Part Two contains the text-in German and English-of the first two chapters of Hegel's Logic, which cover such categories as being, becoming, something, limit, ...
This classic introduction to one of the most influential modern thinkers, G.W.F. Hegel has been made even more comprehensive through the addition of four new chapters. New edition of a classic introduction to Hegel. Enables students to engage with many aspects of Hegel’s philosophy. Covers the whole range of Hegel’s mature thought. Relates Hegel’s ideas to other thinkers, such as Luther, Descartes and Kant. Offers a distinctive and challenging interpretation of Hegel’s work.
Hegel's Philosophy of right concerns ideas on justice, moral responsibility, family life, economic activity and the political structure of the state. He shows how human freedom involves living with others in accordance with publicly recognized rights and laws.
Brandom's interpretation of Hegel in Tales of the Mighty Dead is subtle, tightly argued and hugely impressive. It takes no account, however, of Hegel's distinctive conception of phenomenology and as a result - for all its subtlety - offers a somewhat distorted picture of Hegel. In the opening chapters of Hegel's Phenomenology we learn that perception is committed as much to the unity of differences as to exclusive difference, that neither perception nor understanding is committed to holism as Brandom understands (...) it, and that the understanding is not governed by the law of non-contradiction but in fact understands the world to be a thoroughly contradictory place. All of this, however, gets lost sight of in Brandom's de re interpretation of Hegel's Phenomenology. (shrink)
In this essay I argue that Hegel criticizes Kant for failing to carry out a thorough critique of the categories of thought. In Hegel's view, Kant merely limits the validity of the categories to objects of possible experience, but he does not challenge the way in which the ‘understanding’ conceives of those categories and other concepts. Indeed, for Hegel, Kant's limitation of the validity of the categories itself presupposes the sharp distinctions, drawn by understanding, between concepts such as ‘form’ and (...) ‘matter’ or ‘subjective’ and ‘objective’. I note that Hegel does not do complete justice to Kant's concept of the ‘thing in itself’ or to his conception of ‘critique’, but I argue that his criticism of Kant is none the less correct. (shrink)
In this essay, I examine Robert Williams’s account of Hegel’s concept of divine “personhood.” I endorse Williams’s claims that God, for Hegel, is not a person but exhibits only personhood, and that divine personhood realises itself in a human community based on mutual recognition. I take issue, however, with Williams’s further claim that Hegel also takes God and humanity to stand in a relation of mutual recognition to one another, since this claim, in my view, risks turning God into a (...) person after all. To conclude, I briefly consider a difference between Williams and myself concerning the relation of right to mutual recognition. (shrink)
This volume focuses on Hegel's philosophy of action in connection to current concerns. Including key papers by Charles Taylor, Alasdair MacIntyre, and John McDowell, as well as eleven especially commissioned contributions by leading scholars in the field, it aims to readdress the dialogue between Hegel and contemporary philosophy of action. Topics include: the nature of action, reasons and causes; explanation and justification of action; social and narrative aspects of agency; the inner and the outer; the relation between intention, planning, and (...) purposeful behaviour; freedom and responsibility; and self-actualisation. This book will appeal alike to Hegel scholars and philosophers of action. List of Contributors: Katerina Deligiorgi, Stephen Houlgate, Dudley Knowles, Arto Laitinen, Alasdair Macintyre, John Mcdowell, Francesca Menegoni, Dean Moyar, Terry Pinkard, Robert B. Pippin, Michael Quante, Constantine Sandis, Hans-Christoph Schmidt Am Busch, Allen Speight, Charles Taylor, Allen W. Wood. (shrink)
The aim of this article is to explain why, in Hegel's view, art's history brings it to the point at which it can no longer afford the highest satisfaction of our spiritual needs and so fulfill its own highest calling, and why, nevertheless, we moderns still need art and still need it to create beauty. I argue that Hegel advocates a modern art of beauty because he believes that what has to be given aesthetic expression in the modern world is (...) concrete human freedom and life and that the aesthetic expression of such concrete human freedom entails beauty. (shrink)
Stephen Houlgate is one of the leading Hegel scholars of the English-speaking world. In this interview he explains how he became a “Hegelian” while studying in Cambridge, and he offers a fundamental profile of his account of Hegel. The interview addresses the following questions: Why does Houlgate consider Hegel’s philosophy to be the “consummate critical philosophy”? What are the main barriers to a proper access to Hegel’s thought? Why is logic as dialectical logic still indispensable for philosophical thought? And finally, (...) what can both analytical and “continental” philosophers learn from Hegel? (shrink)
