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The aesthetic theory in Franz Rosenzweig's Star of Redemption remains a conundrum to Rosenzweig's interpreters, both in terms of its relation to the Jewish philosophical tradition and in terms of its German cultural and philosophical context.1 Can the Star's emphasis on aesthetics be reconciled with the Jewish philosophical tradition's, and most particularly with the German-Jewish, aversion to image-making? Does the Star even have a unified aesthetic theory, or are there several aesthetic theories reflected in the three parts of the Star? If the Star can be said to have a unified aesthetic theory, is it significantly different from any of a number of Rosenzweig's Romantic influences, and Schelling's most specifically?2 This essay attempts to address these issues by way of two interrelated claims. First, I argue that the Star's aesthetic theory bears its closest resemblance to Hermann Cohen's, in form though not in content. Second, recognizing this formal affinity between what I label Rosenzweig's and Cohen's ethical monotheisms points to the connection between Rosenzweig's
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