In this paper I argue for a syncretistic theory of depiction, which combines the merits of the main paradigms which have hitherto faced themselves on this issue, namely the perceptualist and semioticist approaches. The syncretistic theory indeed takes from the former its stress on experiential factors and from the latter its stress on conventional factors. But the theory is even more syncretistic than this, for the way it accounts for the experiential factor vindicates several claims defended (...) by different perceptualist theories. In a nutshell, according to the syncretistic theory a picture depicts its subject iff i) it is transformed into an entity-cum-meaning and ii) one has the twofold experience of seeing that subject in the picture qua noninterpreted entity, the image, just in case one consciously misrecognizes it in consciously seeing that image, for that subject resembles the image in some grouping properties (originally labelled Gestalt-qualities in psychology). By appealing to objective resemblance in grouping properties, the theory can vindicate what are nowadays taken to be the most neglected doctrines in the perceptualist camp: objective resemblance theories. By appealing, moreover, to conscious misrecognition, the theory not only squares with both the seeing-in and the recognition theories of depiction, but it also shows the grain of truth in illusion theories of depiction, since conscious misrecognition is a kind of perceptual illusion. (shrink)

In his recent book, Recognition: A Chapter in the History of European ideas (2021), Honneth has explained how he understands the French concept of recognition. This article places Honneth's latest interpretation in the context of his long-standing and evolving engagement with French theory over several decades. Honneth acknowledges his significant debt to a French tendency to view recognition as a problem for self-realisation (and not an opportunity). Bourdieu's and Boltanski's account of how ambitions become limited by (...) the availability of capital and the internalisation of class was a major breakthrough in Honneth's intellectual development. Other formative French influences included the articulation of denigration in existentialist phenomenology, and the idea of regulative power in Foucault, with “deconstructive” asymmetrical care presented as productive but comparatively less important. The discussion also reveals why Honneth presents the “German” concept of recognition as having basic explanatory force (as an opportunity for self-realisation), and why he resists what he views as a French-influenced tendency (also present in some contemporary German critical theory) to depict recognition as ambivalent. The discussion reveals, on one hand, how working across perceived divides can be immensely productive, and, on the other hand, why a French-German divide remains entrenched in contemporary thinking. (shrink)

How is it possible for a picture to depict a picture? Proponents of perceptual theories of depiction, who argue that the content of a picture is determined, in part, by the visual state it elicits in suitable viewers, that is, by a state of seeing-in, have given a plausible answer to this question. They say that a picture depicts a picture, in part, because, under appropriate conditions of observation, a suitable viewer will be able to see a picture in (...) the picture. In this article, I first argue that this answer is in conflict with the way in which some of the most influential perceptual theories of depiction – Robert Hopkins's version of the experienced resemblance theory and Dominic Lopes's version of the recognition theory – construe seeing-in. I then formulate a version of the recognition theory that avoids this conflict and show how it can explain the depiction of pictures. (shrink)

While inanimate objects can neither experience nor express emotions, in principle they can be expressive of emotions. In particular, music is a paradigmatic example of something expressive of emotions that surely cannot feel anything at all. The Contour theory accounts for music expressiveness in terms of those resemblances that hold between its external and perceivable properties and the typical contour of human emotional behavior. Provided that some critical aspects are emended – notably, the stress on the perception of similarity (...) instead of the more plausible hypothesis that the listener perceives manifestations that are similar – we are inclined to endorse contour theory. In particular, we share its basic idea that expressive properties are perceived. Although other kinds of processes – high-level conceptual inferences, imagination – sometimes characterize our encounters with music, still perception constitutes the standard process underlying the detection of expressiveness. Moreover, we propose to extend contour theory to visual arts. Taking into consideration, as a case study, depicted landscapes, we observe that they frequently cannot but express emotions such as joy, sadness, liveliness or melancholy. The fact that pictures, unlike music, lack any temporal dimension is a prima facie reason for doubting the extendibility of contour theory’s conceptual arsenal to them. Nevertheless, while being obviously unable to behave somehow, we claim that depicted landscapes can perfectly convey dynamic information. If this is the case, the extension of the notion of contour to visuals art via the stress on the notion of dynamism would represent a second interesting revision of contour theory. (shrink)

