This article addresses the problem of two extreme positions in the self-understanding of human beings namely ignoring culture or its over-determination. Though Charles Taylor and Antonio Gramsci are widely known to differ from each other in many respects, we endeavor a congruent reading to evolve a comprehensive perspective. We make avail of their concepts, such as background, horizon, and common sense, to comprehend the nature of the culturally constituted self and its relevance for education. For both Taylor and Gramsci, the (...) human self is situated in a cultural framework. Though the relation between self and culture is constitutive and inevitable, culture does not entirely determine or overshadow the self. This stance gives space for upholding freedom, dignity and liberation of the human self in both of them. While preserving the essential role of culture in the formation of the human self, education must not be reduced to identity politics. Education must incorporate culture, be critical of it and pay attention to forming a critical self. (shrink)

This book examines the idea of cosmopolitanism, its reconceptualisations and critiques. It explores the specific institutional and philosophical challenges in constructing a cosmopolitan political community and critically engages with assumptions about the nature and direction of global politics. The volume presents a post-colonial critique of 'Western' cosmopolitanism and suggests alternative frameworks.

German philosopher G. W. F. Hegel problematized the term “aesthetics” in his writings on art. This article attempts to capture the tension between Hegel's theory of art and philosophy of art and its impact on the subsequent theorization of art in the twentieth century as consumer or emancipatory. Music, poetry and plastic arts seem to resonate differently with philosophers such as Plato, Aristotle, Kant, Hegel and Adorno. Plato considered music soothing to the soul. In Aristotle, one could trace the oblique (...) beginnings of the tension between a theory of art and a philosophy of art as he questioned the role of art in philosophy. While Kant's approach is more formal and deals with concepts such as beauty, sublime, genius, and the status of aesthetic objects, Hegel grapples with the rational and emotional aspects of works of art which determine whether art is free or under the thralldom of nature. Both Kant and Hegel distinguished artistic from natural beauty. Critical theorists such as Adorno were also influenced by Hegel. Adorno's analysis of concepts such as mimesis forms an important part of his critique of culture industry. Adorno was also emphatic that classical art could only exist as a product of an epoch. Yet in its dialectical form, art serves as a critique of ideology. Progressively, from the nineteenth to the twentieth century, what began as a crevice between a philosophy of art and a theory of art became a chasm. Thus, begins a contentious relationship between art as a pursuit in itself and art for consumption, that is, art as an integral aspect of consumer culture. The new phenomenon of AI art also poses interesting questions about the paradigmatic shift in dynamics between human element and technology. This article would also attempt to trace how art continues to defy reification, while in the process being consumed constantly, recreating and reinventing itself. (shrink)