In this article I explore the metaphysical underpinnings of ‘Art and Objecthood’ in order to tease out its reliance on several of the tenets of conservative art criticism: Plato’s theory of forms, Kant’s aesthetics and the unquestioning acceptance of subjectivity and representation. I argue that it is due to these investments that ‘Art and Objecthood’ fails to come to terms with the condition of art in the age of advanced technology and virtual reality. This argument develops by means of clarification (...) of three key concepts: simulacrum, theatricality, and truth. (shrink)

Abstract: Hegel's theory of tragedy is often considered to be primarily a theory of the objective powers involved in tragic conflicts—for Hegel, these are paradigmatically competing ethical notions—and of the rationality which underlies and drives such conflicts. Such a view follows naturally from a close reading of Hegel's discussion of classical Greek tragedy in his Lectures on Aesthetics. However, this view gives rise to the question of whether Hegel's theory of tragedy can account for the significance of tragic experience, in (...) particular the experience of tragic suffering; it has been argued repeatedly that it cannot. In contrast, I want to suggest in this paper that a theory of tragic experience can be derived from Hegel's Phenomenology of Spirit. This Hegelian theory of tragic experience, I argue, should be understood as complementing rather than challenging Hegel's theory of objective tragic conflict. (shrink)