Television pictures of starvation and depredation are not the only way that famine and political instability in the horn of Africa have affected the United States. Many people from that region of the world are seeking political or economic refuge here, and they are exposing us to a culture that is in some ways — most notably, in the practice of female circumcision – so radically different from the prevailing American cultures that we have been stunned. They are also forcing (...) hospital ethics committees to face issues that cannot be resolved by the facile application of the settled principles that have guided those institutions for the past several years. Autonomy and multiculturalism, long the foundations of most ethics committee decision making, have started to give way to a list of formally articulated rights and wrongs – perhaps to a restatement and adoption of rules said to be based in natural law. Female circumcision, argues one newspaper letter writer, “is just a sickening display of male power disguised as legitimate dogma. (shrink)

in How Many Questions?, ed. Leigh S. Cauman, Isaac Levi, Charles Parsons, and Robert Schwartz, Indianapolis: Hackett Publishing Co., 1983, pp. 276-300.

Business and Society Review, Volume 127, Issue 1, Page 3-22, Spring 2022.

Business and Society Review, Volume 127, Issue 1, Page 3-22, Spring 2022.

This book is a series of essays by distinguished scholars concerned with the improvement of primary, secondary, and tertiary studies, most especially in arts but also in mathematics and science. It is concerned with past ideas about education in Australia, most particularly with the traditions that have yielded an education that has proven most beneficial to Australia in terms of comparison with other countries; and it advocates and emphasises how this tradition can be maintained and improved in specific ways. Essays (...) focus on primary and secondary education in music, and art, mathematics, history and the classics, on the improvement of memory and vocabulary, but more particularly on university education, discussing the purpose of education, learning in general, the use of the seminar, the necessity of freedom of debate, the inadequacies and contradictions of French and Anglo-post modernism, the teaching of history, of philosophy, and its branch aesthetics, mathematics, equality in education, teaching at university and funding of the whole enterprise. The authors are all well known in their disciplines and some are experts, internationally recognised in their fields. This book features essays by: David Daintree, Karl Schmude, Simon Haines, Kevin Donnelly, Matthew Lesh, Chris Berg & Bella d'Abrera, David Furse-Roberts, Greg Melleuish, Steven Schwartz, Blaise Joseph, James Franklin, Christopher Allen, Richard Gill, Jeremy Bell, Barry Spurr, David Brooks, Natalie Kennedy, Sarah Williams, Sarah Lawrence, Ivan Francis Head. (shrink)

Papers from an international colloquium organized by the Hungarian Academy of Sciences.

In this groundbreaking book David Roberts sets out to demonstrate the centrality of the total work of art to European modernism since the French Revolution.

The article examines Adorno and Heidegger's contrasting conceptions of art and myth in relation to their reading of western history since the Greeks and to German thinking on the relation between nature and history since Kant. In Part I Adorno's lecture `The Idea of Natural History' (1932), which draws on Lukács's Theory of the Novel and Benjamin's The Origin of German Tragic Drama and is conceived as a response to Heidegger's fundamental ontology in Being and Time, serves as focus for (...) the interrelation between myth, origin and repetition in western history, construed as the forgetting of nature (Adorno) or the forgetting of Being (Heidegger). In Part II, the question of the remythologization or the demythologization of art in Benjamin, Heidegger and Adorno is examined in the context of aesthetic modernism. (shrink)

The following reflections, occasioned by Agnes Heller’s death, attempt to reconstruct Heller’s sense of temporality and historicity as the key to her rethinking of the idea of philosophy of history after the demise of the grand narratives in the form of a fragmentary philosophy of history and a theory of history.

Houellebecq’s critical reading of Huxley’s Brave New World in his novel Atomised takes Canetti’s novel Auto da Fe as its template. Houellebecq takes from Canetti the structuring contrast of antithetical brothers and shares his diagnosis of the crisis of Western individualism. Both writers identify the sickness at the heart of Western civilization that presages its coming end as the egotism of the monadic individual, enclosed in a private world of fears and desires. The role of the crowd in Canetti’s novel (...) as the Other of the fallen world of self-interest is taken in Houellebecq by the posthuman vision of social unity beyond division realized through cloning. (shrink)