What is depiction? This is a venerable question that has received many different answers throughout the whole history of philosophy, especially in contemporary times. A Syncretistic Theory of Depiction elaborates a new account on this matter by providing a theory of depiction that tries to combine the merits of the previous theories while dropping their defects. It is argued that a picture is a representation in a pictorial or figurative mode, and its 'figurativity' is given (...) by a special perception, perceiving-in, whose nature is reconceived. Such a perception inter alia grasps some properties which the picture's vehicle has in common with what is perceived in it; by so doing, that perception provides the picture with a figurative content. In contrast, the picture's representational value, its subject or its pictorial content, is given by a conventionally or causally based selection out of that figurative content. (shrink)

This article focuses on the difficulty for a general theory of depiction of providing a notion of pictorial content that accommodates the full diversity of picture types. The article begins by introducing two basic models of pictorial content using paradigmatic positions that maximize the ability of the respective models to deal with pictorial diversity. Kulvicki's On Images is interpreted as a generalized projection-based model which proposes a scene-centred notion of pictorial content. By contrast, Lopes's aspect-recognition theory, (...) in Understanding Pictures, is taken to exemplify a recognition-based model of pictorial content. It is then considered how applicable these two notions of pictorial content are to a spectrum of different picture types, highlighting differences between mechanically produced and “freehand” pictures. It is shown that while the projection-based and recognition-based models are each required for some picture types, neither model can be applied over the whole spectrum of diverse picture types. This, it is argued, has the far-reaching consequence that neither the projection model nor the recognition model, nor any unitary combination of the two, can provide the basis for a theory of depiction applying to all pictures. (shrink)

Understanding how look-ahead search and pattern recognition interact is one of the important research questions in the study of expert problem solving. This paper examines the implications of the template theory Gobet & Simon, 1996a , a recent theory of expert memory, on the theory of problem solving in chess. Templates are chunks Chase & Simon, 1973 that have evolved into more complex data structures and that possess slots allowing values to be encoded rapidly. Templates may (...) facilitate search in three ways: a by allowing information to be stored into LTM rapidly; b by allowing a search in the template space in addition to a search in the move space; and c by compensating loss in the minds eye due to interference and decay. A computer model implementing the main ideas of the theory is presented, and simulations of its search behaviour are discussed. The template theory accounts for the slight skill difference in average depth of search found in chess players, as well as for other empirical data. (shrink)

Review of A Syncretistic Theory of Depiction by Alberto Voltolini.

In this paper, I discuss the idea of democratic love from the perspective of gender equality. More precisely, I argue that a particular form of gender inequality, namely a gender-specific division of care labour, jeopardizes democratic love. In the first two sections of the article, I introduce Anthony Giddens’ original idea of a ‘democratization of the personal’ and show how Axel Honneth has developed it by relying on the Hegelian notion of social freedom. In the third section, I discuss how (...) the problem of care work affects democratic love relationships and depict the solution to this problem advocated by recognition theory, namely economic recognition. After having reconstructed some possible affinities between socialist-feminist arguments and Honneth’s suggestions, as well as criticisms against them, I outline another recognition-theoretic strategy for recognizing care work. I argue that the recognition paradigm conveys a view of the love relationship as inherently implying a caring recognition of human beings’ dependencies and vulnerabilities. I conclude by hinting at the idea that caring recognition may be extended beyond the social sphere of love, as constituent of social relations in general. (shrink)

This article begins from the premise that, in contemporary conditions of immense cultural, social and ethnic diversity, a just and stable political order must be one in which all citizens are able to enjoy due recognition. In order to determine what form such a politics of recognition must take in practice, the article focuses on the case of Northern Ireland. More specifically, it examines the principle of ‘parity of esteem’ which forms the keystone of the Belfast Agreement of (...) 1998. A detailed examination of this idea is conducted by developing a contrast between it and an alternative principle of ‘due recognition’. It is contended that, despite initial impressions, parity of esteem and due recognition are not direct rivals since they aim to occupy different places in a politics of recognition. To be specific, while the former describes a vertical relationship between state and citizen, the latter depicts a horizontal relationship between citizens themselves. Building on this analysis, it is claimed that this examination of the principle of parity of esteem reveals something interesting and important both about the specific case of Northern Ireland and about the necessary features of a politics of recognition in general. (shrink)

The aim of this chapter is to argue against the semiotic reading of Husserl’s theory of depiction according to which depiction [Abbildung] must necessarily involve symbolic function. I aim to show that Husserl’s notes on depiction can be divided into two parts: those that deal with internal depiction and those concerned with external depiction. This division provides a constructive way to explain Husserl’s asemiotic view on depiction, but it has not received proper attention (...) from Husserlian scholars. Accordingly, I aim to show that it is internal depiction that is clearly deprived of any symbolic function. (shrink)

This edited collection presents the case for a research program (in Lakatos's sense) in the social sciences based on the theory of recognition developed by Axel Honneth and others in recent years. The cumulative argument of the book is that recognition theory provides both a plausible framework for explaining social conflict and a normative compass for reaching just resolutions.

