Die Poesie ist für Hegel die Endform der Kunst, in der die Kunst im Allgemeinen durch die Religion überwunden wird. Die These, dass die Poesie den anderen Künsten, d.h. der Architektur, der Skulptur, der Malerei und der Musik, überlegen ist, spricht von einer besonderen Hierarchisierung und Periodisierung, die Hegel zwischen die verschiedenen Kunstformen einführt. Das Kriterium für diese Hierarchisierung und Periodisierung ist offensichtlich das gleiche, nach dem Hegel die Kunst wiederum als eine der Religion und der Philosophie unterlegene Form betrachtet. (...) Dass die Poesie eine den anderen Künsten überlegene Kunstform ist, ist auf den ersten Blick eine überraschende These; und sie wirkt noch überraschender, wenn man sie durch die These ergänzt, dass die Kunst wiederum durch die Religion und die Philosophie als weitere Phasen eines linearen Prozesses aufgehoben wird. Um was für einen linearen Prozess handelt es sich hier eigentlich? Ein linearer Prozess wohin? Der Prozess, von dem Hegel in diesem Kontext spricht, ist ein Erkenntnisprozess, und zwar ein ziemlich spezifischer Erkenntnisprozess, nämlich Erkenntnis des Absoluten. Die Poesiegattung, die für Hegel die Endphase der Kunst ausmacht, ist das moderne Drama, in dessen Zentrum die Darstellung des Charakters und der Handlungen seiner verschiedenen Gestalten steht. Was hat das alles aber mit dem Absoluten zu tun? Was haben das Drama und seine Subgattungen - der Tragödie, der Komödie, der Satire usw. - mit Religion und Philosophie zu tun? Hegel verbindet außerdem die Kunst mit dem Absoluten als eine Erkenntnisform desselben. Aber in welchem Sinne ist die Kunst Erkenntnis? Ist Kunst nicht eher Darstellung und Ausdruck subjektiver Gefühle und Ideen - und eben nicht ein Erfassen der Realität, eben nicht eine Erkenntnisform der Wirklichkeit? Um den allgemeinen Sinn von Hegels Ästhetik und dadurch die besondere Rolle, die er darin der Poesie zuschreibt, verstehen zu können, ist es unentbehrlich, die oben gestellten Fragen zu beantworten. Ein theoretisches und exegetisches Modell zu liefern, das imstande ist, eine solche Aufgabe zu erfüllen, ist das Ziel dieses Beitrags. (shrink)

A provision of the Hungarian constitution, adopted in 2011, has renamed the state. The name changed from the Republic of Hungary to Hungary, while the form of the state has remained “republic”. The purpose of this study is to explore the meaning, significance, and several consequences of this provision. The analysis consists of three main parts. The first one gives a general overview of the functions of the names of states. It claims that not only names but also changing or (...) modifying names of states—taking place either by name-giving or by shaping convention—can serve certain functions. The second part focuses on the historical and constitutional details of renaming the Hungarian state, and summarizes the legal context that provided the framework for the 2011 renaming. The third part outlines the arguments for the change, takes a look at the official justification and actual reasons, and reveals some of the consequences of the name change in the past decade. The main contention of the paper is that the renaming of the Hungarian state that took place in 2011 lacked any overt and reasonable justification, and is best explained as an expression of anti-republican sentiment, which indicated, and partly paved the way for the transition into a kind of an authoritarian regime. Finally, the study raises a possible interpretation of the renaming of the Hungarian state in 2011, the point of which is that it adumbrated many later changes in public law and political systems. (shrink)

In the first section of this essay, I offer a brief overview of Hegel’s dozen or so mentions of dance in his Lectures on Aesthetics, focusing on the tension between Hegel’s denigration of dance as an “imperfect art” and his characterization of dance as a potential threat to the other arts. In the second section, I turn to an insightful essay from Hans-Christian Lucas on Hegel’s “Anthropology,” focusing on his argument that the Anthropology’s crucial final sections threaten to undermine Hegel’s (...) entire philosophy. And in the final section, I offer my own reading of the Anthropology, connecting the threads of my previous two sections. More specifically, I attempt to show that Hegel has in effect quarantined dance in what he terms “the dark regions” of madness in “The Feeling Soul.” Overall, I suggest that this quarantining is ultimately as problematic for Hegel as it has been for dance. Because without dance, complete with its associations with people disempowered in their embodiment, this crucial transitional section in the Anthropology remains burdened with a corporeal remainder that problematizes the entire system. Put simply, Hegel must – by his own logic – learn to dance gracefully with those he would rather shun. (shrink)

