal stage. 6. This last fact is discussed and it is emphasised that the ordinary methods of studying the influence of temperature on development are too rough to be of more than of a descriptive value, the only way of getting a deeper insight into the processes of development by temperature studies being the separate studies of a number of short intervals.

Travelling Through the Rock to the Otherworld: The Shamanic ‘Grammar of Mind’ Within the Rock Art of Siberia

2017 ◽  
Vol 27 (3) ◽  
pp. 413-432
Author(s):  
Andrzej Rozwadowski
Keyword(s):  
Rock Art ◽  
The Other ◽  
Rock Surface ◽  
Upper Palaeolithic ◽  
The World ◽  
First Time ◽  
The Relationship ◽  
Universal Nature ◽  
Insight Into ◽  
Cave Art

One of the aspects of the relationship between rock art and shamanism, which has been supposed to be of a universal nature, inspired by trance experience, concerns the intentional integration of the images with rock. Rock surface therefore has been interpreted, in numerous shamanic rock-art contexts, as a veil beyond which the otherworld could be encountered. Such an idea was originally proposed in southern Africa, then within Upper Palaeolithic cave art and also other rock-art traditions in diverse parts of the world. This paper for the first time discusses the relevance of this observation from the perspective of unquestionable shamanic culture in Siberia. It shows that the idea of the otherworld to be found on the other side of the rock actually is a widespread motif of shamanic beliefs in Siberia, and that variants of this belief provide a new mode of insight into understanding the semantics of Siberian rock art. Siberian data therefore support previous hypotheses of the shamanic nature of associating rock images with rock surface.

Hegel and the Politics of Tragedy, Comedy and Terror

2020 ◽  
Vol 25 (1) ◽  
pp. 135-153
Author(s):  
Jeffrey Reid ◽  
Keyword(s):  
Greek Tragedy ◽  
The Other ◽  
Phenomenology Of Spirit ◽  
Other Hand ◽  
Mediating Structures

Greek tragedy, in Hegel’s Phenomenology of Spirit, represents the performative realization of binary political difference, for example, “private versus public,” “man versus woman” or “nation versus state.” On the other hand, Roman comedy and French Revolutionary Terror, in Hegel, can be taken as radical expressions of political in-difference, defined as a state where all mediating structures of association and governance have collapsed into a world of “bread and circuses.” In examining the dialectical interplay between binary, tragic difference and comedic, terrible in-difference, the paper arrives at hypothetical conclusions regarding how these political forms may be observed today.

scholarly journals SUMOylome Modulates Intraflagellar Transport Machinery and Eukaryotic Cilia Motility

2021 ◽  
Author(s):  
Komal Sharma ◽  
Irina Sizova ◽  
Girdhar Pandey ◽  
Peter Hegemann ◽  
Suneel Kateriya
Keyword(s):  
Functional Role ◽  
Intraflagellar Transport ◽  
Small Gtpase ◽  
The Other ◽  
Signaling Proteins ◽  
Sumoylation Site ◽  
C Terminus ◽  
First Time ◽  
Insight Into

Abstract Translocation of channelrhodopsins (ChRs) is mediated by intraflagellar transport (IFT) machinery. However, the functional role of the network containing photoreceptors, IFT and other proteins in controlling cilia motility of the alga is still not fully delineated. In the current study, we identified two important motifs at the C-terminus of ChR1. One of them is similar to a known ciliary targeting sequence that specifically interacts with a small GTPase, and the other is a SUMOylation site. For the first time, experimental data provide an insight into the role of SUMOylation in the modulation of IFT & ChR1. Blocking of SUMOylation affected the phototaxis of C. reinhardtii cells. This implies SUMOylation based regulation of protein network controlling photomotility. The conservation of SUMOylation site pattern as analyzed for the relevant photoreceptors, IFT and its associated signaling proteins in other ciliated green algae suggested SUMOylation based photobehavioural response across the microbes. This report establishes a link between evolutionary conserved SUMOylation and ciliary machinery for the maintenance and functioning of cilia across the eukaryotes. Our enriched SUMOylome of C. reinhardtii comprehends the proteins related to ciliary development and, photo-signaling, along with homologue(s) associated to human ciliopathies as SUMO targets.