The revival of recognition theory has brought new energy to critical theory. In general terms, recognition theory aims to critically evaluate social structures against a standard of social freedom identified with norms of interaction which are freely recognized by all parties. Until now, attention has primarily focused on the categories and forms of recognition theory. However, the influence of contemporary French theory upon the development of theories of recognition has not yet (...) received the consideration it merits. The book takes up this task. With chapters by internationally recognized authors, the collection outlines the current state of recognition theory, studies the impact of French theory, and uses French thought to identity aspects of the recognitive process which are often overlooked. Exploring French accounts of agonistic identity construction, vulnerability, power, ethical obligation, and reflexive theory construction, this book supports the intentions of critical theory with heightened attentiveness to oppression in all of its forms. (shrink)

John Hyman has used the objective character of occlusion shapes and of relative occlusion sizes to develop a more objective approach both in the analysis of linear perspective and in the theory of depiction. To this end Hyman develops two Occlusion Principles, plus an Aperture Colour Principle (which I do not discuss), which, together with our knowledge of appearances, are supposed to tell us what a picture depicts. I argue that Hyman underestimates the crucial role of the psychological (...) element in the work that the objective occlusion shape and relative occlusion sizes are assigned to do. Two pictures may have different contents in spite of the same occlusion shapes and the same (relative) occlusion sizes. It is the operation of constancy scaling in pictorial space which frustrates Hyman’s objectivism both in the domain of linear perspective and in the domain of depiction. (shrink)

A picture provides both configurational content concerning its design features, and recognitional content about its external subject. But how is this possible, since all that a viewer can actually see is the picture's own design? I argue that the most plausible explanation is that a picture's design has a dual function. It both encodes artistically relevant design content, and in turn that design content encodes the subject content of the picture--producing overall a double content structure. Also, it is highly desirable (...) that a resulting double content theory for pictures should be closely integrated with a related double content account of perceptual content generally, so as to avoid suspicions of ad hoc theorizing that would apply only to pictorial content. The resulting theory should also be able to explain the inevitable ambiguities involved in abstracting two levels of visual content from a single visible surface, as well as explaining the systematic relations between the two kinds of content. I provide an orientational theory--based on a recently developed spatial logic of orientational concepts--for this purpose, and show how depictive and perceptual content in general can be usefully explained in these orientational terms. This account of picturing also integrates well with a previously developed, more generic double content theory of art, and it is also plausible in cognitive science terms. (shrink)

In The Experience of Injustice, the French philosopher Emmanuel Renault opens an important new chapter in critical theory. He brings together political theory, critical social science, and a keen sense of the power of popular movements to offer a forceful vision of social justice. Questioning normative political philosophy’s conception of justice, Renault gives an account of injustice as the denial of recognition, placing the experience of social suffering at the heart of contemporary critical theory. Inspired by (...) Axel Honneth, Renault argues that a radicalized version of Honneth’s ethics of recognition can provide a systematic alternative to the liberal-democratic projects of such thinkers as Rawls and Habermas. Renault reformulates Honneth’s theory as a framework founded on experiences of injustice. He develops a complex, psychoanalytically rich account of suffering, disaffiliation, and identity loss to explain these experiences as denials of recognition, linking everyday injustice to a robust defense of the politicization of identity in social struggles. Engaging contemporary French and German critical theory alongside interdisciplinary tools from sociology, psychoanalysis, socialist political theory, social-movement theory, and philosophy, Renault articulates the importance of a theory of recognition for the resurgence of social critique. (shrink)

Recognition theory attempts to conceptualize interpersonal relationships and their normative political implications. British social philosopher Gillian Rose developed her own version of recognition rooted in the work of Georg Hegel. This article applies Rose's theory of recognition to care, arguing that its emphasis on lack of identity, the dynamic process of recognition and the existential risks involved accurately describes the relationship between nurse and patient. Rose's version is compared to both contemporary notions of the (...) interpersonal in healthcare literature, other forms of recognition theory and Emmanuel Levinas's vision of intersubjective relationships, a traditional philosophical basis for nursing care. In each case, I will argue that Rosean recognition is a fuller, more complex and ultimately more satisfying view of the relationships involved. (shrink)

