We naturally tend to think of our own opinions as akin to the coins we carry around in our pockets, transferable and yet inalienable. We may share or alter them, yet in form they remain fundamentally our own, sacrosanct as registers of our very sense of self. Hegel was aware of this relationship between opinion and subjectivity, and regarded such a bond as one of the great accomplishments of modernity itself. Yet for Hegel, excessive estimation of inwardness comes at a (...) dangerous price. Truth reducible to subjective and arbitrary will, to caprice and without philosophical reflection, sets, in his view, a corrosive standard for ethics, politics and thinking itself. This essay will excavate from Hegel's corpus the conceptual groundwork for a critical theory of opinion relevant for the twenty-first century. The overall aim is to offer a holistic reading of Hegel's critique of opinion by drawing on both his early and late writings, tracking its appearance as an initial critique of subjectivism but subsequently developed in his political philosophy. We begin with Hegel's polemics during the Jena years and unearth opinion as an index for self-certitude. Second, we proceed to a focused analysis of Elements of the Philosophy of Right, paying particular attention to what Hegel describes as the contradiction of public opinion. Thirdly, Hegel's epistemological critique of opinion will be synthesized with his political critique of public opinion by returning to the category of certainty, not as a certainty found in an individual opinion, but a certainty in one's own subjective standpoint, while employing elements from Adorno's critique of epistemology. We will conclude by examining the contradiction of public opinion specifically in accordance with the historical conditions of civil society and therewith begin to situate the socio-epistemological problem of opinion as historically specific to capitalist society. (shrink)

This essay excavates the pre-capitalist influences of the thought of Guy Debord, French postwar critical theorist and founding member of the Situationist International. Tracing a lineage of what can be described as Debord’s aristocratic sensibility, we discover not simply an aesthetic approach to navigating social life, or guidelines for outmanoeuvring an adversary, but also contempt for honest labour, monetary transactions in cultural affairs, and conventional political gestures. Together these themes remain part of a legacy of an aristocratic past, one that, (...) as will be examined here, informed Debord’s acrimony towards his own mid-20th-century moment. The following discussion will advance a genealogy of Debord’s thinking with these themes from late antiquity to the Italian Renaissance, and finally with an extended examination of the baroque, a concept that helps advance Debord’s diagnostic concept of the society of the spectacle. (shrink)