Part I discusses what kind of ‘advances’ occur in Hegel's works, particularly his Philosophy of Nature. I then discuss evolution and extinction in relation to these advances. I summarize Errol Harris' view that Hegel's advances are consistent with current evolutionary theory and then critique this view using articles by Cinzia Ferinni and Alison Stone. I discuss an alternative, post-Kantian Hegelianism which dialectically unites the nature of our cognition with us as subjects that cognize (spirit). For that, I draw on Hegel's (...) claim that ‘The True is just as much Substance as Subject’, and I show how that claim is complicated in a helpful way when applied to the multiple kinds of ‘subjects’ in the Philosophy of Nature. Part II highlights the implications of biological mass extinction for these differing Hegelian theories. Part III brings the above post-Kantian dialectical Hegelianism together with the final chapter of the Phenomenology of Spirit in order to align Hegelian terminology with current solutions for mass extinction: ‘Absolute Knowing’ is a self-sacrificing and a recollecting that reinstates the subject in and through nature; such knowing generates dialectically holistic logics of survival. This recollection of life produces neither abstract spiritual self-consciousness nor a mere ‘gallery’ of extinct life forms. It is philosophical responsibility, identity through natural differences, Absolute Spirit ‘tarrying’ with its world. 21st century Hegelians should be environmentalists on Hegel's terms, a surprising conclusion given that Hegel did not anticipate environmental problems. Hegel's Philosophy of Nature may in turn help environmentalists argue against unacknowledged and badly conceived philosophies of nature. Hegel's work is not reducible to either naturalism or metaphysical idealism: reading Hegel's Philosophy of Nature in conjunction with his Phenomenology of Spirit reveals ways in which a subject, widely and complexly defined at different levels (including different species), is dialectically inseparable from substance, equally widely and complexly defined. This helps us to understand the natural depths of Spirit, which we are at risk of losing. (shrink)

The development of AI appears to be not only rendering humans obsolete, but in being empowered could decide that humans should be eliminated for the benefit of life and the conditions for its own future. Given the behaviour of humans, this could be seen as a relief to the rest of terrestrial life, as Günter Grass suggested in his novel, The Rat. While there are many reasons to support this contention, in this paper I argue that humans do have the (...) potential to augment rather than undermine terrestrial life, a potential celebrated by the subordinated tradition of the Radical Enlightenment. Rather than accepting the demise of humanity, it is now time to put the Radical Enlightenment into practice. (shrink)

Dance receives relatively little attention in the history of philosophy. My strategy for connecting that history to dance consists in tracing a genealogy of its dance-relevant moments. In preparation, I perform a phenomenological analysis of my own eighteen years of dance experience, in order to generate a small cluster of central concepts or “Moves” for elucidating dance. At this genealogical-phenomenological intersection, I find what I term “positure” most helpfully treated in Plato, Aristotle and Nietzsche; “gesture” similarly in Condillac, Mead and (...) Kristeva; “grace” in Avicenna, Schiller and Dewey; and “resilience” in Fanon, (Judith) Butler and Deleuze. With these analyses in place, I apply the four Moves in analyzing various forms of dancing (including salsa dancing and the pollen dance of the honeybee) and coordinate them to outline a comprehensive philosophy of dance. This philosophy points to certain conditions for an ideally flourishing, dancing society. And these conditions create the possibility for a coalition of sympathetic discourses (including critical race theory, queer theory, disability studies and democratic theory) united in pursuit of political virtue. The development of a philosophy of dance offers a deeper understanding of the intellectual values of a practice often identified with bodily immediacy and therefore judged uninteresting. It also reinvigorates philosophy with the dynamism and bodily relevance of the practice of dancing. Most important, it demonstrates the meaningful intersection of aesthetics and political ethics, by exploring how aesthetic practices underlie and inspire human flourishing. (shrink)

No processo do conhecimento a imaginação desempenha para Hegel o estágio no qual a mente humana dissocia o objeto em dois diferentes conteúdos, o conteúdo-coisa do mundo externo e o conteúdo interno da própria mente, de tal modo que ambas as versões do mesmo devem corroborar-se mutuamemente ao modo de uma síntese simples de elementos heterogéneos que apenas em seu cotejamento reconhecem sua identidade. Na atividade de compreensão, ao contrário, este dualismo é suprassumido e, com ele, o empirismo e a (...) teoria correspondista da verdade que, aos olhos de Hegel, está em sua base. (shrink)