ABSTRACTThe recognition of emotional facial expressions is often subject to contextual influence, particularly when the face and the context convey similar emotions. We investigated whether spontaneous, incidental affective theory of mind inferences made while reading vignettes describing social situations would produce context effects on the identification of same-valenced emotions as well as differently-valenced emotions conveyed by subsequently presented faces. Crucially, we found an effect of context on reaction times in both experiments while, in line with previous work, we (...) found evidence for a context effect on accuracy only in Experiment 1. This demonstrates that affective theory of mind inferences made at the pragmatic level of a text can automatically, contextually influence the perceptual processing of emotional facial expressions in a separate task even when those emotions are of a distinctive valence. Thus, our novel findings suggest that language acts as a contex... (shrink)

This chapter introduces Axel Honneth's theory of recognition and discusses some criticisms of it, especially in relation to the third dimension of recognition and its relationship to the market economy.

Agents can think using concepts they do not fully understand. This paper investigates the question “Under what conditions does a thinker fully understand, or have mastery of, a concept?” I lay out a gauntlet of problems and desiderata with which any theory of concept mastery must cope. I use these considerations to argue against three views of concept mastery, according to which mastery is a matter of holding certain beliefs, being disposed to make certain inferences, or having certain intuitions. (...) None of these attitudes is either necessary or sufficient for mastery. I propose and respond to objections to my own recognition view of the conditions under which a thinker has mastery of a concept. (shrink)

This book offers an original account of a distinctly republican theory of social and global justice. The book starts by exploring the nature and value of Hegelian recognition theory. It shows the importance of that theory for grounding a normative account of free and autonomous agency. It is this normative account of free agency which provides the groundwork for a republican conception of social and global justice, based on the core-ideas of freedom as non-domination and autonomy (...) as non-alienation. As the author argues, republicans should endorse a sufficientarian account of social justice, which focuses on the nature of social relationships and their effects on people's ability to act freely and realize their fundamental interests. On the global level, the book argues for the cosmopolitan extension of the republican principles of non-domination and non-alienation within a multi-level democratic system. In so doing, the book addresses a major gap in the existing literature, presenting an original theory of justice, which combines Hegelian recognition theory and republican ideas of freedom, and applying this hybrid theory to the global domain. Fabian Schuppert creates a grand synthesis uniting neo-republican insights on freedom with Hegelian recognition theory. The result is an account of agency that arises from the idea of non-domination whose aim it is to safeguard individual freedom. When combined with Hegelian recognition theory a social focus also emerges. This amalgam comments on many of the major disputes concerning global justice from a cosmopolitan perspective. Because of the broad scope and the many contemporary discussions engaged this book will be of keen interest to scholars as well as a welcome addition to the classroom. (shrink)

ABSTRACTIn this article I examine Axel Honneth’s positive theory of recognition. While commentators agree that Honneth’s theory qualifies as a positive theory of recognition, I believe that the deeper reason for why this is an apt characterisation is not yet fully understood. I argue that, instead of considering only what it is to recognise another person and what it means for a person to be recognised, we need to focus our attention on how Honneth pictures (...) the practice of recognition as a whole, which according to him works to make societies into places of greater freedom. This conception of recognition as a freedom-enhancing practice is supposed to provide a solution to a key problem of Frankfurt School critical theory, namely of how to determine the emancipatory practice in which critical theory is rooted, which becomes apparent as soon as one turns to the context in which Honneth originally develops his theory of recognition. At the end of the article, I offer a few reasons for doubting the overly positive picture of the practice of recognition that Honneth provides us with. (shrink)

Studies on Jaina logic based on third chapter of Prameyakamalamārtaṇḍa; includes text with English translation.

