This volume gathers a collection of fourteen original articles discussing the concept of drive in classical German philosophy. Its aim is to offer a comprehensive historical overview of the concept of drive at the turn of the 19th century and to discuss it both historically and systematically. From the 18th century onward, the concept of drive started to play an important role in emerging disciplines such as biology, anthropology, and psychology. In these fields, the concept of drive (...) was used to describe the inner forces of organic nature, or, more particularly, human urges and desires. But it was in the period of classical German philosophy that this concept developed into an important philosophical concept crucial to Kant’s and post-Kantian idealistic systems. Reflecting the complexity of this concept, the volume first discusses historical sources of drive theories in Leibniz, Reimarus, and Blumenbach. Afterwards, the volume presents the philosophical accounts of drives in Kant, Fichte, Schelling, and Hegel, and also gives a systematic overview of other important drive theories that were formed around 1800 by Herder, Goethe, Jacobi, Novalis, Reinhold, Schiller, and Schopenhauer. (shrink)

It is the aim of this work to examine the pivotal role of Johann Joachim Winckelmann (1717-1768) as a judge of classical sculpture and as a major contributor to German art criticism. John Harry North seeks to identify the key features of his treatment of classical beauty, particularly in his famous descriptions of large-scale classical sculpture. Five case studies are offered to demonstrate the academic classicism that formed the core of his philosophy of art. North (...) aims to establish Winckelmann's place in the development of the German language. His prose contributed to a literary style that was suitable for the expression of an emotional response to visual experiences. His use of rhetoric in the assessment of classical art, however, make his judgements propagandist rather than analytical. The published works of Winckelmann, his draft essays and his collected private correspondence are advanced as criteria in the evaluation of his impact on the development of German classicism that culminated in the Weimar group of poets and writers. His Grecophile enthusiasm, however, led him to introduce stylistic categories in the development of classical marble sculpture that are no longer regarded as truly reflecting the evolution of Greco-Roman art. Thus his historicity and his classification of styles remain in doubt. Winckelmann proposed that the training of modern artists should concentrate on the observation and imitation of classical models instead of looking to nature as the source of inspiration. This plan succeeded to some extent in the generation that followed his untimely death. Throughout the succeeding century, artists and their sponsors did favour classical models and developed stylistic classicism in European freestanding sculpture, in painting and in architecture. (shrink)

This book offers the first comprehensive exploration of the relevance of naturalism and theories of nature in Classical German Philosophy. It presents new readings from internationally renowned scholars on Kant, Jacobi, Goethe, the Romantic tradition, Fichte, Schelling, Hegel, and Marx that highlight the significance of conceptions of nature and naturalism in Classical German Philosophy for contemporary concerns. The collection presents an inclusive view: it goes beyond the usual restricted focus on single thinkers to encompass (...) the tradition as a whole, prompting dialogue among scholars interested in different authors and areas. It thus illuminates the post-Kantian tradition in a new, wider sense. The chapters also mobilize a productive perspective at the intersection of philosophy and history by combining careful textual and historical analysis with argument-based philosophizing. Overall, the book challenges the stereotypical view that Classical German Philosophy offers at best only an idealistic, one-sided, anachronistic, and theological view of nature. It invites readers to put traditional views in dialogue with current discussions of nature and naturalism. Nature and Naturalism in Classical German Philosophy will be of interest to scholars and advanced students working on Classical German Philosophy, 19th-Century Philosophy, and contemporary perspectives on naturalism. (shrink)

In this paper I propose to study the different combinations between temporality and the idea of totality in the beginning of Classical German Philosophy. In order to do that I will analyze the image of liberation in the philosophical and practical articulation of a new mythology in the manuscript “The Oldest Systematic Program of German Idealism”, and the outlines of a theory of the Spirit in the documents written by Hegel in the first part of his (...) Jena stage, more specifically, in the fragments of the period 1803/04. For this purpose I will take as specific objects the figures of an “eternal unity” [die ewige Einheit] to come and of an “absolute becoming” [das absolute Werden] of Spirit. The hypothesis I intend to develop holds that the confrontation of these two images can lead to duplicated consequences: on the one hand, this comparison would make it possible to relativize the binary readings that oppose as terms of a simple contradiction both conceptual lineages, Idealism and Romanticism. On the other hand it would express an insurmountable tension between two ways of thinking about the relationship between time and totality. (shrink)

