"A theory of feelings examines the problem of human feelings, widely understood, from phenomenological, analytic, 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 emotions, emotional dispositions, orientive feelings, and the passions. As such, the starting point of the analysis entails an examination of the characteristics of human involvement, or our ways of being in the world. Building upon this assessment of the conditions of human involvement, the philosophical history and emotional economy characteristic of modern relationships is treated, and the nature of expression, social division, suffering, and responsibility is evaluated in light of the theory of feeling presented here."--BOOK JACKET

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.

This book, first published in 1983, is a radical reinterpretation of the Hungarian revolution in the context of world politics and Eastern Europe as a whole. It examines the events and protagonists with a fresh eye, and relies on witnesses and participants for the rigorous documentary backing.

This book, first published in 1983, is a radical reinterpretation of the Hungarian revolution in the context of world politics and Eastern Europe as a whole. It examines the events and protagonists with a fresh eye, and relies on witnesses and participants for the rigorous documentary backing.

Aesthetics and Modernity brings together Agnes Heller's most recent essays around the topics of aesthetic genres such as painting, music, literature and comedy, aesthetic reception, and embodiment. The essays draw on Heller's deep appreciation of aesthetics in all its forms from the classical to the Renaissance and the contemporary periods. Heller's recent work on aesthetics explores the complex and fraught status of artworks within the context of the history of modernity. For Heller, not only does the relation between aesthetics and modernity have to be looked at anew, but also the way in which these terms are conceptualized, and this is the two-fold task that she sets for herself in these essays. She engages this task with a critical recognition of modernity's pitfalls. This collection highlights these pitfalls in the context of continuing possibilities for aesthetics and our relationship with works of art, and throws light on Heller's theory of emotions and feelings, and her theory of modernity. Aesthetics and Modernity collects the essential essays of Agnes Heller, and is a must-read for anyone interested in Heller's major contributions to philosophy.

The Time Is Out of Joint handles the Shakespearean oeuvre from a philosophical perspective, finding that Shakespeare's historical dramas reflect on issues and reveal puzzles which were taken up by philosophy proper only in the centuries following them. Shakespeare's extraordinary handling of time and temporality, the difference between truth and fact, that of theory, and that of interpretation and revelatory truth are evaluated in terms of Shakespeare's own conjectural endeavors, and are compared with early modern, modern, and postmodern thought. Heller shows that modernity, which recognized itself in Shakespeare only from the time of Romanticism, found in Shakespeare's work a revelatory character which marked the end of both metaphysical system-building and a tragic reckoning with the inaccessibility of an absolute, timeless truth. Heller distinguishes the four stages found in constantly unique relation in Shakespeare's work (historical, personal, political, and existential) and probes their significance as time comes to fall "out of joint" and may be again set aright. Rather than initially bestowing upon Shakespeare the dubious honorary title of philosopher , Heller probes the concretely situated reflections of characters who must face a blind and irrational fate either without taking responsibility for the discordance of time, or with a responsibility which may both transform history into politics, and set right the time which is out of joint. In the ruminations and undertakings of these characters, Shakespeare's dramas present a philosophy of history, a political philosophy, and a philosophy of (im)moral personality. Heller weighs each as distinctly modern confrontations with the possibility of truth and virtue within a human historical condition no less multifarious for its momentariness.

The main purpose of this book is to explicate the problematic relationship between the heterogeneity of what is experienced as beautiful and the homogeneity of the conceptualization of that experience, or attempt at such a conceptualization in the era of modern philosophy. While the heterogeneity of what is experienced as beautiful was permitted, and indeed celebrated, in the dominant ancient conception-for example, in the Symposium and Phaedrus of Plato-the need for homogenization in the later appropriation of Plato and in the Enlightenment period relegated the beautiful to the privileged domain of artworks. In her analysis Agnes Heller provides a unique and significant emphasis on the original 'life content' of the experience of the beautiful, which becomes lost in the modern system of the arts. This book details the history of the concept of the beautiful, starting with what Agnes Heller distinguishes between the 'warm' metaphysics of beauty and the 'cold' one-inspired by Plato's Janus-faced relationship to beauty-and ending with a fragmented yet hopeful vision propagated by Friedrich Nietzsche, Walter Benjamin, and Theodor W. Adorno, among others. In between these two historical parentheses-the metaphysical Plato on one hand and the post-metaphysical Nietzsche, Benjamin, and Adorno on the other hand-lay a plenitude of figures and intellectual developments, all of which contributed to the demise of the concept of the beautiful in the Western metaphysical tradition. The most important of these figures and developments are examined in this book.