From the time of Plato's proposed expulsion of the poets, tragedy has repeatedly proposed a challenge to philosophical and theological certainties. This is apparent already in early Christianity amongst leading figures during the patristic age. But this raises the question: Why was the theme of tragedy still accepted and deployed throughout the history of Christianity nevertheless? Is this merely an accident or is there something more substantial at play? Can Christian theology take the tragic seriously? Must Christianity ultimately deny the tragic to be coherent, or might it be able to sustain its negativity? Some like George Steiner, David Bentley Hart, and John Milbank have doubts about such a coherency, but others think differently. This book aims to examine this debate, laying out the lines of disagreement and continuing tensions. Through a critical examination of the work of Donald MacKinnon and the eminent Christian thinker Rowan Williams, the book aims to show that there is a path for reconciling the claims of Christian orthodoxy and the experience of tragedy, one that is able to maintain a metaphysical foundation for both real transcendence and unfolding historicity, without denying either.

Focuses on Sophocles' dramatization of fundamental political impasses and applies these to the competing political theories of Thomas, Bacon and Locke.

Sophocles and the Politics of Tragedy is an inquiry into a fundamental political problem made visible through the tragic poetry of Sophocles. In part I Badger offers a detailed exegesis of three plays: Ajax, Antigone, and Philoctetes. These plays share a common theme, illuminating a persistent feature of political life, namely the antagonism between the heroic commitment to the beautiful and the transcendent on the one hand, and the community’s need for bodily safety and material security on the other. This conceptual structure not only helps us understand these plays but also establishes a distinctive vision of the tragic dimension of political life—a vision that can be applied fruitfully to examinations of political projects quite distant from the world of fifth-century Athens. Such an application is the aim of part II, in which Badger coordinates the results of the inquiries of part I and applies them to a consideration of the competing claims of three strands of medieval and early modern political philosophy: ecclesiastical rule, scientific domination, and liberal government. Badger identifies the last of these—early modern liberalism—as a "tragic politics" that seeks to sustain and contain the tension between transcendent longing and material need.

This book explains how to read Plato, emphasizing the philosophic importance of the dramatic aspects of the dialogues, and showing that Plato is an ironic thinker and that his irony is deeply rooted in his philosophy.

In this edited collection of essays, ten experts in film philosophy explore the importance of transcendence for understanding cinema as an art form. They analyze the role of transcendence for some of the most innovative film directors: David Cronenberg, Karl Theodor Dreyer, Federico Fellini, Werner Herzog, Stanley Kubrick, David Lynch, Terrence Malick, Yasujiro Ozu, and Martin Scorsese. Meanwhile they apply concepts of transcendence from continental philosophers like Alain Badiou, Gilles Deleuze, Martin Heidegger, Michel Henry, Edmund Husserl, Karl Jaspers, Søren Kierkegaard, Maurice Merleau-Ponty, Friedrich Nietzsche, and Jean-Paul Sartre. Each of the ten chapters results in a different perspective about what transcendence means and how it is essential to film as an art medium. Several common threads emerge among the chapters. The contributors find that the limitations of human existence are frequently made evident in moments of transcendence, so as to bring characters to the margins of their assumed world. At other times, transcendence goes immanent, so as to emerge in experiences of the surprising nearness of being, as though for a radical intensification of life. Film can also exhibit “ciphers of transcendence” whereby symbolic events open us to greater realizations about our place in the world. Lastly, the contributors observe that transcendence occurs in film, not simply from isolated moments forced into a storyline, but in a manner rooted within an ontological rhythm peculiar to the film itself.