German Idealism began with Leibniz and lasted until Schopenhauer, with a few central European after-shocks in the work of Husserl and his followers. That great epoch in German philosophy coincided with a great epoch in German music. It is scarcely surprising, therefore, that Idealist philosophers should have paid special attention to this art form. Looking back on it, is there anything of this prolonged encounter between music and philosophy that we can consider to be a (...) real advance, and one that we should draw on? Many have thought so, not least because Idealism, as it matured in the post-Kantian period, inherited the adulation for art in general, and music in particular, that we find in the writings of the German Romantics, notably in Schiller, Tieck and Wackenroder. The post-Kantian Idealists connected aesthetic experience with their claims to reveal the secret meaning of things, in the infinite, the absolute, the transcendental, the ineffable or some other such object of a quasi-religious devotion. Such we find in the writings of Schelling, Fichte, Hegel and Schopenhauer, the last of whom made music not only an object of philosophy, but a prime example of it. Music, Schopenhauer wrote, is not unconscious arithmetic, as Leibniz had claimed, but unconscious philosophy, since in music the inner essence of the world, which is will, is made directly present to the intellect. (shrink)

The first study of its kind, The Impact of Idealism assesses the impact of classical German philosophy on science, religion and culture. This third volume explores German Idealism's impact on the literature, art and aesthetics of the last two centuries. Each essay focuses on the legacy of an idea or concept from the high point of German philosophy around 1800, tracing out its influence on the intervening period and its importance for contemporary discussions. As (...) well as a broad geographical and historical range, including Greek tragedy, George Eliot, Thomas Mann and Samuel Beckett, and key musicians and artists such as Wagner, Andy Warhol and Frank Lloyd Wright, the volume's thematic focus is broad. Engaging closely with the key aesthetic texts of German Idealism, this collection uses examples from literature, music, art, architecture and museum studies to demonstrate Idealism's continuing influence. (shrink)

This volume is dedicated to questions about the nature and method of metaphysics in Classical German Philosophy. Its chapters offer original investigations into the metaphysical projects of many of the major figures in German philosophy between Wolff and Hegel. The period of Classical German Philosophy was an extraordinarily rich one in the history of philosophy, especially for metaphysics. It includes some of the highest achievements of early modern rationalism, Kant's critical revolution, (...) and the various significant works of German Idealism that followed in Kant's wake. The contributions to this volume critically examine certain common themes among metaphysical projects across this period, for example, the demand that metaphysics amount to a science, that it be presented in the form of a system, or that it should proceed by means of demonstration from certain key first principles. This volume also includes material on influential criticisms of metaphysical projects of this kind. Metaphysics as a Science in Classical German Philosophy is a useful resource for contemporary metaphysicians and historians of philosophy interested in engaging with the history of the methodology and epistemology of metaphysics. (shrink)

According to the accepted view the enterprise of Naturphilosophie was one of the weakest points of German idealism. The idealists stood on firmer ground in venturing upon transcendental reflection and the ensuing reformulation of classical epistemology, or in probing the nature of human freedom and the metaphysics of spirit via innovative analyses of historical-social development in politics, art, religion, and philosophy itself. But they were maladroit at bringing the burgeoning knowledge of the natural sciences within the scope (...) of their systems. Schelling is singled out as a particular villain for foisting speculative schemas and fanciful theories upon the contemporary understanding of nature. Joseph Esposito sets himself steadfastly against this received opinion, seeking instead to rehabilitate the sullied reputation of Schelling’s Naturphilosophie. (shrink)

The first study of its kind, The Impact of Idealism assesses the impact of classical German philosophy on science, religion and culture. This volume explores German Idealism's impact on philosophy and scientific thought. Fourteen essays, by leading authorities in their respective fields, each focus on the legacy of a particular idea that emerged around 1800, when the underlying concepts of modern philosophy were being formed, challenged and criticised, leaving a legacy that extends to all (...) physical areas and all topics in the philosophical world. From British Idealism to phenomenology, existentialism, pragmatism and French postmodernism, the story of German Idealism's impact on philosophy is here interwoven with man's scientific journey of self-discovery in the nineteenth and early twentieth centuries – from Darwin to Nietzsche to Freud and beyond. Spanning the analytical and Continental divide, this first volume examines Idealism's impact on contemporary philosophical discussions. (shrink)

