This radical analysis of the role and importance of historiography interprets the philosophy and theory of history on the basis of historicity as a human condition. The book examins the norms and methods of historiography from a philosophical point of view, but rejects generalisations tht the philosophy of history can provide all the answers to contemporary problems. Instead it outlines a feasible theory of history which is still radical enough to apply to all social structures.

The debate about the nature of modernity and postmodernity has become central to intellectual culture today. In this work, two distinguished social theorists make a distinctive contribution to this continuing discussion.

Written by one of the most influential figures in post-World-War-II social thought, _A Theory of Modernity_ is a comprehensive analysis of the main dynamics of modernity, which discusses the technological, social and political elements of modernism.

The Power of Shame Introduction The problem of shame, in marked contrast with the problem of conscience, has seldom been thematized in modern moral ...

An Ethics of Personality d addresses the ultimate question of modern ethics: how is morality possible after the `death of God'. It is the closing volume - General Ethics d and Philosophy of Morals d - of Agnes Heller's trilogy A Theory of Morals. d.

INTRODUCTION Is there a * Renaissance ideal of man'? The consciousness that man is a historical being is a product of bourgeois development ; the condition ...

This is an anatomy of the ethical and political preconceptions which underlie theories of justice. The author takes as her cue Hegel's description of modernity in which politics and ethics have fallen out of harmony with one another.

A Theory of Feelings examines the problem of human feelings, widely understood, from phenomenological, analytical, and historical perspectives. It begins with an analysis of drives and affects, and pursues the nature of 'feeling' itself, in all of its variability, through a close study of the distinctive categories of the emotions, emotional dispositions, orientive feelings, and the pasions. The book will be of interest to anyone interested in philosophy, psychology, sociology, and cognitive science.

This book is the first attempt to think philosophically about the comic phenomenon in literature, art, and life. Working across a substantial collection of comic works author Agnes Heller makes seminal observations on the comic in the work of both classical and contemporary figures. Whether she's discussing Shakespeare, Kafka, Rabelais, or the paintings of Brueghel and Daumier Heller's Immortal Comedy makes a characteristic contribution to modern thought across the humanities.

This volume provides theoretical construction to the extraordinary events that resulted in the collapse of communism worldwide. The authors attribute a great deal of the problems of totalitarianism to its blind acceptance of a Marxist philosophy of practice. With the failure of communist practice, the collapse of the Marxist paradigm was quick to follow. At its roots, this volume is a critique of the idea that we can have "scientific knowledge" of the social and political future.

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 hopeful vision propagated by the likes of Nietzsche, Benjamin, and Adorno. The most important intellectual figures to write about beauty in Western metaphysics and in the post-metaphysical age are examined in this book.

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 (...) article is devoted to discussing these two kinds of imagination, their conflicts, balances, and imbalances within each of the three logics of modernity. The article demonstrates that the balance between the two kinds of imagination is different in each of the three logics, and that the role of the historical imagination is different not only in terms of force and magnitude but also in kind. (shrink)

ABSTRACTAt least during his critical period, all of Kant’s philosophical works have a secret political dimension. Among other things, following the analysis of Hannah Arendt, the Critique of Judgment – paragraph 40 in particular – became a main text of political philosophy. In looking at the Critique of Judgement from a political perspective, I shall refer not to paragraph 40 but to the Kantian discussion of pure aesthetic judgement. In my opinion, one can understand Kant’s remarks on aesthetic judgement, and (...) especially transcendental anthropology, as meaning that Kant philosophically attributes the three political ideas of the French Revolution to the whole human being as such, and not just to the intelligible man. (shrink)

In the first part of this essay I sum up the theoretical genesis and foundations of Márkus’s theory of culture as a theory of modernity. Central to the high culture of modernity, defined in terms of the future-oriented creation of the new, is the structure of authorship, work, and reception that pertains across the sciences, philosophy, the humanities, and the arts. In the second part I question the scope of the concept in relation to the arts and philosophy in the (...) present and point to the inconsistency internal to Márkus’s conception that manifests itself in his neglect of the Romantic tradition in philosophy from Schelling to Heidegger, despite the integral role that the opposition between Enlightenment and Romanticism plays in his theory of cultural modernity. (shrink)

In the first part of this essay I sum up the theoretical genesis and foundations of Márkus’s theory of culture as a theory of modernity. Central to the high culture of modernity, defined in terms of the future-oriented creation of the new, is the structure of authorship, work, and reception that pertains across the sciences, philosophy, the humanities, and the arts. In the second part I question the scope of the concept in relation to the arts and philosophy in the (...) present and point to the inconsistency internal to Márkus’s conception that manifests itself in his neglect of the Romantic tradition in philosophy from Schelling to Heidegger, despite the integral role that the opposition between Enlightenment and Romanticism plays in his theory of cultural modernity. (shrink)

