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<p>Introduction: Aestheticization Ð An Apologia</p> <p><b>Part I: An Antique Diagnosis of a Crisis</b></p> <p>1. The Provocative Beauty of Democracy: Plato</p> <p><b>I. Freedom and Indeterminacy</b></p> <p>2. The Slavery of the Tyrant</p> <p>3. The Unstable Democrat</p> <p>4. Clear-sighted, Processual and Totalized Weakness of Will</p> <p>5. Weakness of Will or the Freedom from Oneself</p> <p>6. The Unfree Opportunist</p> <p>7. Many Jobs and Much Trespassing</p> <p>8. The Occurrence of an Inner Nature or the Freedom Toward Self</p> <p>9. Democrats and Theatre Types</p> <p>10. Theatrocracy: The Fearlessly Judging Multitude</p> <p>11. Masses and Mimesis</p> <p>12. Self-Difference and Perfection</p> <p><b>Part II: The Ethical-Political Right of Irony</b></p> <p><b>2. The Morality of Irony: Hegel</b></p> <p>1. The Beginning of Morality in Socratic Irony</p> <p>2. Socrates’ Divisive Work</p> <p>3. Irony and the Practice of Truth</p> <p>4. Hegel’s Critique of Kant</p> <p>5. A Socratic Reformulation of the Moral Principle</p> <p>6. Critique of the Romantics</p> <p>7. Abstract and Subjective Freedom</p> <p>8. Evil and the “Natural Will”</p> <p>9. The Dialectic of Freedom</p> <p>10. A Less Rigorous Concept of Self-Determination</p> <p>11. Conflicts with and in Morality</p> <p>12. Hegel’s Expulsion of Subjective Freedom from Ethical Life</p> <p>13. The Riddle of Socratic Virtue and the Historicity of the Good</p> <p><b>3. The Ethics of Aesthetic Existence: Kierkegaard</b></p> <p>1. The Negative Freedom of Socratic Irony and its Romantic Superseding</p> <p>2. Self-Enhancement and Forgetfulness-of-Self</p> <p>3. The Impotent Seducer</p> <p>4. The “Helmeted” Will and its Desperation in the Face of the Aesthetic</p> <p>5. Repentance and Duty: The Freedom to Choose What One Already Is</p> <p>6. One Sexism for Another</p> <p>7. The Love of Divorced Society Ladies</p> <p>8. Aesthetic and Aristocratic Exception</p> <p>9. Common sinners</p> <p>10. The Leap of Faith</p> <p>11. Repetitions</p> <p><b>4. Sovereignty in Romanticism: Schmitt</b></p> <p>1. Aestheticization and Neutralization</p> <p>2. A Look at an Orange</p> <p>3. Alien Power</p> <p>4. The Other in the Own and Decision</p> <p>5. Political Anthropology</p> <p>6. Schmitt and Kierkegaard</p> <p>7. Political Theology</p> <p>8. “Concrete Life” and Decision</p> <p>9. Schmitt’s Rousseauism</p> <p>10. Politics as a Critique of Politics</p> <p><b>Part III: Democracy and Aestheticization</b></p> <p><b>5. The Spectacle of Democracy: Rousseau</b></p> <p>1. The Irony of the Actor</p> <p>2. The Public Expression of Indeterminacy</p> <p>3. The Actress and Her Parodies</p> <p>4. The Golden Mean</p> <p>5. “Thy Magic Powers Reunite What Custom’s Sword Has Divided”: The Feast of the Brothers</p> <p>6. All Brothers are also Men: The Problem of Male Self-Difference</p> <p>7. The Two Paradoxes of the Social Contract</p> <p>8. The Sovereignty of the Legislator and the Judgment of the “Common Man”</p> <p>9. Another Kind of Equality</p> <p>10. A Politicizable Boundary</p> <p>11. The Two Bodies of the People</p> <p>12. Representation and the Coding of Contingency</p> <p><b>6. The Anaestheticization of the Political in Fascism: Benjamin</b></p> <p>1. Charisma versus Ratio</p> <p>2. Politicizing Art</p> <p>3. Astonishment, Not Sympathy</p> <p>4. The Look of the Stranger</p> <p>5. Alienation</p> <p>6. Adaptability and Revolution</p> <p>7. Charisma and Democracy</p> <p>8. Political Theatre</p> <p>9. Post-Democracy and the Anaesthetizing of the Political: A Look Forward</p> <p>Notes</p> <p>Acknowledgements</p> <p>Origins of the Text</p> <p>Index</p>

"Highly Recomennded"<br /><b> Choice

<p><b>Juliane Rebentisch</b> is Professor of Philosophy and Aesthetics at Offenbach University of Art and Design.</p>

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