In this essay I challenge John McDowell’s controversial claim that “the real topic” of Hegel’s master/slave dialectic is the relation between “two aspects of the consciousness of a single individual.” I first consider McDowell’s interpretation of Kant, and then, by analysing briefly Hegel’s account of self-consciousness prior to the master/slave dialectic, I defend the more traditional view that that dialectic describes the relation between two separate individuals. I also criticize McDowell’s conception of absolute knowing, which, as I understand it, underlies (...) his contention that the master/slave dialectic examines the relation between apperceptive spontaneit y and empirical consciousness within a single self. (shrink)
This study of Hegel and Nietzsche evaluates and compares their work through their common criticism of the metaphysics for operating with conceptual oppositions such as being/becoming and egoism/altruism. Dr Houlgate exposes Nietzsche's critique as employing the distinction of Life and Thought, which itself constitutes a metaphysical dualism of the kind Nietzsche attacks. By comparison Hegel is shown to provide a more profound critique of metaphysical dualism by applying his philosophy of the dialectic, which sees such alleged opposites as defining components (...) of a dynamic. In choosing to study a theme so fundamental to both philosophers' work, Houlgate has established a framework within which to evaluate the Hegel-Nietzsche debate; to make the first full study of Nietzsche's view of Hegel's work; and to compare Nietzsche's Dionysic philosophy with Hegel's dialectical philosophy by focusing on tragedy, a subject central to the philosophy of both. (shrink)
William Desmond maintains that preserving the difference between God and humanity means retaining the transcendent otherness of God. In this article, by contrast, I argue that Hegel is right to maintain that insisting on God’s transcendent otherness actually turns God into a finite divinity and so eliminates the very difference Desmond wishes to retain. The only way to preserve the genuine difference between God and humanity, therefore, is to give up the idea that God is a transcendent other and to (...) understand him to be immanent in humanity itself. I argue that this Hegelian position is closer to the orthodox Christian understanding of God than Desmond allows. (shrink)
Hegel, Derrida, and Restricted Economy: The Case of Mechanical Memory STEPHEN HOULGA'FE A GLANCE AT THE TEXTS OF Jacques Derrida and at the texts and lectures of G. W. F. Hegel indicates that Hegel and Derrida are extraordi- narily different thinkers. Hegel is clearly what Derrida would regard as a philosopher of presence, working toward the point "where knowledge no longer needs to go beyond itself, where knowledge finds itself," where con- sciousness is present to itself as it is in (...) itself. 1 Derrida, on the other hand, suggests that everything that is present, here, now, at this moment, bears within it, as constitutive features of itself, the marks or traces of what is irredeemably past, and that, consequently, we can never talk of entities such as ourselves being simply or wholly present to themselves. ~ Derrida claims in Positions that he tries hard to distinguish "diff6rance" from tlegelian "differ- ence," indeed that "diff~rance" might well be defined precisely as "the inter- ruption, the destruction of Hegelian sublation [relive] wherever it operates"; and, to judge at least from the look of his texts, he would seem to have G. W. F. Hegel, Werke in zwamag B~inden, edited by E. Moldenhauer and K. M. Michel, 20 vols. and Index , Ill [Phi~nomenologie des Geistes], 74. For the English translation, see Hegel, Phenomenolog) of Spirit, translated by A. V. Miller, with analysis of the.. (shrink)
In this essay I argue that Hegel’s Philosophy of Nature combines four elements. Hegel develops (1) an a priori account of the logical determinations immanent in and peculiar to nature—determinations that incorporate (but are not reducible to) (2) the determinations set out in the Logic. Hegel then points to (3) the empirical phenomena corresponding to each determination and so proves indirectly that such phenomena are necessary. Finally, he draws attention to (4) those aspects of nature that cannot be explained by (...) nature’s immanent logic and so are contingent. In this way, I argue, Hegel demonstrates a priori that certain natural processes are made necessary by the distinctive logic of nature, but he also recognizes that there are contingencies in nature that only empirical science can discover. (shrink)
