A theory of tragedy in Cornelius Castoriadis
Towards the end of his philosophical and political theorizing, the Greekborn French philosopher and thinker Cornelius Castoriadis (1922- 1997) turned his attention to the artistic representation, in particular to the Greek one, or to use the term he preferred: to the Athenian tragedy. The aim of thi...
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| Formato: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2020 |
| País: | Argentina |
| Recursos: | Consejo Nacional de Investigaciones Científicas y Técnicas |
| Repositorio: | CONICET Digital (CONICET) |
| Idioma: | inglés |
| OAI Identifier: | oai:ri.conicet.gov.ar:11336/156818 |
| Acesso em linha: | http://hdl.handle.net/11336/156818 |
| Access Level: | acceso abierto |
| Palavra-chave: | TRAGEDY DEMOCRACY TRAGIC REGIME CASTORIADIS HYBRIS https://purl.org/becyt/ford/5.6 https://purl.org/becyt/ford/5 |
| Resumo: | Towards the end of his philosophical and political theorizing, the Greekborn French philosopher and thinker Cornelius Castoriadis (1922- 1997) turned his attention to the artistic representation, in particular to the Greek one, or to use the term he preferred: to the Athenian tragedy. The aim of this article is to analyze the role that plays his interpretation of tragedy in his understanding of democracy as a tragic regime. In order to address this interrogation, the article is divided in three parts. The first one is devoted to what Castoriadis calls the Greek creation. The second part offers an interpretation of Castoriadis’ formulation of tragedy both as a public institution and a window to chaos, with an especial emphasis on its connection to democracy, autonomy and judgment. In the final remarks, I critically assess his original conception of tragedy and the political implications for Castoriadis’ idea of democracy. I conclude with the suggestion of, contrary to his critics' accusation, Castoriadis does not idealize Athenian democracy, but rather, his notion of democracy as a tragic regime contains the idea that democratic action is always on the verge of the abyss, which is always intrinsically radical and tragic. |
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