Heidegger’s Kant and the Problem of Metaphysics (1929) turns on a reading of the productive imagination in the first edition of the Critique of Pure Reason (1781). In siding with the imagination, Heidegger declares his dissent from the neo-Kantianism of his contemporaries. Yet, when Heidegger subsequently elaborates his philosophy of art in the 1930s, he is dismissive of the imagination altogether. His earlier partisanship was qualified. In Kant and the Problem of Metaphysics, Heidegger treats the productive imagination of Kant’s (...) critical period as still a step short of Heidegger’s own problem of the time of finite human beings. German Idealism’s step past Kant is, for Heidegger, a step beyond, but in the wrong direction. The aesthetics of German Idealism builds on the unification of experience and conceptuality wrought by the productive imagination in its transcendental use, thereby inscribing in the work of art a neglect of finitude that Heidegger will dispute. If what Heidegger holds against the imagination is its transcendental use, the fully empirical concept of the imagination in Kant’s precritical writings invites reassessment in light of an engagement with finitude. I will show it has particular promise for rehabilitating the imagination in a Heideggerian philosophy of art. (shrink)

The importance of Lukács’ interpretation of classical German philosophy and Marx is almost self-evident. Although Marxists are frequently content to dismiss with contempt a philosophical tradition with which they display scant acquaintance, Lukács’ knowledge of philosophy is obviously extensive. His writings contain what is perhaps the most detailed discussion of the history of philosophy from a Marxist perspective. Further, his influence on the interpretation of Marx has been unequaled over the course of more than fifty (...) years, ever since the appearance of his epoch-making book, History and Class Consciousness. A case in point is provided by Sartre’s and Habermas’ respective attempts to reconstruct Marx’s position. Although the proposed reconstructions are vastly different, they are alike in their dependence on Lukács’ interpretation of Marx. (shrink)

This paper offers a critical discussion of Jonathan Israel’s thesis that the political and moral ideas and values which define liberal democratic modernity should be regarded as the legacy of the Radical Enlightenment and thus as deriving from Spinoza. What I take issue with is not Israel’s map of the actual historical lines of intellectual descent of ideas and account of their social and political impact, but the accompanying conceptual claim, that Spinozism as filtrated by the naturalistic wing of eighteenth-century (...) French thought, is conceptually sufficient for the ideology of modernity. The post-Kantian idealist development, I argue, qualifies as radical, and hinges on Spinoza, but its construal of Spinoza does not fit Israel’s thesis, and reflects an appreciation of the limitations, for the purpose of creating a rational modernity, of the naturalistic standpoint represented by thinkers such as d’Holbach. (shrink)

This essay examines the presence of Kant, Fichte, Schelling and Hegel in Merleau-Ponty’s thought. The perspective adopted here is methodological. Central to this is the choice of “transcendental phenomenology,” understood as a rehabilitation of the idealism and subjectivism proper to the transcendentalism of Kant and Fichte—the choice by which Merleau-Ponty refuses to abandon transcendental philosophy, like Hegel on the contrary did with his dialectical-speculative philosophy, and follows instead the phenomenological perspective suggested for the first time by Schelling.

