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Acknowledgments ix Introduction 1 ; Aesthetic Experience and the Wager; of Imagination 2; The Poetics of the Will and a Philosophical; Anthropology of the Capable Human Being 6; Summary Outline 9 1 Philosophical Anthropology, Poetics, ; and the Philosophy of the Will 15; Poetics and the Philosophy of the Will 16; Intermediacy, Fallibility, Fault 18; Finitude and Infinitude 23; Transcendental Reflection 25; Metaphor and Metaphysics 29 2 The Practical Synthesis: Character, Happiness; and Respect 42; Practical Synthesis 43; Practical Finitude 45; Happiness 53; Respect 57 3 Affective Fragility, Vulnerability, and the Capable; Human Being 66; The Restless Heart 67; Reason and Happiness 70; Fragility and Fallibility: Having, Power, Worth 74; viii Contents 4 The Wager of Imagination 89; Ideology, Violence, and Power 90; An Eschatology of Nonviolence 94; Negative Dialectics and the Principle of Hope 97; The Temporalization of History 101; The Force of the Present and the Horizon of; the Process of Freedom's Actualization 103 5 Singularity, Exemplarity, Universality 114 ; Aesthetic Experience 114; Mimesis and Truth 117; Singularity, Exemplarity, Communicability 121; Reason, Judgment, and Imagination 126 6 Toward a Hermeneutics of Liberation 136; The Idea of Humanity and the Aporia of the; Oneness of Time 137; Exemplarity and the Hermeneutics; of Testimony 142; The Imperative of Justice 149 7 Conclusions 160; Conviction and Belief 163; Is Freedom Possible? 168; Hospitality and Justice 173 Bibliography 185; Index 193

This book offers a unique account of the role imagination plays in advancing the course of freedom's actualization. It draws on Paul Ricoeur's philosophical anthropology of the capable human being as the staging ground for an extended inquiry into the challenges of making freedom a reality within the history of humankind. This book locates the abilities we exercise as capable human beings at the heart of a sustained analysis and reflection on the place of the idea of justice in a hermeneutics for which every expectation regarding rights, liberties, and opportunities must be a hope for humanity as a whole. The vision of a reconciled humanity that for Ricoeur figures in a philosophy of the will provides an initial touchstone for a hermeneutics of liberation rooted in a philosophical anthropology for which the pathtique of human misery is its non- or pre-philosophical source. By setting the idea of the humanity in each of us against the backdrop of the necessity of preserving the tension between the space of our experiences and the horizons of our expectations, the book identifies the ethical and political dimensions of the idea of justice's federating force with the imperative of respect. Paul Ricoeur's Philosophical Anthropology as Hermeneutics of Liberation will be of interest to scholars and advanced students working in hermeneutics, phenomenology, ethics, political theory, and aesthetics.

The aporias of time that Paul Ricœur identifies in the conclusion to his three-volume Time and Narrative offer a fecund starting-point from which to consider how the poetics of narrativity figures in a philosophy of the will. By setting the poetics of narrativity against the aporetics of temporality, Ricoeur highlights the narrative art's operative power in drawing together incidents and events in answer to time's dispersion across the present, the past, and the future. In turn, the confession of the limits of narrative opens the way to a broader consideration of the idea of the unity of history in the absence of a meta-historical plot. This idea calls for a reflection on the ethical and political imperative of making freedom a reality for all. By taking the theory of freedom's actualization as a touchstone, I argue that the vision of a reconciled humanity that for Ricœur is the intended object of the poetics of the will acquires the force of a directive idea. The capacity to refashion the real from within thus proves to be decisive for drawing out the connection between the aporetics of temporality, the poetics of narrativity, and Ricœur's philosophical anthropology. ; Les apories du temps que Paul Ricœur identifie dans la conclusion du troisième volume de Temps et récit offrent un point de départ fécond pour envisager la façon dont la poétique de la narrativité s'inscrit dans une philosophie de la volonté. En opposant la poétique de la narrativité aux apories de la temporalité, Ricœur met en lumière la puissance opératoire de l'art narratif dans sa capacité à rassembler des incidents ou des événements en réponse à la dispersion du temps à travers le présent, le passé et le futur. En retour, l'aveu des limites du récit ouvre la voie à une prise en compte plus large de l'idée de l'unité de l'histoire en l'absence d'une intrigue méta-historique. Cette idée appelle une réflexion sur l'impératif éthique et politique de faire de la liberté une réalité pour tous. En prenant comme pierre de touche la théorie de l'actualisation de la liberté, je soutiens que la vision d'une humanité réconciliée, qui est la visée de la poétique de la volonté, acquiert la force d'une idée directrice. La capacité de reconfigurer le réel de l'intérieur s'avère ainsi décisive pour élaborer une connexion entre l'aporétique de la temporalité, la poétique de la narrativité et l'anthropologie philosophique de Ricœur.

