scholarly journals Charles TAYLOR, K. Anthony APPIAH, Jürgen HABERMAS, Steven C. ROCKEFELLER, Michael WALZER et Susan WOLF (Introduction de Amy Gutmann, dir.) : Multiculturalism, Examining the Politics of Recognition, Princeton, Princeton University Press, 1994, 175 p., index.

1995 ◽  
Vol 19 (3) ◽  
pp. 232
Author(s):  
Denise Helly
1998 ◽  
Vol 43 (2) ◽  
pp. 303
Author(s):  
María Elósegui Ltxaso

En 1992 Charles Taylor escribiá un libra titulado Multiculturalism and the Politics of Recognition. Dos anos más tarde la misma editorial, Princeton University Press, publicá una reedicián. Se afiadía una leve variante en el título, la palavra examining: Multiculturalism. Examining the politics of recognition (Taylor, 1992). La novedad de esta edicián fue que se afiadieran dos nuevos ensayos, uno de Jürgen Habermas, titulado Stmggles for Recognition in the Democratic Constitutional State y el otro por K. Anthony Appiah, afraamericano, con lo que se afiade al libra una nota de color, en ese reclamo del recõnocimiento de la identidad.


2015 ◽  
Vol 41 (131) ◽  
pp. 393 ◽  
Author(s):  
Nythamar De Oliveira

O artigo propõe uma reconstrução normativa da crítica comunitarista ao liberalismo, revisitando a crítica iniciada por Michael Sandel com relação à teoria da justiça em John Rawls e reformulada por “simpatizantes” comunitaristas (Michael Walzer, Charles Taylor, Alaisdair MacIntyre) e pensadores políticos da Teoria Crítica (Jürgen Habermas, Seyla Benhabib, Axel Honneth), sobretudo quanto aos problemas correlatos do individualismo metodológico, da concepção de bem e da socialidade.Abstract: The article proposes a normative reconstruction of the communitarian critique of liberalism, recasting the critique initiated by Michael Sandel vis à vis John Rawls’s theory of justice and reformulated by communitarian “sympathizers” (Michael Walzer, Charles Taylor, Alaisdair MacIntyre) and political thinkers of Critical Theory (Jürgen Habermas, Seyla Benhabib, Axel Honneth), especially as for the related problems of methodological individualism, the conception of the good, and sociality.


Author(s):  
Tariq Ramadan

Secularism is in crisis, or at least it has been ‘destabilised’, to put it in Tariq Modood’s words (Modood 2012: 145). At least, we should acknowledge there is a profound tension stemming from our diverse and contradictory understandings of the ultimate objectives of the ‘secular project’. We are no longer clear about what we mean when we speak of ‘secularism’ or, in French, laïcité. Many studies with equally numerous interpretations and even contradictory conclusions have been produced over the last two generations. The outstanding contributions of scholars such as John Rawls (1971), Jürgen Habermas (1997), Charles Taylor (2007), Bhikhu Parekh (2000), Tariq Modood (2011) and, in the French tradition, Jean Baubérot (2004) or Olivier Roy (2007) to name but a few, have been contested at several levels: philosophical, legal and religious. Secularism, from the outset, has been a disputed notion but the passionate debate about its very meaning and significance has become more and more polarised as Muslims have settled in the West and have become increasingly visible. It is as if their presence has laid down a challenge not only to secularism but also to the identity of Western societies themselves.


2015 ◽  
Vol 38 (3) ◽  
pp. 272-301
Author(s):  
Marc Brooks

Abstract The obvious debt that Strauss's operas owe to Wagner often led early critics to view their conspicuous lack of spiritual depth as an unintentional failure. Recent commentators such as Charles Youmans, Leon Botstein, and Michael Walter have rightly characterized this feature as a conscious Nietzschean strategy calculated to avoid or ironize metaphysical tropes. Following the critique of the concept of “secularization” by Jürgen Habermas and Charles Taylor, however, I wish to complicate this newer interpretation by arguing that Strauss's operas do not represent the point in music history when German music threw off its pretentions to Kunstreligion, but mark yet another point of “re-sacralization”—a term I borrow from Simon Critchley's Faith of the Faithless (2012). The Wagner-indebted music in Arabella (1933)—an opera given much less critical attention than it deserves—certainly never gestures toward any transcendent truth beyond the physical confines of what is presented. Nevertheless, I argue, a sacred economy still operates in the opera whereby certain aspects of the immanent stage-world are figured as “sacred” and others as “profane.” It is possible to trace the influence of the operas Tannhäuser and Parsifal on Arabella, specifically in the harmonic, rhythmic, and timbral techniques Wagner used to mark certain suprahuman forces as possessing a transcendent aura. The music of Arabella uses moderated versions of these techniques to redistribute the same sacred status onto different aspects of material and psychological reality.


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