Over the last two decades there has been a growing interest in the transcendental dialectic of Critique of Pure Reason in Germany. Authors, however, often do not pay enough attention to the fact that Kant’s theory of reason (in the narrow sense) and the concept of ideas derived from it is not limited to this text. The purpose of this article is to compare and analyze the functionality of mind as a subjective ability developed by Kant and Fichte with the (...) Hegelian expansion of the mind to the idea of universal rationality. The relevance of such a comparison is connected with the need to demonstrate how the Hegelian paradigm of absolute rationality causes either the subsequent rejection of reason as a philosophical principle in the 19th and´20th centuries counter-discourse, or reduction of reason to the concept of pragmatic rationality. In the first part of this paper, the author intends to differentiate between at least 7 different types of ideas and their functions in Kant’s works. In the second part, he demonstrates how Fichte tries to systematize them beginning with reason, which at first creates an idea of itself. Special attention is paid to the way that Fichte categorizes them with the help of 5 spheres of action or 5 worldviews. The third and final part of the article discusses how Hegel goes beyond the frame of the transcendental philosophy of consciousness using different demands linked to the concepts of “reason” and “ideas”. Although these requirements are not found in Kant and Fichte, they entail a set of difficulties, which the author considers in conclusion. The author’s interpretation of the theory of ideas and their functions in Kant, Fichte and Hegel demonstrates the dynamic character of the theories of reason in classical German philosophy, as well as the relevance of the 7 types of ideas that retain their significance for philosophy of the 21st century. Keywords: Kant and German idealism, types of ideas, functions of reason, worldviews, the problem of different demands. В Германии на протяжении последних двух десятилетий возрос интерес к трансцендентальной диалектике «Критики чистого разума». Однако авторы часто не обращают внимания на то, что кантовская теория разума (в узком смысле), в которой разворачивается работа с идеями, не ограничивается этим текстом. Целью данной статьи является сравнительный анализ разработанной Кантом и Фихте функциональности разума как субъективной способности с гегелевским расширением разума до идеи всеобщей разумности. Актуальность такого сравнения связана с необходимостью продемонстрировать то, каким образом гегелевская парадигма абсолютной разумности вызывает либо последующий отказ от разума как философского принципа в контрдискурсе XIX–XX вв., либо редукцию разума к понятию прагматической рациональности. В первой части данной статьи вводится различение по меньшей мере семи различных видов идей и связанных с ними функций в философии Канта. Во второй части демонстрируется попытка Фихте их систематизировать исходя из утверждения том, что разум должен сначала создать идею о самом себе. Проанализировано также предложенное Фихте распределение идей на пять сфер действенности или типов мировоззрения. В третьей, итоговой части статьи рассмотрен выход гегелевской мысли за рамки трансцендентальной философии сознания. Автор статьи связывает этот процесс с выдвижением не осуществимых в контексте философии Канта и Фихте требований к понятиям «разум» и «идея» и анализирует ряд сложностей, вызванных этими требованиями. Таким образом, интерпретация учения об идеях и их функциях у Канта, Фихте и Гегеля демонстрирует динамический характер теорий разума в классической немецкой философии и актуальность семи видов идей, которые сохраняют свое значение для философии XXI в. Ключевые слова: Кант и немецкий идеализм, виды идей, функции разума, мировоззрение, проблема различных требований. (shrink)

Despite Hegel’s effusive praise for art as one of the ways humans express truth, art by his description is both essentially limited and at perpetual risk of ending. This hybrid assessment is apparent first in Hegel’s account of art’s development, which shows art culminating in classical sculpture’s perfect unity but then, unable to depict Christianity’s interiority, evolving into religion, surrendering to division, or dissipating into prose. It is also evident in his ranking of artistic genres from architecture to poetry (...) according to their ability to help humans produce themselves both individually and collectively: the more adequately art depicts human self-understanding, the more it risks ceasing to be art. Nevertheless, art’s myriad endings do not exhaust its potential. Art that makes us alive to the unity and interdependence at the heart of reality continues to express the Idea and so achieves Hegel’s ambitions for its role in human life. (shrink)

The aim of this paper is to investigate the function of the aesthetic paradigm of German idealism within Adorno’s thought. In order to do so, I have chosen to focus on the issue of the social significance of the work of art and the role played by the concept of literary material. Adorno’s aesthetics, in fact, can be read as a reinterpretation of the idealist aesthetic model based precisely on a non-idealist notion such as that of aesthetic material.If one (...) is to allow a seemingly brutal simplification, there are two ways to think about the social meaning of literature. One identifies somehow the subject of the text, assesses whether or not this challenges the society from which the literary work stems, and on this ground establishes its social character. According to this perspective, Brecht’s Threepenny Opera and Sciascia’s The Day of the Owl can be seen as socially engaged literature, while Proust’s Recherche cannot, or can only to a lesser extent. The other approach argues instead that any literary work, and in any of its instances, says something about the society in which it takes shape. In this contribution I would like to focus on this latter approach. In particular, I am interested in understanding how literature is connected to society, that is, through which identifiable elements literary works express certain aspects of society. The Hegelian idealistic idea according to which Greek tragedy expresses the constitutive features of Athenian society, and which is found again and again in the authors who in various ways have taken up Hegel’s legacy, is generally accepted as such and valued for the explanatory opportunities it offers. It is my opinion, however, that one notion in particular can be retrieved within the whole inherited baggage of that aesthetic tradition, which may be able to further clarify the relationship between literature and society. This concept is that of material and the author who has most thoroughly investigated it is Adorno. In this paper I will try to outline the main features of a counterintuitive notion such as that of “literary material” and thereby explain why it plays such an important role in Adorno’s rework of the aesthetic paradigm of German idealism. The concept of material, in fact, is key to the definition of another aesthetic category around which, according to Adorno, most of the problems connected to works of art gravitate, that is to say, the notion of form. From Adorno’s aesthetics, in fact, one of his most insightful readers, Peter Szondi, draws the main principle for his study of the historical form of modern drama, namely the idea that form is essentially a precipitation, a sedimentation of contents. The work of art, then, at least according to this definition, is essentially identified by its form. Or, better said, the artwork must be interpreted as the way in which a certain (historical) content sediments in a certain external form. That the form of the work of art is precipitated content means, in simple terms, that no effective disjunction can be assumed between form and content. This is how Adorno reinterprets the concept of “identity of form and content” stressed by classical aesthetics. The content is such only insofar as it is precipitated into a certain form. This amounts to saying that no objective distinction can be established between one and the other. Now, if one were to ask how the form is made, Adorno’s answer is quite straightforward: the form is made by means of organization and, precisely, by means of the organization of the material. As one reads in Aesthetic Theory, in fact, “the substantial element of genres and forms has its locus in the historical needs of their materials,” and the particular form of an artwork is defined as the “organization” of its “materials” (Adorno 1970, transl. 1997: 201). The concept of material, therefore, is key to the definition of the very notion of work of art in its constituent components, namely the relationship between form and content. In this paper I will first of all clarify the notion of artistic material in general and subsequently I will turn to strictly literary material. Finally, and this is the main goal of this essay, I will show to what extent this definition of the material possibly contributes to a better understanding of a widely and variedly debated literary phenomenon of our time, namely the form of the so-called postmodern novel. (shrink)