Controversy has long surrounded the complex relationship between King Victor Emmanuel III and the dictator Benito Mussolini in Fascist Italy. It is clear that the king played decisive roles in bringing Mussolini to power in 1922 and in removing him in 1943. In between, the two coexisted as Italy became a ‘dyarchy’, with two foci of power. The presence of the monarchy at once checked Fascist radicalism and persuaded many conservatives to adhere to the regime. Thanks especially to the monarchy, (...) the innovative thrust of Fascism was channelled in certain delimited directions, toward a statist economy, for example. Still, the relationship between the crown and Mussolini was often rocky, though the king’s reluctance did not prevent alliance with Nazi Germany, anti-Semitism, and war. Tensions were largely papered over by rhetoric and myth-making, as if the elements of Fascism fit together neatly. Despite his opposition to certain particulars, Victor Emmanuel identified with the overall Fascist project to some extent, and he worried that outright opposition to the regime would jeopardize the monarchy. But as the Second World War went badly for Italy, the king finally deposed Mussolini. Nevertheless, Italy soon voted to eliminate the monarchy, discredited by its association with fascism. (shrink)

"An admirable accomplishment.... Roberts provides valuable insights into the current debate on the nature of historical knowledge in our present 'postmodern' time. Anyone concerned with the philosophy of history will need to reckon with this book."--Allan D. Megill, author of "Prophets of Extremity".

In the crisis scenarios of modernity which flourished in the Weimar Republic, technology is typically seen as destiny or fate. Thus Oswald Spengler and Ernst Jünger both construe the coming struggle for world power in terms of the integration of production and technology in the industrial-military complex. Martin Heidegger’s critique of Jünger’s blueprint for total mobilization in Der Arbeiter springs from his reading of modernity as nihilism. Just as the crisis of Western history is reaching completion in modernity, so equally (...) metaphysics reaches completion in modern technology. Heidegger’s essay ‘The Question Concerning Technology’, written after the Second World War, is contrasted with Ernst Cassirer’s essay ‘Form and Technology’, directed against Spengler’s regression to irrationalism, in terms of two fundamental relationships to the world: Heidegger’s Greek-oriented ontology of world disclosure and Cassirer’s modern ontology of construction with reference to technology and art. (shrink)

Various U.S. laws, such as the Clean Air Act and the Food Quality Protection Act, require additional protections for susceptible subpopulations who face greater environmental health risks. The main ethical rationale for providing these protections is to ensure that environmental health risks are distributed fairly. In this article, we (1) consider how several influential theories of justice deal with issues related to the distribution of environmental health risks; (2) show that these theories often fail to provide specific guidance concerning policy (...) choices; and (3) argue that an approach to public decision making known as accountability for reasonableness can complement theories of justice in establishing acceptable environmental health risks for the general population and susceptible subpopulations. Since accountability for reasonableness focuses on the fairness of the decision-making process, not the outcome, it does not guarantee that susceptible subpopulations will receive a maximum level of protection, regardless of costs or other morally relevant considerations. (shrink)

Richard Konrad claims that businessmen are guilty of adhering to a vicious form of ethical relativism. In practice, the relativism takes the form of doing an act which ordinarily would be called wrong and then claiming that the act is right or justified because it falls under a special set of codes (business ethics) which preempt ordinary ones. These codes or business ethics establish moral sanctuaries for businessmen. Konrad examines three versions of the sanctuary position, argues that they fail, and (...) concludes that the position is untenable. In this article it is claimed that Konrad is in error, that upon closer examination the three versions do provide justification for businessmen claiming relief from moral criticism. (shrink)

As a universal theory Luhmann's systems theory of society includes art in its ambit. The Art of Society (1995) reconstructs the formal and the social-historical conditions of the functional differentiation of a system of art since the Renaissance. The methodological focus of the reconstruction - Luhmann's theory of form (perception, first and second order observation, medium and form) and of systemic differentiation (social function, self-organization, codes and programmes, evolution and self-description of art) - are analysed in the first part of (...) the paper. The second part examines the unresolved question of the code of the art system, the hermeneutic circle integral to Luhmann's theory design, and the relation of his theory of art to the `aesthetic epoch' of art theory with special reference to Heidegger and Adorno. (shrink)

Integral to the modern paradigm of cultural critique is an entropic vision of the `completion' of modernity reaching from Heidegger and Adorno to Debord and Baudrillard. Are contemporary cultural developments to be grasped in terms of this `completion' or do we need a more open-ended account of capitalism and culture? The article examines two key aspects of contemporary culture, both tied to processes of aestheticization and commodification since the 18th century: the progression from the culture industry (Adorno) to the aesthetic (...) economy (Böhme), premised on the creation of aesthetic value in addition to use and exchange value; the progression from the `age of the world picture' (Heidegger) to culturalism, in which the culturalization of nature and history responds to the reduction of nature and history to standing reserves. (shrink)

