This paper attempts to assess the state of the contemporary debate over humanism. Beginning with a brief recap of the main historical meanings of the concept of humanism itself, it details both the most recent articulation of the humanist standpoint in the work of Tzvetan Todorov and his "critical humanism" and the most potent anti-humanist replies in W.G. Sebald and Giorgio Agamben. While concerned to critically evaluate these new constellations of the debate, its main contention is not to wholly endorse (...) either position nor to consign the opposition itself to the past but rather to explain why this has not happened and consider where the figure of humanism stands today. (shrink)

In this essay I want to show that while the concept of autonomy can hardly make a meaningful contribution to the understanding of contemporary artworks, the concept of the dignity of artwork can make such a contribution.

This article examines Václav Havel's unconventional route to democracy. At the core of the enquiry is an analysis of the role his Absurdism played in the development of his thought and activism. The essay illustrates how a typically literary, non-democratic intellectual orientation sustained Havel in his struggle for democratic political change against the abuses of really existing socialism. Yet, Havel's thought did not stop there; he eyed Western liberalism critically as well. Springing from his Absurdist sensibility was a vision of (...) democracy that was neither wholly liberal nor socialist, yet quite practical. By making a case for reconsidering ideas that typically fall outside the purview of democratic theory, this article also suggests the possibility of critically rethinking democracy itself. (shrink)

Collective performances cannot be understood only from the intentions of the organizers, participants and bystanders, and from their historical, political, economic and ideological contexts. Cultural performances close in on themselves and evolve with their own logic: that of ceremony and festival in which their own scenes of splendour, dance and war adjust to one another.

This essay argues that film as a medium breaks through the clearly delineated boundaries between realism and anti-realism that have been established by film theory. Film itself is basically indifferent to each. As an alternative to both, I put forward a thesis of indeterminism, which argues that films engender a unique event of sight and sound that does not have to be perceived to be a real event or an illusion of such an event.

We cannot "go back" to the Enlightenment today; its world is not ours. However, we should not reject it as revolutionaries and anti-humanists tried to during the last century. Rather, we need a rebirth of the Enlightenment to preserve its heritage at the same time subjecting it to a critical appraisal. The Enlightenment has taught us how to do this by lucidly and fearlessly contrasting it with its desirable and undesirable consequences. In criticizing the Enlightenment we remain faithful to it.

The article seeks to consider the relationship between hope and utopianism by looking at the ancient Greek myth of Pandora's Box, with its enigmatic figure of hope. It begins by considering Hesiod's influential formulation of the myth, before examining a range of modern interpretations in which diverse conceptions of hope are to be found. Using the work of Spinoza, Hume and Day an alternative conception of hope is proposed that conjoins hope with fear. This is followed by an exploration of (...) the utopian, using this time another figure associated with the myth, Prometheus. An attempt is then made to differentiate the frequently conflated concepts of hope and the utopian. Finally, in the spirit of recent post-secularism, the two concepts are brought to bear on the nature of religion. (shrink)

Hope is a precious resource. But, deluded, not based on a sober appraisal of the relevant realities, hope can also be lethal. One kind of hope is utopian hope. It does not exhaust what social hope is, or should be, about. The hope of remedying the most terrible injustices makes an urgent call on our attention. The world has travelled some way from the time when tyrannical governments could act with impunity in dealing with those under their jurisdiction. But it (...) has not travelled far enough. There remain a number of deficits in the system of international law: "thresholds of inhumanity". (shrink)

This paper explores the tension between pragmatism and utopia, especially in the concept of "realistic utopianism". It argues that historically, the pragmatic and gradualist rejection of utopia has been anti-utopian in effect, notably in the case of Popper. More recent attempts to argue in favour of "realistic utopianism" or its equivalent, by writers such as Wallerstein and Rorty are also profoundly anti-utopian, despite Rorty's commitment to "social hope". They co-opt the terminology of utopia to positions that are antagonistic to radical (...) alterity. But this is not a necessary response to the utopia/pragmatism tension: Unger, who is explicitly opposed to utopia, in fact proffers a more sympathetic resolution based on the merits of vision, social improvization and collective learning. These may lie closer to the core of the utopian project as a vehicle for the education of desire than Unger himself recognizes. (shrink)

In this article I argue that hope is rightly numbered by Hesiod among the evils, as hope cannot be separated from an awareness of the inadequacy of one's current state. Political hope for democrats in particular is tied to the awareness that we have not yet realized ourselves, that, to paraphrase Pindar, we have not yet become who we are. I argue that, although Rorty comes close to articulating this in his book Achieving Our Country, his emphasis on pride ultimately (...) obscures more than it reveals. I conclude that Thoreau's anguished reflection in Walden on the failures of his fellow citizens is a better place to look for instruction on the question of political hope. (shrink)

The attempt to connect philosophy and social hope has been one of the key distinguishing features of critical theory as a tradition of enquiry. This connection has been questioned forcefully from the perspective of a post-philosophical pragmatism, as articulated by Rorty. In this article I consider two strategies that have been adopted by critical theorists in seeking to reject Affection Rorty's suggestion that we should abandon the attempt to ground social hope in philosophical reason. We consider argumentative strategies of the (...) philosophical anthropologist and of the rational proceduralist. Once the exchanges between Rorty and these two strands of critical theory have been reconstructed and assessed, an alternative perspective emerges. It is argued that philosophical reasoning best helps to sustain social hope in a rapidly changing world when we consider it in terms of the practice of democratic criticism. (shrink)

The paper contrasts two approaches to the analysis of hope: one that takes its departure from a view broadly shared by Hobbes, Locke and Hume, another that fits better with Aquinas's definition of hope. The former relies heavily on a sharp distinction between the cognitive and conative aspects of hope. It is argued that while this approach provides a valuable source of insights, its focus is too narrow and it rests on a problematic rationalistic psychology. The argument is supported by (...) a discussion of hope understood as a stance and by a consideration of the phenomenological contrast between expectation and anticipation. The paper concludes with some reflections on the relation between hope and illusion and the idea of responsible hope. (shrink)