Ancient Greek Tragedy as Performance: the Literature–Performance Problematic

2019 ◽  
Vol 35 (1) ◽  
pp. 19-32
Author(s):  
Mario Frendo
Keyword(s):  
Performing Arts ◽  
Greek Tragedy ◽  
Fifth Century ◽  
Ancient Greek ◽  
Early Modernity ◽  
Performance Criticism ◽  
Theatre Studies ◽  
And Performance ◽  
Insight Into ◽  
A Performance

In this article Mario Frendo engages with the idea of ancient Greek tragedy as a performance phenomenon, questioning critiques that approach it exclusively via literary–dramatic methodologies. Based on the premise that ancient Greek tragedy developed within the predominantly oral context of fifth-century BCE Greece, he draws on Hans-Thies Lehmann's study of tragedy and its relation to dramatic theatre, where it is argued that the genre is essentially ‘predramatic’. Considered as such, ancient Greek tragedy cannot be fully investigated using dramatic theories developed since early modernity. In view of this, Walter J. Ong's caution with respect to the rational processes produced by generations of literate culture will be acknowledged and alternative critiques sought, including performance criticism and performance-oriented frameworks such as orality, via which Frendo traces possible critical trajectories that would allow contemporary scholarship to deal with ancient tragedy as a performance rather than literary phenomenon. Reference will be made to Aristotle's use of the term ‘poetry’, and how performance criticism may provide new insight into how the Poetics deals with one of the earliest performance phenomena in the West. Mario Frendo is lecturer of theatre and performance and Head of the Department of Theatre Studies at the School of Performing Arts, University of Malta, where he is director of CaP, a research group focusing on links between culture and performance. His research interests include musicality in theatre, ancient tragedy, and relations between philosophical thought and performance.

scholarly journals Theatre as Sacrament

Ramus ◽  
2013 ◽  
Vol 42 (1-2) ◽  
pp. 5-22
Author(s):  
Paul Woodruff
Keyword(s):  
Greek Tragedy ◽  
Framing Effect ◽  
The Other ◽  
Ancient Greek ◽  
The Past ◽  
Ethical Concept ◽  
Measured Time ◽  
The One ◽  
A Minor

All theatre is sacramental. A theatrical event establishes itself as theatre by setting aside a measured space as inviolable for a measured time. This framing effect of theatre is sacramental. Within the frame of theatre, other sacraments can be represented or performed. Part I of this paper develops conceptual distinctions necessary to understanding the sacramental in theatre, using an ethics-based theory of sacrament. Part II sets out to use the theory, applying it to open up new questions for the interpretation of ancient Greek tragedy, and using the theory to explain certain plot elements in Sophocles' Philoctetes and other plays.Any act of theatre has a sacramental effect. The art of theatre makes ceremonies possible, and by ceremonies we are able to make things sacred. In saying that theatre is sacramental, I am not saying that it is religious. Religious ceremonies employ the art of theatre and depend on that art, but theatre does not depend on religion. I understand sacrament as an ethical concept. A sacrament sets up an ethical hedge around something—makes it wrong to touch, to tread on, or to alter the thing in question.By ‘theatre’ I mean the art that makes action worth watching for a measured time in a measured space. This art must of necessity draw a line between watching and being watched. Drawing that line is a minor, though fundamental, sacrament. Other sacraments may take place within the frame of theatre. My theory of the sacramental in theatre stands on its usefulness for understanding and interpreting the elements of theatre—the experiences of both the watchers and the watched in actual productions, on the one hand, and, on the other, the texts that survive to represent productions of the past. If the theory is coherent and useful, then we should use it. Otherwise, not.

scholarly journals UNCLES EX MACHINA: FAMILIAL EPIPHANY IN EURIPIDES’ ELECTRA

Ramus ◽  
2016 ◽  
Vol 45 (2) ◽  
pp. 165-191
Author(s):  
Rosa Andújar
Keyword(s):  
Greek Tragedy ◽  
Intimate Relationship ◽  
Human Action ◽  
The Other ◽  
Ancient Greek ◽  
Physical Presence ◽  
Final Scene ◽  
Future Direction ◽  
Point Of Intersection ◽  
Different Sources

