This essay surveys the theme of solidarity in the respective works of Hans-Georg Gadamer and Hannah Arendt. Recent discourses in continental political philosophy have arrived at an impasse regarding solidarity. On the one hand, solidarities are important for galvanizing historically oppressed peoples against dominant discourses. On the other hand, solidarities that impose similarities in advance run the risk of absorbing difference and becoming exclusionary. Gadamer and Arendt, each in different manners, promise a distinctive approach to discourses on solidarity through their (...) emphasis on the existential concern for human finitude. Both suggest that insofar as we are finite, we are bound together not by familiarity and sameness but rather by shared vulnerability, finding help with this vulnerability by remaining open to the difference and otherness that is always at stake in communal life. In this, Gadamer and Arendt open new paths to theorizing collectives in ways that embrace and defend difference rather than rejecting it. Moreover, both remind us of the urgency of such a notion of solidarity for responding to what, in allusion to Arendt, we may be inclined to call the dark times in which we live. (shrink)

In this paper I tackle Gadamer’s and Dewey’s conceptions of art, showing a possible dialogue between American Pragmatism and Gadamerian Hermeneutics. Despite the obvious differences, it is possible to show fundamental commonalities between the two philosophies when it comes to the role of art. They share the double goal of critiquing the aestheticism of modern age, the conception of art as a mere “art for art’s sake,” and of recomposing the continuity between aesthetic experience and everyday life. I argue that (...) this common goal entails a reassessment of the relation between the work of art and the public, a reassessment that has fundamental consequences for the role of art in our societies. The present comparison will also help shed new light on Gadamer’s conception, often accused of being a merely conversative theory. For both Gadamer and Dewey art does not consist in a product of the elites that is given to the spectators: rather, the spectators cooperate with the author in the creation and development of the work of art itself. (shrink)