Abstract

Charles Taylor’s conception of the relationship between democracy and social creativity developed through a critical synthesis of various traditions, including the Romantic Movement and liberal political philosophy. However, it is argued that Taylor’s understanding of the implications of religion and revolution significantly differentiates his standpoint from that of pragmatism and theories of democratic creativity. Taylor’s defence of religious transcendence is shown to give rise to tensions with the latter perspective. The theorists of democratic creativity suggest that democracy originates in the rupturing of religious significations and their closure of meaning. Taylor essentially inverts these arguments and perceives that the loss of transcendence may lead to a closed world structure. Taylor claims that the dilemmas of the modern immanent frame were prefigured in the French Revolution’s inability to generate an institutional form consistent with its understanding of democracy and that social creativity should be qualified in light of this historical experience