Hegel's theory of tragedy has polarized critics. In the past, many philosophers have claimed that Hegel's theory of tragedy removes Kant's critical insights and returns to pre-critical metaphysics. More recently, several have argued that Hegel does not break faith with tragic experience but allows philosophy to be transformed by tragedy. In this paper I examine the strength of this revised position. First I show that it identifies Hegel's insightful critique of Kant's theoretical assumptions. Yet I then argue that it fails (...) to note the practical importance of Kant's separation of knowledge and aesthetics. I propose an alternative approach to tragedy that builds from the revised view and yet maintains the autonomy of aesthetics. Tragedy represents an action, a set of events that are internally unified and yet cannot be reduced to theory. This is to say that tragedy confronts us with an aesthetic sphere of making and doing that, while constrained, is incessantly open and free. (shrink)

Some of Herder's most striking ideas stemmed from his early evaluation of German literary publicity, which to his mind stood in stark contrast to conditions in the sociable world. Such a predicament bespeaks the importance of considering the relationship between printed text and lived sociability in the Enlightenment. By charting the heady twists and turns in his intellectual development from 1765 to 1769, this essay treats the young Herder in what for him became an aesthetically charged field between the two. (...) The public which he came to envision would be manifest to the senses, at least to the extent that it might be by the reader of print, but it also amounted to a surrogate for the more tangibly sensual experience of face-to-face community. (shrink)