Robert Pippin

The films of the Swedish director Ingmar Bergman are among the most powerful, complicated and philosophically sophisticated portrayals of moral and religious, and failed moral and religious, life in the twentieth century. Bergman is especially concerned with crisis experiences and with related emotional states like anguish, alienation, guilt, despair, loneliness, shame, abandonment, conversion, and the mystery of death. We will watch and discuss eight of his most important films in this course with such issues in mind: Wild Strawberries (1957), The Virgin Spring (1960), Winter Light (1963), Persona (1966), Shame (1968), Cries and Whispers (1973), Autumn Sonata (1978), Fanny and Alexander (1982).

The seminar will explore the fundamental issues in Hegel’s philosophy by means of attention to the texts where he most clearly states his ambitions: his early essay, "The Difference Between Fichte’s and Schelling’s Systems of Philosophy"; The Introduction to his "Phenomenology of Spirit"; The long Introduction to his "Encyclopedia Logic"; The Preface and Introduction to his "Philosophy of Right," and the Introduction to his "Lectures on Fine Art."

Kant is known mostly as a moral theorist. In that capacity, he argued that morality was a matter of pure practical rationality and that we are unconditionally obligated to a moral law, the categorical imperative. But Kant also noted that we do not experience our moral lives in those theoretical terms, and in several texts, he explored the various ways in which our moral vocation is ordinarily experienced, what it means to us, and how it comes to matter to us. In that context, he discusses such topics as conscience, virtue and the formation of character, moral education, whether human beings are radically evil, how the claims of morality fit into a human life as a whole, and the possibility of a moral community. These themes will comprise the topics of this seminar. The texts will include sections from his Groundwork of the Metaphysics of Morals, his Doctrine of Virtue, his Lectures on Ethics, Religion Within the Limits of Reason Alone, and essays on the problems of casuistry. (A) (IV)

A close reading of the book Nietzsche considered the most accessible and thorough account of his views. (IV) (A)

In 1927 Heidegger published a partial version of this book in a German journal and it quickly became a sensation, challenging the deepest assumptions of the entire Western philosophical tradition. Heidegger claimed that philosophy in this tradition had “forgotten” the most important question in philosophy, the “meaning of being,” and he proposed to begin to raise this question anew by a preliminary attention to the meaning of human being. This began what came to be known as “existentialism” and it revolutionized philosophical anthropology, literary and art criticism, theology, as well as numerous areas in philosophy, especially the study of the history of philosophy. (B) (IV)

Bresson’s films are known for their minimal and highly original style, the avoidance of any reliance on theatrical conventions, the use of nonprofessional actors (“models,” he called them), unusual and “unnatural” editing techniques, distinctive pacing, and for its themes of grace, redemption, fate, moral severity, and several other philosophical and religious issues in the lives of the characters. This course will explore Bresson’s innovations as aiming at a new form of contemplative cinema, one in which style is a matter of a kind of poetic thinking (as understood by Martin Heidegger), a reflective interrogation of philosophical issues that for which traditional philosophy is inadequate. We shall watch and discuss his films: Les dames du Bois de Boulogne (1945); The Diary of a Country Priest (1951); A Man Escaped (1956); Pickpocket (1959); Au hazard Balthasar (1966); Mouchette (1967); Four Nights of a Dreamer (1971) and L’argent (1983). Readings will include, among others, Bresson’s Notes on the Cinematograph and Bresson on Bresson; Paul Schrader, The Transcendental Style in Film, selected essays about particular films, and selections from Heidegger.

Our goal in this course will be to read through and understand the most important chapters of Hegel’s revolutionary book. Main topics will include Hegel’s new conception of philosophy and philosophical methodology, his agreements and disagreements with Kant, the nature of self-consciousness and human mindedness in general, individuality and sociality, and the relation between philosophy and history. (V)

The texts we will read: Heidegger’s 1929 book, Kant and the Problem of Metaphysics, his 1935 course, published as the book What is a Thing, the critique of Hegel published in 1957, Identity and Difference, and the 1942/43 lectures published as Hegel’s Concept of Experience.  We will conclude with a discussion of Heidegger’s 1936 lectures, Schelling’s Treatise on the Essence of Human Freedom.

The topic of the course: finitude.

The two basic texts of the course will be Heidegger’s 1929-30 lecture course, “Fundamental Concepts of Metaphysics,” and his 1935 course (published in 1953), “Introduction to Metaphysics.” Both texts amount to a radical critique of all Western metaphysics, and an equally radical proposal for a new beginning, another sort of “first philosophy.” He wants to claim that the finitude of all a priori reflection, when properly appreciated, can inaugurate a proper interrogation of the fundamental question in philosophy: the meaning of being. To familiarize ourselves with Heidegger’s overall project, we will begin by reading selections from his 1927 Marburg lectures, “The Basic Problems of Phenomenology.”