Hannah Arendt's claim that thinking is the last defense against the moral outrages of criminal political regimes sets the problematic of good and evil in relief. Human freedom, Paul Ricœur reminds us, is responsible for evil. The avowal of the evil of violence is thus the condition of our consciousness of the freedom to act anew.Aesthetic experience's lateral transposition onto the planes of ethics and politics highlights our capacity to respond to exigencies in apposite ways. Exemplary representations of the good, the right, and the justexpress a desire for being. Eros is accordingly the law of every work, word, deed, or act that answers to a difficulty, challenge, or crisis. Bound to living experiences, thought attains its true height through interrogating, demystifying, and vacating frozen norms, standards, and mores. Judgment actualizes thought's liberating effects in answer to the demands of the situations in which we find ourselves. ; L'affirmation d'Hannah Arendt selon laquelle la pensée est la dernière défense contre les outrages moraux des régimes politiques criminels met en relief la problématique du bien et du mal. La liberté humaine, nous rappelle Paul Ricœur, est responsable du mal. L'aveu du mal causé par la violence est donc la condition de la prise de conscience de notre liberté d'agir à nouveau.La transposition latérale de l'expérience esthétique sur les plans de l'éthique et de la politique met en évidence notre capacité à répondre aux exigences de manière appropriée. Les représentations exemplaires du bien, du droit et du juste expriment un désir d'être. Eros est donc la loi de toute œuvre, parole, action ou acte qui répond à une difficulté, un défi ou une crise. Liée aux expériences vécues, la pensée atteint sa véritable hauteur en interrogeant, démystifiant et rejetant les normes, les standards et les mœurs figés. Le jugement actualise les effets libérateurs de la pensée en réponse aux exigences des situations dans lesquelles nous nous trouvons.

The multiplicity of demands and claims in ultra-pluralistic societies complicates the search for justice. Furthermore, the normative force of competing ideals gives rise to an aporia at the heart of the idea of justice's federating force. In this article, I argue that exemplary moral and political acts evince these ideals by reason of their fittingness with respect to the demands of the situations to which they respond. As such, these acts lay claim to their normative value by exemplifying the "rule" that each act summons. Drawing upon aesthetic experience's lateral transposition onto the planes of ethics and politics, I show how imagination is operative in practical judgments (phronesis). Accordingly, I relate the search for justice to an eschatology of non-violence, which for Paul Ricœur takes the place of the critique of ideology in its opposition to an ontology of lingual understanding. ; Dans les sociétés ultrapluralistes, la multiplicité des demandes et des revendications complique la recherche de justice. De plus, la force normative d'idéaux concurrents engendre une aporie au cœur même de l'idée d'une force fédérative de la justice. Dans cet article, je défends l'idée selon laquelle les actes moraux et politiques exemplaires manifestent ces idéaux dans la mesure où ils correspondent étroitement aux demandes des situations auxquelles ils répondent. En ce sens, ces actes revendiquent leurs valeurs normatives en exemplifiant la "règle" que chaque acte requiert. En faisant référence à la transposition latérale de l'expérience esthétique sur les plans éthique et politique, je montre comment l'imagination est opérante dans les jugements pratiques (phronesis); et, dans cette perspective, je rattache la recherche de la justice à une eschatologie de la non-violence, qui, pour Paul Ricœur, prend la place de la critique de l'idéologie dans son opposition à une ontologie de la compréhension.

