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)
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.
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.
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)
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)