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Discourse ethics is originally conceived as a programme of philosophical justification of morality. This depends on the formal derivation of the moral principle (U) from non-moral principles. The moral theory is supposed to fall out of a pragmatic theory of meaning. The original programme plays a central role in Habermas's social theory: the moral theory, if true, provides good evidence for the more general theory of modernization. But neither Habermas nor his followers have succeeded in providing a formal derivation. This essay shows how and why Habermas's proposed derivation is impossible. As if aware of the lacuna, Habermas has recently suggested that (U) can be derived by 'abduction' rather than deduction. The proposal draws heavily on modernization theory; hence the only justification for (U) now available to him rests on premises drawn from that theory. The original programme of the justification of morality has thus given way to the weaker programme of the philosophical elucidation of morality. Further, since Habermas's moral theory is no longer justified independently of modernization theory, but at least partly by it, the moral theory cannot without circularity provide evidence for the modernization theory.

Hegel divides his Aesthetics up into a consideration of the ideal of fine art, a discussion of the three particular art forms which this ideal takes -- the symbolic, the [...]

Adorno's saying that 'art is the promise of happiness' radiates into every corner of his work from his aesthetic theory to his critical theory of society. However, it is much misunderstood. This can be seen from the standard answer to the question: in virtue of what formal features do art works, according to Adorno, promise happiness? The standard answer to this question suggests that the aesthetic harmony occasioned by the organic wholeness of the form realized in the artwork contrasts with and throws into relief the antagonistic nature of society. The trouble is that this answer is flatly incompatible with Adorno's historicism and central components of his aesthetic modernism, including his critique of classicism, and his negativism. I propose a re-interpretation of Adorno's thesis that art is the promise of happiness that overcomes these difficulties. [ABSTRACT FROM AUTHOR]

The article examines criticism pointed towards the social theory developed in the book “The Theory of Communicative Action” (TCA) by German sociologist and philosopher Jürgen Habermas published in 1981. The author analyzes the normative grounds of Habermas’s ideas and of arguments put forward by his critics. Comments by several theorists are referenced and discussed, including Herbert Schnädelbach, Charles Taylor, and Maeve Cooke.