Beginning of Act IV. More on Antony vs. "an Antony." The latter is an object in the world, has worldly being. The former is the extravagant, isolated subjectivity which is the tragic waywardness which is more and more where he is: in "the heart of loss." If extravagance -- waywardness, wandering outside of any world which is one's own, Binswanger's Verstiegenheit -- weren't more intense than worldliness, if things didn't get more intense as one loses everything, tragedy would be of no aesthetic interest. A brief adumbration of the difference between daemonization (for Macbeth) and extravagance (for Antony).
4 How to talk about the Byronic Hero
Shelley and Byron on Byron
Later Romantics 2: Wordsworth and Milton
1. The Later Romantics: Introduction on Shelley and Wordsworth
Infinity 24: Last class: review and final explication of Zeno
Diagon Alley
Infinity 22: Newcomb's problem; Shelley
Infinity 21: Klee, Kant, Shelley
Infinity 20: Kant on Perception and Free Will
Infinity 19: Hume on induction, Kant on space and time, especially space
Infinity 18: Descartes, Gibson, Turing Tests
Infinity 17: Etherization
Infinity 16: Making Prisoner's Dilemma Vivid
Infinity 15: Pascal
Infinity 14: Polls and other minds
Infinity 13: Elementary probability and the philosophy of probablity
Pascal, the anthropic principle, what counts in philosophy
Infinity 11: by addition, by division, one-to-one correspondence, Macbeth, and time
Infinity 10: Augustine on time and language
Infinity 9: Something of a change of pace
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