In this article, I relate the demand that Paul Ricoeur suggests mimesis places on the way we think about truth to the idea that the work of art is a model for thinking about testimony. By attributing a work's epoché of reality to the work of imagination, I resolve the impasse that arises from attributing music, literature, and art's distance from the real to their social emancipation. Examining the conjunction, in aesthetic experience, of the communicability and the exemplarity of a work reveals how Ricoeur's definition of mimesis as refiguration relates to the "rule" that the work summons. This "rule" constitutes the solution to a problem or question for which the work is the answer. In conclusion, as a model for thinking about testimony, the claims that works make have a counterpart in the injunctions that issue from exemplary moral and political acts. ; Dans cet article, j'établis un lien entre l'exigence que, selon Paul Ricœur,la mimèsis place dans notre façon de penser la vérité, et l'idée que l'œuvre d'art est un modèle pour penser le témoignage. Appliquant l'époché de la réalité à l'oeuvre d'imagination, j'évite l'impasse qui se dresse lorsqu'on attribue la musique, la littérature et la distance artistique du réel à leur émancipation sociale. L'étude de la conjonction du caractère communicable et exemplaire d'une œuvre – dans l'expérience esthétique - met en lumière la relation que la définition par Ricœur de la mimésis comme refiguration établit avec la "règle" que l'œuvre convoque. Cette règle est la solution au problème auquel l'oeuvre apporte une réponse. Finalement, un modèle pour penser le témoignage peut être trouvé dans des oeuvres qui trouvent leur contrepartie dans les injonctions produites par les actions morales et politiques exemplaires.

An analysis of Arnold Schonberg's impact on 20th-century thinkers Ernst Bloch & Theodor W. Adorno argues that, in spite of being somewhat critical of his musical contribution, both Bloch & Adorno integrated Schonberg's break with tonal unity & historical coherence into their respective theories. Adorno identified Schonberg's music with negative dialectics' insistence on discord as an expression of truth, while Bloch's principle of hope "intersected with Schonberg's revolutionary impulse through the emancipated dissonance's utopian anticipation of unfulfilled expectations." Schonberg's emancipation of dissonance exemplified difficulties that existed in Bloch's & Adorno's times & his rejection of tonal mastery is echoed in postmodern critiques of grand historical narratives that offer a starting point for rethinking reason. Differences between Bloch & Adorno in relation to Schonberg's articulation of the fin de siecle crisis of confidence are explored. It is concluded that Schonberg's atonal music articulates a condition in which discord demolishes presumptions of the continuity of time, which encourages resistance to both utopian expectations & the "seduction of denouncing as ideological every alternative to the real.". J. Lindroth

The exemplary value of individual moral and political acts provides a unique vantage point for inquiring into the role of the creative imagination in social life. Drawing on Kant's concept of productive imagination, I argue that an act's exemplification of a fitting response to a moral or political problem or crisis is comparable to the way that a work of art expresses the 'thought' or 'idea' to which it gives voice. The exercise of practical reason, or phronesis, is akin to the way that a work augments the practical field of our experiences in this respect. For, like a work of art, the act produces the rule to be followed by means of the example that it sets. Accordingly, I explain how the injunction issuing from the act can be credited to the way that the singular case summons its rule. The singular character of the injunction issuing from the act thus brings to the fore the relation between reflective judgment and this injunction's normative value. The conjunction of reason, action, and the creative power of imagination offers a critical point of access for interrogating the normative force of claims rooted in individual acts. By setting reason, action, and imagination in the same conceptual framework, I therefore highlight the creative imagination's subversive role in countering hegemonic systems and habits of thought through promoting the causes of social and political struggles.