What is the role of art in modern society? To what extent are the beautiful and the morally good intertwined? Hegel's Political Aesthetics explores Hegel’s take on these ever-relevant philosophical questions and investigates three key themes: art’s contribution to modern ethical life, the loss of art’s authority in modern ethical life and ways of thinking beyond Hegel’s analysis of art’s role in society. The aesthetic is explored through the lens of German Idealism from Kant to Hegel, ultimately placing ethics and morality at the forefront of this debate.
The authors explore Hegel’s take on Kant’s conception by historicizing what it means to be responsible to others, which for Hegel means being free within the norms of society, within what he calls ethical life. As a set of concrete social arrangements designed for finite human beings, however, ethical life falls short of actualizing freedom absolutely.
The themes in this volume are motivated by a central ambivalence in Hegel’s thinking about modernity. The question of freedom sits at the forefront of this text, alongside the relation between art and the spirit. This book will be of particular interest to philosophers of aesthetics, politics and ethics.
This article attempts, for the first time, to link some central motives in the thought of Jürgen Habermas with the biographical experiences of the philosopher and social theorist. What are the relations which Habermas himself thematizes in his life story by means of discursive analysis? Three elements are central: the change in significance of the nation state against the backdrop of the process of European integration, the concept of a deliberative democracy, and the timely and controversial issue of the taming of world capitalism. Finally, the article discusses the question of how plausible it is that there is no alternative to capitalism and to what extent democracy can tame capitalism.
This article argues that Christine Korsgaard's conception of self-constitution can be historicized by considering the impact of actual humans on our reflective activity. Because Korsgaard bases her argument on a philosophy of action rather than of intention (as Kant does), and our actions must always be concrete, the article argues that the principles for action which we develop in reflection are likewise responses to concrete human demands. It further interprets the types of demands humans make on each other as the expression of historical circumstance rather than as transcendentally anchored. The notion of universal respect that reflection seeks to achieve is thus seen as developing by a self-correcting process of concrete human interaction. Finally, the article concludes that there can be no metaphysical proof of morality, since morality develops through human interaction that seeks to approximate the idea of respect for persons.
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