Tolstoy was a frame of reference in the work of Lukács twice, during 1914–16 and 1935–6 respectively. His first-time encounter with Tolstoy was presented in the chapter of The Theory of the Novel involving both Dostoevsky and Tolstoy, but the former was given more credit and reckoned as the prophet of a new world. It was not until the 1930s that Lukács’ taste changed, and his top priority went to Tolstoy instead. Yet, with due respect to the vicissitudes of his (...) life throughout the 1910s until the 1930s, Lukács remained faithful to his philosophy of history in terms of aesthetic judgment. His preference for the grand artworks was not new as his admiration for Homer showed, but his belief in the resurrection of grand art as realism was rooted in a new and false illusion. Still, his essays on Tolstoy of the 1930s are rich in aesthetic analysis, such as the different aspects of temporality. (shrink)

Thesis Eleven is honoured to be able to publish this text by our late friend and mentor Agnes Heller. It was secured in the period before her recent death, and is published now posthumously in her memory. Echoing her earlier text written as an Imaginary Preface to Arendt’s Totalitarianism, it responds to themes in the later text, The Life of the Mind. These were among the most eminent of the minds referred to later as Women in Dark Times. Their connection (...) was not only institutional, via the New School, but represented a deep and ongoing affinity and critical engagement in political and philosophical terms. The imaginary letter arcs around issues and questions indicated by Cicero, Kant, Heidegger and Wittgenstein, including matters of republicanism, rhetoric and the question of thinking. Best of all, it shows Agnes Heller at work, at her best: it shows her thinking. Like Arendt, she offers inspiration, provocation, through thinking. (shrink)

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 (...) about the modern world. (shrink)

Books reviewed:Alessandro Ferrara, Justice and JudgmentMaría Pía Lara, Moral Textures: Feminist Narratives in the Public SphereVicki Kirby, Telling Flesh: The Substance of the Corporal.

The Time Is Out of Joint presents an examination of Shakespeare's distinctly modern confrontation with time and temporality, the difference between the truth of the fact, that of theory, and that of interpretation and revelatory truth, and finds that Shakespeare anticipated post-metaphysical philosophy and its central concerns at a time when modern metaphysics had not yet reached it speak. Visit our website for sample chapters!

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".

For the winter semester of 1942-1943, Heidegger announced a lecture course at the University of Freiburg on Parmenides and Heraclitus. In Heidegger’s collected works, volume 54, the lecture course was published under the title Parmenides, since Heidegger never actually discussed Heraclitus in the course. I may add that he barely discussed Parmenides either. The lecture course proceeds in circles. The lecturer seems to introduce new themes again and again, quickly digressing from each, only to return to some, but not all, (...) of them. Allow me to list the main themes in order of their appearance in the lecture notes: originary thinking, aletheia, goddess, translation, conflict, the Greek word pseudos and its translations, how the Romans mistranslated the Greeks, the Greek word methodos and its misunderstanding, lethe, the translation of zoon logon ekhon, the word, pragma, techne, physis and how it is not natura, unconcealing and concealing, the history of being, the polis, the daimon, the essence of the Greek gods, politeia, adike, what philosophy is, to think on something or about something, metaphysics, the subject/object relation, I-ness, egoism, metaphysics as the essence of technology, to think being, the essence of truth, the fate of the Occident, to rethink originary thinking, the foundation/less and so on. As one can see from this brief, and by no means full enumeration, Heidegger’s lecture course on Parmenides contains a small encyclopedia of the so called “basic words” of his philosophical turn. There is nothing in his famous Letter on Humanism that was not already present during the Parmenides course in the winter semester of 1942-1943. (shrink)

This authoritative survey traces the development of Lukcs' thought from his conversion to Marxism to his renunciation of "History and Class Consciousness," from his remarkably fertile 'essay period' to the "Ontology." The essays explore the evolution of his work in relation to that of his contemporaries, among them Brecht, Bloch, and Husserl. They reflect at every turn the contributors' broad commitment to Lukcs' philosophy, but they are always critical in their approach. Lukcs' ambiguities are noted without compromise and his inconsistencies (...) deftly exposed. (shrink)

It is no longer worth dying. There is no Jacques Derrida to offer a magnificent portrait of the philosophy and personality of the recently deceased. As the last surviving member of his great generation, he practiced this duty of love, devotion and justice during the last decades. No one could do this service for him. All that can be offered is a prosaic adieu.