In this paper, we develop an understanding of recognition in terms of individuals’ capacity for conflict. Our goal is to overcome various shortcomings that can be found in both the positive and negative conceptions of recognition. We start by analyzing paradigmatic instances of such conceptions—namely, those put forward by Axel Honneth and Judith Butler. We do so in order to show how both positions are inadequate in their elaborations of recognition in an analogous way: Both fail to (...) make intelligible the fundamental nexus between relations of recognition and individuals’ capacity for conflict. We then move on to reconsider aspects of Hegel's view of recognition—ones that, from our viewpoint, have been unjustly neglected in the debate about recognition: his focus on the constitution of relations of recognition in conflict and on the status of being an author of acts of recognition. On this basis, we then spell out in a more systematic way what we take to be a more convincing conception of recognition. This puts us in the position to gesture at some consequences of this conception in practical contexts, above all with regard to the justification, role and structure of political institutions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 61.1 (2000) 115-132 [Access article in PDF] Schiller's Theory of Landscape Depiction Jason Gaiger This paper offers a critical discussion of the theory of landscape depiction which Friedrich Schiller developed in an important but neglected article on the work of Friedrich Matthisson, published in 1794. 1 The question of the value and status of landscape painting and poetry was (...) far from settled at the end of the eighteenth century, and Schiller's essay should be seen as making an important contribution to an ongoing debate. 2 The second half of the eighteenth century is marked by a profound ambivalence towards the natural world. On the one hand there is a remarkable "rediscovery" of nature, evidenced in such diverse but related phenomena as the vogue for English gardens and the appreciation of wild and "untamed places," such as the Alps and the Herz mountains. It is also the age of "sentiment," embracing a heightened sensitivity to all aspects of the physical world. And yet when we turn to the visual arts, we find landscape painting ranked far below history painting and portraiture. Precedence is given to the representation of human actions and emotions, and the depiction of the human figure remains the highest goal of ambitious art.The modern hierarchy of the genres was first established on a firm theoretical and practical basis with the founding of the French Royal Academy in the seventeenth century. The painter of living animals is ranked higher than the [End Page 115] painter of inanimate nature who depicts "choses mortes et sans mouvement." 3 The painter of human subjects, who imitates "the most perfect work of God," stands higher still. The highest achievement to which the artist can aspire, however, is history painting, the depiction of groups of figures in themes derived from biblical and mythical sources. To achieve this, the artist cannot depict what he sees but must employ both knowledge and imagination. The fundamental opposition here is between painting as a merely imitative or mechanical art, which is addressed to the eye alone, and painting as a work of "invention" or "imagination," which is addressed to the mind. Only the latter constitutes a properly liberal art, entitling the painter to stand alongside the poet as "un auteur ingénieux et savant" over and above the mere artisan or skilled laborer.The great popularity enjoyed by landscape painting in the seventeenth and eighteenth centuries was not met by any comparable elevation in its status as a fine art. Addressing students of the Royal Academy in London in 1770, Joshua Reynolds could continue to dismiss landscape and still-life as the "meaner walks of painting" which require only "mechanical" expertise. 4 For Reynolds the status of painting as a fine art is established through its treatment of the great subjects of history painting, that is, the depiction of human passions and the intellect. Only in tackling such themes does the artist succeed in addressing the imagination, which Reynolds describes as the "great end of art." 5 Although of comparatively recent origin, the genre of "landscape poetry" remained equally problematic and could not easily be reconciled with classicist ideals. New categories seemed to be required to comprehend the work of poets such as Albrecht von Haller and James Thomson, in which the varied and ever-changing aspects of the natural landscape were made the central protagonists of the poetic drama. While traditional forms such as the bucolic, the Arcadian, and the pastoral allowed the depiction of rural existence, the new "descriptive poetry" sought to celebrate the life of nature independently of man's intervening presence: it is nature itself rather than man's relation to nature which is made the poet's primary concern.Schiller's review of the third, expanded edition of Matthisson's poetry appeared in two parts in the Jenaer Allgemeine Literatur-Zeitung, 11-12 September 1794. While the second half of the review is given over to a detailed discussion of Matthisson's poetry, the first part is reserved for an extended theoretical discussion in which Schiller... (shrink)

ABSTRACT According to Max Horkheimer, a critical theory of society has to fulfil two tasks: the elimination of social injustice and the critical reflection of its own conceptual means. Based on this definition, I argue that Axel Honneth’s critical theory of recognition is at risk of losing sight of the ambivalence of recognition which limits the scope of his analysis of social pathologies. By drawing on the concept of misrecognising recognition it can be shown that (...) recognition itself is an ambivalent concept which can not only serve the purpose of self-realisation but also the purpose of self-subjection. Following the lead of Jean-Paul Sartre in this article I will unfold the concept of misrecognising recognition and put it at work to show how a variety of social pathologies of self-subjection can only be addressed if the ambivalence of recognition is taken into account. (shrink)