That aesthetics is central to Hegel's philosophical enterprise is not widely acknowledged, nor has his significant contribution to the discipline been truly appreciated. Some may be familiar with his theory of tragedy and his doctrine of the "end of art," but many philosophers and writers on art pay little or no attention to his lectures on aesthetics. The essays in this collection, all but one written specifically for this volume, aim to raise the profile of Hegel's aesthetic theory by showing (...) in detail precisely why that theory is so powerful. Writing from various perspectives and not necessarily aligned with Hegel's position, the contributors demonstrate that Hegel's lectures on aesthetics constitute one of the richest reservoirs of ideas about the arts, their history, and their future that we possess. Addressing a range of important topics, the essays examine the conceptual bases of Hegel's organization of his aesthetics, his treatment of various specific arts, and several of the most famous issues in the literature--including the "end of art" thesis, the relation between art and religion, and the vexed relationship between Hegel and the romantics. Together they shed light on the profound reflections on art contained in Hegel's philosophy and also suggest ways in which his aesthetics might resonate well beyond the field of philosophical aesthetics, perhaps beyond philosophy itself. (shrink)
In this response, I accept some of McDowell’s criticisms of my presentation of his views in my essay, but argue that his understanding of Hegel remains problematic. In particular, I claim that he fails to see that, for Kant, intuitional unit y is inseparable from judging; that his understanding of Hegelian absolute knowing is wrong as it stands ; that he fails to see that self-consciousness aims, not to overcome the specific antithesis between self-consciousness and the empirical world, but to (...) achieve explicit consciousness of itself in its relation to what is other, and that this requires it to relate to another self-consciousness; and that the implications of his idea that Hegel’s account of the life and death struggle and the master/slave relation is “allegorical” remain unclear. (shrink)
This companion provides original, scholarly, and cutting-edge essays that cover the whole range of Hegel's mature thought and his lasting influence. * A comprehensive guide to one of the most important modern philosophers * Essays are written in an accessible manner and draw on the most up-to-date Hegel research * Contributions are drawn from across the world and from a wide variety of philosophical approaches and traditions * Examines Hegel's influence on a range of thinkers, from Kierkegaard and Marx to (...) Heidegger, Adorno and Derrida * Begins with a chronology of Hegel's life and work and is then split into sections covering topics such as Philosophy of Nature, Aesthetics, and Philosophy of Religion. (shrink)
The aim of this article is to explain why, in Hegel's view, art's history brings it to the point at which it can no longer afford the highest satisfaction of our spiritual needs and so fulfill its own highest calling, and why, nevertheless, we moderns still need art and still need it to create beauty. I argue that Hegel advocates a modern art of beauty because he believes that what has to be given aesthetic expression in the modern world is (...) concrete human freedom and life and that the aesthetic expression of such concrete human freedom entails beauty. (shrink)
G.W.F. Hegel's aesthetics, or philosophy of art, forms part of the extraordinarily rich German aesthetic tradition that stretches from J.J. Winckelmann's Thoughts on the Imitation of the Painting and Sculpture of the Greeks and G.E. Lessing's Laocoon through Immanuel Kant's Critique of the Power of Judgment and Friedrich Schiller's Letters on the Aesthetic Education of Man to Friedrich Nietzsche's Birth of Tragedy and Martin Heidegger's The Origin of the Work of Art and T.W. Adorno's Aesthetic Theory. Hegel was influenced in (...) particular by Winckelmann, Kant and Schiller, and his own thesis of the “end of art” has itself been the focus of close attention by Heidegger and Adorno. Hegel's philosophy of art is a wide ranging account of beauty in art, the historical development of art, and the individual arts of architecture, sculpture, painting, music and poetry. It contains distinctive and influential analyses of Egyptian art, Greek sculpture, and ancient and modern tragedy, and is regarded by many as one of the greatest aesthetic theories to have been produced since Aristotle's Poetics. (shrink)
RESUMEN Largamente desatendida o malinterpretada, la noción de caos en la filosofía de Nietzsche es una pieza constitutiva de la particular concepción del ser que este autor habría dejado apenas esbozada. El artículo se propone elaborar este concepto en la obra nietzscheana, siguiendo algunas de las metáforas que lo iluminan. Desde allí se busca plantear los rasgos centrales de una ontologia del caos, de sesgo no metafísico, que, al afirmar el carácter acontecimental de la realidad, puede verse como precursora de (...) la ontología hermenéutica contemporánea. ABSTRACT The notion of chaos, which has long been neglected or misinterpreted, is a constitutive element of a peculiar conception of being that the philosopher only had time to outline. The objective of this article is to elaborate on this concept in Nietzschean philosophy, guided by some of the metaphors that shed light on it. This serves as the basis to set forth the main characteristics of a non-metaphysical ontology of chaos that asserts the eventful nature of reality and can thus be seen as a precursor of contemporary hermeneutic ontology. (shrink)
