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.

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.