This brilliant study of the stages in the mind's necessary progress from immediate sense-consciousness to the position of a scientific philosophy includes an introductory essay and a paragraph-by-paragraph analysis of the text to help the reader understand this most difficult and most influential of Hegel's works.
A modern, highly readable translation of a primary text in Western philosophy. Complete translation in English with introduction, notes and glossary. The glossary is keyed to the primary occurrences of important terms in the text and provides insights into the concepts beyond the translation, especially useful pedagogical device for students coming to Hegel for the first time. Focus Philosophical Library translations are close to and are non-interpretative of the original text, with the notes and a glossary intending to provide the (...) reader with some sense of the terms and the concepts as they were understood by Hegel’s immediate audience. (shrink)
The appearance of this translation is a major event in English-language Hegel studies, for it is more than simply a replacement for Wallace's translation cum paraphrase. Hegel's Prefaces to each of the three editions of the Enzyklopädie are translated for the first time into English. There is a very detailed Introduction translating Hegel's German, which serves not only as a guide to the translator's usage but also to Hegel's. Also included are a detailed bilingual annotated glossary, very extensive bibliographic and (...) interpretive notes to Hegel's text, an Index of References for works cited in the notes, a select Bibliography of recent works on Hegel's logic, and a detailed Index. The translation is guided by the principle that rendering Hegel’s logical thought clearly and consistently requires rendering his technical terms logically.... This ought immediately to become the standard translation of this important work. --Kenneth R. Westphal, in _Review of Metaphysics_. (shrink)
This edition of a recently discovered manuscript provides the first full look at Hegel's Philosophy of Subjective Spirit. The lectures of 1827 go far beyond Hegel's previously published Encyclopedia outline, and provide a new introduction to the Philosophy of Spirit. Robert Williams's translation will stimulate interest in a neglected area in Hegel scholarship, but one to which Hegel himself attached special importance and significance.
In this essay, Hegel attempted to show how Fichte’s Science of Knowledge was an advance from the position of Kant in the Critique of Pure Reason, and how Schelling (and incidentally Hegel himself) had made a further advance from the position of Fichte.
In his Aesthetics Hegel gives full expression to his seminal theory of art. He surveys the history of art from ancient India, Egypt, and Greece through to the Romantic movement of his own time, criticizes major works, and probes their meaning and significance; his rich array of examples gives broad scope for his judgement and makes vivid his exposition of his theory. The substantial Introduction is Hegel's best exposition of his general philosophy of art, and provides the ideal way into (...) his Aesthetics. In Part I he considers the general nature of art: he distinguishes art, as a spiritual experience, from religion and philosophy; he discusses the beauty of art and differentiates it from the beauty of nature; and he examines artistic genius and originality. Part II provides a sort of history of art, divded into three periods called Symbolic, Classical, and Romantic. Part III deals individually with architecture, scuplture, painting, music, and literature. (shrink)
The play contains two different fates of Wallenstein—the first, the fate of the determinate progress of a decision, the second, the fate of this decision and the forces opposing it. Each can be taken as a tragic whole in itself. The first: Wallenstein, a great man—for as his own man, as an individual, he has held command [geboten] over many men—appears as this being in command [gebietende], with the splendor and enjoyment of this reign, mysterious because he holds no mystery. (...) The determinate divides itself, of necessity, against his indeterminateness, into two branches, the first internal, the second external. The internal is not a struggle for determination but a fermenting of it; he has personal stature, fame as a commander, as the deliverer of an empire through individuality, command over many who obey him, the fear of friend and foe; he is himself above [erhaben] determination as subject to the emperor and state he has delivered, still less to fanaticism; his plans themselves must be still higher [erhaben]; what determination can satisfy him? He prepares for himself the means for the greatest [end] of his time, to confer [gebieten], in general, peace upon Germany, and, in particular, to acquire for himself a kingdom, and for his friends—comparable rewards.—[But] his higher [erhabene], self-sufficient soul plays [spielende] with the greatest end, and, for this reason, it is without character and can grasp no end, it searches for something higher to prod it. The independent man, who is yet alive and no monk, wants to shift the guilt of determination from himself, and, if there is nothing that can command [gebieten] him—there can be no such thing—then he creates for himself what will command [gebiete] him. Wallenstein seeks his decision, his action and his fate, in the stars. Precisely the one-sidedness of indeterminate being in the midst of nothing but determinateness, independence within nothing but dependences, brings him into relation with a thousand determinations; his friends built these up into ends that become his, his enemies too, against which they must however fight; and this determination, which has developed itself in the fermenting matter—for these are human beings—binds him and renders him dependent, it is not something he created, rather it seizes him. This succumbing of the indeterminate before the determinate is a highly tragic being, it is posited as great and of consequence.—In this, reflection will not justify genius, only present it. The impression of this as a tragic whole stands out for me very vividly. If this whole were a novel, then one could demand to see the determination clarified,—namely, that which Wallenstein has brought to this rule over the people. They are fettered by greatness, lack of determination, his boldness for their sake. It is however part of the play, yet cannot be acted out dramatically, i.e., appear as determining and at the same time determinate. It appears only as a shadow-play [Schattenbild], as it is called in the Prologue, perhaps in a different sense; but the camp is this rule, as something that came into being [gewordenes], a product. (shrink)