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  1. Agnes Heller (forthcoming). A Tentative Answer to the Question: Has Civil Society Cultural Memory? Social Research.
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  2. Agnes Heller (forthcoming). Past, Present, and Future of Democracy. Social Research.
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  3. Agnes Heller (forthcoming). The Moral Situation in Modernity. Social Research.
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  4. Ágnes Heller (2012). Ficino's Symposium. Graduate Faculty Philosophy Journal 33 (2):437-472.
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  5. Agnes Heller (2012). “La filosofía se ha vuelto más personal”: Agnes Heller en conversación con la Redacción de Areté. Areté. Revista de Filosofía 16 (1):135-153.
    Agnes Heller conversó con la Redacción de Areté el 24 de abril de 2003, durante una visita a la Universidad Católica para dictar la Lección Inaugural del Año Académico de la Facultad de Letras y Ciencias Humanas. En la conversación estuvieron presentes los profesores Pepi Patrón, Fidel Tubino y Miguel Giusti.
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  6. Agnes Heller (2012). Philosophy as a Literary Genre. Thesis Eleven 110 (1):17-26.
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  7. Agnes Heller (2012). The Concept of the Beautiful. Lexington Books.
    This book details the history of the concept of the beautiful, starting with a distinction between the 'warm' metaphysics of beauty and the 'cold' one modeled on Plato's Janus-faced relationship to beauty, and ending with a fragmented yet ...
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  8. Ágnes Heller (2012). The Metaphor of the Throw in Nicholas of Cusa's Game of Spheres. Graduate Faculty Philosophy Journal 33 (2):473-490.
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  9. Agnes Heller (2011). On Evils, Evil, Radical Evil and the Demonic. Critical Horizons 12 (1):15-27.
    This article explores the problem of evil from a post-metaphysical position. Distinguishing between good and evil remains no less a pressing task in a world after the "death of God".
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  10. Ágnes Heller (2011). Refleksje o Przedmowie do Zasad filozofii prawa. Kronos 2 (2).
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  11. Agnes Heller (2011). The Contemporary Historical Novel. Thesis Eleven 106 (1):88-97.
    Although contemporary historical novels share a number of features with the traditional historical novel, as analysed by Lukács (1981), they display a fundamental change in the perception of history, evident in the disappearance of the omniscient narrator, in their choice of significant and representative figures, and scepticism regarding teleology of history or the world-historical role of war and violence. On the one hand, history has become a riddle, and this is reflected in the preference for the form of the detective (...)
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  12. Agnes Heller (2010). Arriving in Australia. Thesis Eleven 100 (1):16-17.
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  13. Agnes Heller (2010). A Short History of My Philosophy. Lexington Books.
    A Short History of My Philosophy is an autobiographic account of Agnes Heller's intellectual and academic career. It traces the development of ideas and gives a thorough account of some of Agnes Heller's most influential works.
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  14. Agnes Heller (2010). Radical Evil in Modernity: On Genocide, Totalitarian Terror and the Holocaust. Thesis Eleven 101 (1):106-117.
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  15. Agnes Heller (2009). A Theory of Feelings. Lexington Books.
    The book is recommended to anyone interested in philosophy, psychology, sociology, and cognitive science.
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  16. Agnes Heller (2009). Narrative Philosophy : An Essay on János Boros. In Katie Terezakis (ed.), Engaging Agnes Heller: A Critical Companion. Lexington Books.
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  17. Agnès Heller (2009). Preface. Revue Internationale de Philosophie 1:5-6.
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  18. Agnes Heller (2009). Reflections on the Essays. In Katie Terezakis (ed.), Engaging Agnes Heller: A Critical Companion. Lexington Books.
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  19. Agnes Heller (2009). Reflections on the Essays Addressed to My Work. In Katie Terezakis (ed.), Engaging Agnes Heller: A Critical Companion. Lexington Books. 235.
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  20. Agnes Heller (2009). Se Félelem, Se Keserűség: Beszélgetések Heller Ágnessel. Jelenkor.
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  21. Agnes Heller & Stefan Auer (2009). An Interview With Agnes Heller. Thesis Eleven 97 (1):99-105.
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  22. Agnes Heller (2008). Autonomy of Art or the Dignity of the Artwork. Critical Horizons 9 (2):139-155.
    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.
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  23. Agnes Heller (2008). And What If I Choose “C”? Graduate Faculty Philosophy Journal 29 (2):71-83.
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  24. Agnes Heller (2008). New York Nosztalgia. Jelenkor.
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  25. Agnes Heller (2008). The Fake as Joke, Sabotage, Business, and Paradigm. Graduate Faculty Philosophy Journal 23 (1):181-189.
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  26. Agnes Heller (2008). The Gods of Greece: Germans and the Greeks. Thesis Eleven 93 (1):52-63.
    The German relationship to the Greeks was central to German self-understanding. It defined German identity culturally through the exclusion of democracy from the idealized image of Greece and through the emphasis on Greek originality that served to devalue the Roman, Latin and Renaissance translations of the Greek heritage. Hostility to the legacy of the Latin spirit, to legal thought and to rationality, reinforced the German rejection of French intellectual and cultural hegemony. These German fictions about the Greeks were closely linked (...)
