One of Hegel’s most controversial and confounding claims is that “the real is rational and the rational is real.” In this book, one of the world’s leading scholars of Hegel, Jean-François Kervégan, offers a thorough analysis and explanation of that claim, along the way delivering a compelling account of modern social, political, and ethical life.

​Kervégan begins with Hegel’s term “objective spirit,” the public manifestation of our deepest commitments, the binding norms that shape our existence as subjects and agents. He examines objective spirit in three realms: the notion of right, the theory of society, and the state. In conversation with Tocqueville and other theorists of democracy, whether in the Anglophone world or in Europe, Kervégan shows how Hegel—often associated with grand metaphysical ideas—actually had a specific conception of civil society and the state. In Hegel’s view, public institutions represent the fulfillment of deep subjective needs—and in that sense, demonstrate that the real is the rational, because what surrounds us is the product of our collective mindedness. This groundbreaking analysis will guide the study of Hegel and nineteenth-century political thought for years to come.

Ever since Kant and Hegel, the notion of autonomy—the idea that we are beholden to no law except one we impose upon ourselves—has been considered the truest philosophical expression of human freedom. But could our commitment to autonomy, as Theodor Adorno asked, be related to the extreme evils that we have witnessed in modernity? In Autonomy after Auschwitz, Martin Shuster explores this difficult question with astonishing theoretical acumen, examining the precise ways autonomy can lead us down a path of evil and how it might be prevented from doing so.

Shuster uncovers dangers in the notion of autonomy as it was originally conceived by Kant. Putting Adorno into dialogue with a range of European philosophers, notably Kant, Hegel, Horkheimer, and Habermas—as well as with a variety of contemporary Anglo-American thinkers such as Richard Rorty, Stanley Cavell, John McDowell, and Robert Pippin—he illuminates Adorno’s important revisions to this fraught concept and how his different understanding of autonomous agency, fully articulated, might open up new and positive social and political possibilities. Altogether, Autonomy after Auschwitz is a meditation on modern evil and human agency, one that demonstrates the tremendous ethical stakes at the heart of philosophy. 

Transparent made history as the first television show to feature a transgender character in the main role, as the first streaming series to win the Golden Globe for Best Television Series, and as, in the words of journalist Debra Nussbaum Cohen, “the Jewiest show ever.” No television show in history has depicted the lives of American Jews with as much attention to Jewish rituals, quirks, or culture. And no series has portrayed issues of gender and sexuality alongside Judaism with such nuance and depth, making Transparent a landmark series in the history of television.
 
Blessings Beyond the Binary: Transparent and the Queer Jewish Family brings together leading scholars to analyze and offer commentary on what scholar Josh Lambert calls, “the most important work of Jewish culture of the century so far.” The book explores the show’s depiction of Jewish life, religion, and history, as well as Transparent’s scandals, criticisms, and how it fits and diverges from today’s transgender and queer politics. 
 
The first book to focus on Transparent, Blessings Beyond the Binary offers a rich analysis of the groundbreaking series and its connections to contemporary queer, trans, and Jewish life.
 

Even though it’s frequently asserted that we are living in a golden age of scripted television, television as a medium is still not taken seriously as an artistic art form, nor has the stigma of television as “chewing gum for the mind” really disappeared.
 
Philosopher Martin Shuster argues that television is the modern art form, full of promise and urgency, and in New Television, he offers a strong philosophical justification for its importance. Through careful analysis of shows including The Wire, Justified, and Weeds, among others; and European and Anglophone philosophers, such as Stanley Cavell, Hannah Arendt, Martin Heidegger, and John Rawls; Shuster reveals how various contemporary television series engage deeply with aesthetic and philosophical issues in modernism and modernity. What unifies the aesthetic and philosophical ambitions of new television is a commitment to portraying and exploring the family as the last site of political possibility in a world otherwise bereft of any other sources of traditional authority; consequently, at the heart of new television are profound political stakes.