At the close of Euripides’ Electra, the Dioscuri suddenly appear ‘on high’ to their distraught niece and nephew, who have just killed their mother, the divine twins’ mortal sister. This is in fact the second longest extant deus ex machina (after the final scene in Hippolytus), and the only scene in which a tragedian attempts to resolve directly the aftermath of the matricide. In this article, I argue that Castor's and Polydeuces’ sudden apparition to Orestes and Electra constitutes a specialised point of intersection between the mortal and immortal realms in Greek tragedy: familial epiphany, an appearance by a god who has an especially intimate relationship with those on stage. Euripides’ focus on the familial divine as a category accentuates various contradictions inherent to both ancient Greek theology and dramaturgy. The Dioscuri are a living paradox, ambiguously traversing the space between dead heroes and gods, managing at the same time to occupy both. They oscillate uniquely between the mortal and immortal worlds, as different sources assign different fathers to each brother, and others speak of each one possessing divinity on alternate days. As I propose, the epiphany of these ambiguous brothers crystallises the problem of the gods’ physical presence in drama. Tragedy is the arena in which gods burst suddenly into the mortal realm, decisively and irrevocably altering human action. The physical divine thus tends to be both marginal and directorial, tasked with reining in the plot or directing its future course. The appearance of the familial divine, on the other hand, can in fact obscure the resolution and future direction of a play, undermining the authority of the tragic gods. In the specific case of Electra, I contend that the involvement of the Dioscuri, who are Electra's and Orestes’ maternal uncles, produces a sense of claustrophobia at the close of the play, which simultaneously denies the resolution that is expected from a deus ex machina while also revealing the pessimistic nature of what is typically considered a reassuringly ‘domestic’ and character driven drama.

scholarly journals Современный взгляд на личность и творчество Николая Фёдорова

2021 ◽  
Vol 17 ◽  
pp. 143-158
Author(s):  
Françoise Lesourd
Keyword(s):  
The Other ◽  
Creative Mind ◽  
Other Hand ◽  
Common Task ◽  
The Common ◽  
First Time ◽  
Insight Into ◽  
Special Language

В настоящий момент во Франции переводится и готовится к первой публикации Философия общего дела Николая Фёдорова. Данная статья – о том впечатлении, которое испытывает читатель, сталкиваясь с такой необычной творческой личностью, и о трудностях, которые возникают при переводе. Грандиозный проект Фёдорова – воскрешение отцов и население других планет – поражает своей «фантастичностью» (по словам Вл. Соловьёва). Однако он ставит на первый план созидательные возможности человека, и в этом предваряет ранние интеллектуальные тенденции советского времени. С другой стороны, озабоченность Фёдорова истощением земных ресурсов особенно созвучна с нашей эпохой. Всё это изложено русским мыслителем на особом языке, насыщенном архаизмами и литургическими терминами. В статье также рассматривается созвучие философии Н. Фёдорова с учениями К. Маркса, О. Шпен- глера, Ч. Дарвина, подчёркиваются пересечения с Евангелием. Contemporary Insight into Nikolai Fyodorov’s Personality and Works The “Philosophy of the Common Task” by Nikolai Fyodorov is being translated and published for the first time in France. This article is about the impression that the reader has when faced with such an unusual creative mind, and about the difficulties that arise during translation. Fyodorov’s grandiose project – the resurrection of the “fathers” and the popula- tion of other planets – is striking in its “fantasticness” (according to Vladimir Solovyov). However, he puts in the foreground the creative possibilities of man, and on this point it anticipates the early intellectual currents of the Soviet era. On the other hand, Fyodorov’s concern about the depletion of earthly resources is especially consonant with our era. All this is stated in a special language, full of archaisms and liturgical terms. The article is focused on the consonances of N. Fedorov’s philosophy with the teachings of K. Marx, O. Spengler, C. Darwin, also intersections with the Gospel are emphasized in a new way.

A Bird in the Hand Isn’t Good for Long

2018 ◽  
Vol 65 (1) ◽  
pp. 23-31 ◽  
Author(s):  
Stefan Scherbaum ◽  
Simon Frisch ◽  
Maja Dshemuchadse
Keyword(s):  
Decision Making ◽  
Cognitive Control ◽  
The Other ◽  
Decision Task ◽  
Short Term ◽  
Additional Time ◽  
Control Processes ◽  
Folk Wisdom ◽  
Study Participants ◽  
Insight Into

Abstract. Folk wisdom tells us that additional time to make a decision helps us to refrain from the first impulse to take the bird in the hand. However, the question why the time to decide plays an important role is still unanswered. Here we distinguish two explanations, one based on a bias in value accumulation that has to be overcome with time, the other based on cognitive control processes that need time to set in. In an intertemporal decision task, we use mouse tracking to study participants’ responses to options’ values and delays which were presented sequentially. We find that the information about options’ delays does indeed lead to an immediate bias that is controlled afterwards, matching the prediction of control processes needed to counter initial impulses. Hence, by using a dynamic measure, we provide insight into the processes underlying short-term oriented choices in intertemporal decision making.

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