ABSTRACTMy paper aims to situate and contextualize György Márkus’s key writings on cultural modernity on the one hand in relation to their theoretical antecedents in Kant and Hegel’s conception of modern society as a society of culture and in Lukacs’s reception of Kant and Hegel in his early pre-Marxist works, and on the other hand in relation to an examination of the contemporary ramifications of certain tendencies in modern culture highlighted in Márkus’s writings. The paper is accordingly divided into two (...) parts. Part I sets out to reconstruct the presuppositions of Márkus’s theory of the high culture of classical modernity in order to bring out the descriptive strength and the analytic contribution of his approach in relation to the tradition of cultural critique in modernity, in particular in Western Marxism. Part II aims to show how Márkus’s theory of modern culture from the late eighteenth century to the end of World War II contains elements crucial to the theorization of contemporary culture, characterized by new forms of paradoxicality that go beyond his own model. (shrink)

Debord’s influential theory of the spectacle is vitiated by its lack of historical and analytical differentiation. This article draws on Debord’s own undeveloped distinction between the concentrated spectacle and the diffuse spectacle in order to propose a double genealogy and a fourfold typology of the spectacle since the French Revolution.

The geography of contemporary bohemia is integral to Richard Florida’s thesis of the rise of a new creative class in the USA. The strong correlation between the presence of bohemians and innovative high-tech industries in a number of American cities stands in sharp contrast to the historical image of a bohemian subculture of artists and intellectuals, defined by their antagonistic relationship to bourgeois society. Rather than a sign of social marginality, bohemian life-styles have now become a marker of the ‘new (...) economy’, variously labeled the creative, the cultural or the aesthetic economy. In my paper I want to compare and contrast these two opposed images of bohemia – the 19th-century idea of bohemia as the libertarian other of liberal-bourgeois society and the new, highly topical economic geography of bohemia – with the following questions in mind: How and why does the 19th-century artistic critique of capitalism mutate into an expression of the new spirit of capitalism? Does this change from an antagonistic to an affirmative relationship signal the emergence of a new spirit of art that can be related to the new spirit of capitalism? (shrink)

The idea of modern art presupposes the rise of historicism and the sense of progress since the Enlightenment. Once art, however, conceives itself as progressive and hence modern, it is confronted by the paradoxes of progress: progress renders the modern obsolete at the same time as it seeks to give itself meaning by positing a goal, a destination that would be the end purpose and hence the end of progress. As a consequence, modern art is impelled to constantly transcend its (...) own achievements and limits in a utopian quest for the artwork of the future, the ultimate work of art. But what happens to art when the grand art-historical narrative of modernism collapses? I argue that the ‘modern’ mutates into the ‘contemporary’ and that art now defines itself not in relation to the future but to the present. Contemporary art understands itself as operating in the present, that is, as an art for the present. It finds its destination now in the latest institutionalization of the paradoxes of progress: the museum of contemporary art. (shrink)

Agnes Heller’s philosophy of history is divided between A Theory of History (1982) and A Philosophy of History in Fragments (1993). The one is a reflection on the stages of historical consciousness, the other is a manifestation of postmodern historical consciousness, situated between the crisis of European philosophy of history and a dawning world-historical consciousness. The crisis of European philosophy of history is defined by the irresolvable contradiction between the absolute present of Hegel’s self-knowing subject of History and the consciousness (...) of the sheer contingency of the historical present. From Hegel to Benjamin philosophy of history sought the absolute redemption of the contingent moment. It is against this philosophical legacy that Heller sets out in A Philosophy of History in Fragments to rethink the meaning of the present as absolute, not in itself but in relationship to the past and future of our present. Our absolute present is thereby revealed as inescapably paradoxical. Just as we live from the afterlife of a departed absolute spirit so the self-consciousness of our post-modernity resides in the self-consciousness with which we endow the past. Beyond this limit we must return to A Theory of History. Its reconstruction of the evolution of historical consciousness points to the emergence of a truly planetary consciousness and hence to the possibility of the end of history in a philosophy of World History. (shrink)

Fundamental changes in the world economic system have resulted in a new differentiation, that between centre and periphery, between a global financial market on the one hand and production, services and labour on the other. As modern society has now become financial society, the old distinction between capital and labour has lost its informational value for party politics. The fact that the distinction between centre and periphery cannot be copied into the national political system means that economic policy can no (...) longer be decided through political choice. Politics has the task of coping with the political effects of the global financial market with the result that elections are dependent on the state of the economic cycle. Would a new political alignment involve a centre party of capital and labour against an ecological left and a `law and order' right? (shrink)