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  27. Agnes Heller (2008). The Papers of B as the Modern Answer to Both Aristotle and Kant. Kierkegaard Studies Yearbook 2008 (1).
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  28. Agnes Heller (2007). The Two Pillars of Modern Ethics. The Proceedings of the Twenty-First World Congress of Philosophy 13:177-188.
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  29. Agnes Heller (2005). Preliminary Adieu for Jacques Derrida. Graduate Faculty Philosophy Journal 26 (1):191-197.
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  30. Agnes Heller (2005). The Immortal Comedy: The Comic Phenomenon in Art, Literature, and Life. Lexington Books.
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  31. Agnes Heller (2005). The Three Logics of Modernity and the Double Bind of the Modern Imagination. Thesis Eleven 81 (1):63-79.
    This article distinguishes between two constituents of modernity which together stand for the essence of modernity. It also distinguishes between three logics or tendencies in modernity. In pursuit of these aims it concentrates on a single issue, arguing that one cannot understand modernity, particularly not its heterogeneous character, from the viewpoint of the technological imagination (the Heideggerian Gestell) alone. The article interprets modernity as a world that draws on two sources of imagination: the technological and the historical. Most of this (...)
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  32. Agnes Heller (2004). The Unmasking of the Metaphysicians or the Deconstructing of Metaphysics? Critical Horizons 5 (1):401-418.
    This essay argues that Popper's work, seen from the vantage point of increasing historical distance, can be viewed as the first attempt to understand the grand narrative as the adjustment of metaphysics to the modern world. When viewed from such a distance enduring questions regarding holism, identity, essentialism, and truth can once again be thrown into relief, together with the pressing issues of the paradox of freedom and sovereignty.
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  33. Agnes Heller (2003). Five Approaches to the Phenomenon of Shame. Social Research: An International Quarterly 70 (4):1015-1030.
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  34. Agnes Heller (2002). , or Modernity and Terror. Constellations 9 (1):53-65.
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  35. Agnes Heller (2001). The Fake as Joke, Sabotage, Business, and Paradigm: On Sandor Radnoti's the Fake. Graduate Faculty Philosophy Journal 23 (1):181-189.
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  36. Agnes Heller (2001). The Unknown Masterpiece. In Steve Martinot (ed.), Maps and Mirrors: Topologies of Art and Politics. Northwestern University Press. 185.
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  37. Agnes Heller (2000). The Absolute Stranger: Shakespeare and the Drama of Failed Assimilation. Critical Horizons 1 (1):147-167.
    While Shakespeare's historical and political imagination mainly centres on the traditional character of the stranger or exile, The Merchant of Venice and Othello stand out as dramas about a new figure, the absolute stranger. The absolute stranger belongs to a new situation Shakespeare found in cosmopolitan Venice. Through Shylock and Othello, Shakespeare encounters the drama of the outsider's failed assimilation into cosmopolitan life. For Shakespeare, the figure of the absolute stranger is a representative illusion, and these two plays are dramas (...)
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  38. Agnes Heller (2000). The Complexity of Justice - a Challenge to the 21st Century. Ethical Theory and Moral Practice 3 (3):247-262.
    The author discusses two questions, the relation between liberalism and democracy, and the relation between ethics, morality and law. As to the first question, she argues that neither liberalism nor democracy are merely formal. Roughly spoken, it can be said that liberalism stands for negative liberties, whereas democracy stands for positive ones. She observes a non-contingent tension between the ethos of liberalism (personal freedom) and the ethos of democracy (equality; majority rule). It is the task of morality to maintain and (...)
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  39. Agnes Heller (1999). A Theory of Modernity. Blackwell Publishers.
    Heller's unique exploration of the traditional works from Hegel, Marx, Weber, Nietzsche, Heidegger, Foucault, and Arendt combined with the wisdom gained from ...
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  40. Agnes Heller (1999). Tradizione e nuovo inizio in Hannah Arendt. Iride 12 (2):277-290.
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  41. Agnes Heller (1999). The Three Logics of Modernity and the Double-Bind of Imagination. Graduate Faculty Philosophy Journal 21 (2):177-193.
  42. Ágnes Heller (1998). Ethics in the Contemporary World. Daimon 17:9-20.
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  43. Agnes Heller (1998). Living with Kierkegaard. Enrahonar 29 (7):3-7.
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  44. Ágnes Heller & Simon Tormey (1998). Interviews with Professor Ágnes Heller (I) Budapest, 1st/2nd July 1981. Daimon 17:21-52.
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  45. Agnes Heller (1997). Parmenides and the Battle of Stalingrad. Graduate Faculty Philosophy Journal 19 (2-1):247-262.
  46. Agnes Heller (1996). An Ethics of Personality. Blackwell.
     
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  47. Agnes Heller (1996). El último estadio de la Historia (Memoria, Rememoración y Bildung: sobre la teoría de la Modernidad en Hegel). Isegoría 14:95-110.
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  48. Agnes Heller (1996). The Complexity of Justice (a Challenge to the Twenty-First Century). Ratio Juris 9 (2):138-152.
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  49. Agnes Heller (1995). Omnívora modernidad. Revista de Filosofía (Madrid) 13:85.
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  50. Agnes Heller (1995). Where Are We at Home? Thesis Eleven 41 (1):1-18.
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