Introduction: Redeeming recognition -- Oppression reconsidered -- Foundations of a liberal conception -- Toward a liberal conception of oppression -- Conclusion : A liberal conception of oppression -- Misrecognition as oppression -- Exploitation and disempowerment -- Cultural imperialism -- Marginalization -- Violence -- Conclusion: Misrecognition as oppression -- Overcoming oppression : the limits of toleration -- Contemporary differences : matters of toleration -- John Rawls : political liberalism -- Will Kymlicka : multicultural citizenship -- Conclusion: Accommodating differences : the (...) limits of toleration -- Beyond toleration : toward a concept of recognition -- Hegel's early Jena theory of recognition -- Axel Honneth's critical social theory of recognition -- Charles Taylor's politics of recognition -- Conclusion: Toward a concept of public recognition -- Hegel's theory of recognition in the phenomenology : recognitive understanding and freedom -- The centrality of recognition in the phenomenology -- The pure concept of recognition and its failure in mastery and slavery -- The achievement of mutual recognition through recognitive understanding -- Challenges to Hegel's recognition theory -- Conclusion: Hegel's theory of recognition in the phenomenology -- Recognition in the philosophy of right : particularity and its right -- Recognition in the philosophy of right -- Particularity in the free market : the benefits and liabilities of free subjectivity -- Conclusion: The significance of the right of particularity -- Winning the right of particularity : recognizing difference in ethical life -- How particularity wins its right : the bildung of true conscience -- Exercising the right of particularity : corporations as sites of public recognition -- Challenges to Hegel's treatment of difference in ethical life -- Conclusion: The public recognition of difference in civil society -- Conclusion: Hegel, recognition, and ethical liberal modernity. (shrink)

이 연구는 악셀 호네트의 인정이론의 규범적 토대를 이루는 인정이 론적 도덕 구상을 체계적으로 검토하면서, 호네트의 의도나 전체 이론기획에 비춰볼 때 그 도덕 구상을 의무론적으로 재구조화할 필요가 있음을 제시하고자 한다. 이 연구의 결과는 발굴이면서 동시에 재구조화일 것이다. 인정이론에서 지금까지 사람들이 인식했던 것보다 훨씬 더 많은 칸트적 요소를 발굴해 내면서, 동시에 호네트 자신의 구상에 반해서, 칸트의 인간 존엄성 이념이 인정의 세 가지 인정형식의 규범적 토대로 명시적으로 도입되어야 함을 역설할 것이다. 그렇게 의무론적으로 재구조화된 도덕 구상이 호네트의 의도와 인정이론의 기획에 더 잘 부합한다는 것을 (...) 보이는 것이 이 연구의 최종 목표다. (shrink)

This article offers a critical examination of theories that emphasize the importance of governmental provision of self-esteem to citizens. Self-esteem is the feeling that one’s abilities and achievements are positively appraised by the surrounding society, and in some cases the legal system. Such theories are becoming fashionable, following the influence of scholars such as Axel Honneth, Nancy Fraser, and others.The author argues that such theories face major challenges, on two accounts. First, trying to provide universal self esteem would imply that (...) people would be under a duty to positively appraise the achievements of any given person, and that might violate the free exercise of judgment. Second, the dominant theories of recognition also emphasize the importance of self-respect. Such theories usually understand self-respect as ‘the relation of a person to herself/himself, that concerns their intrinsic worth’. The ability to positively or negatively appraise the conducts/achievements of other people is an integral part of this ‘intrinsic worth’. The attempt to provide universal positive appraisals means therefore that a simultaneous achievement of self respect and self esteem is not possible as a social goal. Recognition theories face therefore not only an external critique by libertarian and liberal approaches, but also internal problems of consistency between different parts of their own theories. (shrink)

We consider here how cultural and socioeconomic dimensions of justice beyond the state are related. First we examine cosmopolitan theories that have drawn on John Rawls's egalitarian liberal framework to argue that a just global order requires substantive, transnational redistribution of material resources. We then assess the view, ironically put forward by Rawls himself, that this perspective is ethnocentric and insufficiently tolerant of non-liberal cultures. We argue that Rawls is right to be concerned about the danger of ethnocentrism, but wrong (...) to assume that this requires us to reject the case for substantive redistribution across state boundaries. A more compelling account of justice beyond the state will integrate effectively socioeconomic and cultural aspects of justice. We suggest that this approach is best grounded in a critical theory of recognition that responds to the damage caused to human relations by legacies of historical injustice. (shrink)