"In his Phenomenology of Cognition, Cassirer provides a comprehensive and systematic account of the dynamic process involved in the whole of human culture as it progresses from the world of myth and its feeling of social belonging to the highest abstractions of mathematics, logic and theoretical physics. Cassirer engages with the most sophisticated and cutting-edge work in fields ranging from ethnology to classics, egyptology and assyriology to ethology, brain science and psychology to logic, mathematics and theoretical physics. His command of (...) philosophy, literature, and the arts is superb. Echoing his work on Kant, Cassirer begins ThePhilosophy of Symbolic Formswith the problem posed by the meaning of being for philosophy since Plato. But Cassirer also shows that this problem gains new significance with Kant and with the development of modern culture. Cassirer weaves his conception of the development of knowledge into a broadly Kantian and German idealist dynamic-historical conception of significance and of experience that refuses to accept a fundamental opposition between literary, philosophical and scientific culture. In consequence of his great vision grounded in careful reflection and argument, Cassirer's systematic conception of the Copernican cosmopolitan-cosmological revolution is still philosophically and scientifically unmatched in contemporary philosophy on both sides of the Atlantic and of the Pacific." - Pierre Keller, Professor of Philosophy, University of California, Riverside, USA. This new translation makes Cassirer's seminal work available to a new generation of scholars. Each volume includes an introduction by Steve Lofts, a foreword by Peter Gordon, a glossary of key terms, and an index. Steve Lofts is Professor of Philosophy at King's University College, Canada. He is the translator of Cassirer's The Logic of the Cultural Sciences and The Warburg Years : Essays on Language, Art, Myth, and Technology. (shrink)

In this article I wish to re-examine the vexed issue of the possibility of idealism in ancient and medieval philosophy with particular reference to the case of Johannes Scottus Eriugena (c. 800–c. 877), the Irish Neoplatonic Christian philosopher. Both Bernard Williams and Myles Burnyeat have argued that idealism never emerged (and for Burnyeat, could not have emerged) as a genuine philosophical position in antiquity, a claim that has had wide currency in recent years, and now constitutes something of an (...) orthodoxy.1. Myles Burnyeat, “Idealism and Greek Philosophy: What Descartes Saw and Berkeley Missed,” Philosophical Review 91 (1982): 3–40, repr. in Godfrey Vesey, ed., Idealism—Past and Present (Cambridge: Cambridge U.P., 1982), pp. 19–50. Hereafter this essay will be cited in the version printed in Vesey, ed. Richard Sorabji (instancing Gregory of Nyssa) and Werner Beierwaltes (citing Proclus and Eriugena), and Eyjólfur Kjalar Emilsson (discussing Plotinus), on the other hand, have all argued that idealism is to be found in the Neoplatonic tradition, a tradition neglected by Burnyeat.Richard Sorabji, “Gregory of Nyssa: The Origins of Idealism,” in Time, Creation and Continuum. Theories in Antiquity and the Early Middle Ages (London: Duckworth, 1983), pp. 287–96; Werner Beierwaltes, Denken des Einen. Studien zur neuplatonischen Philosophie and ihrer Wirkungsgeschichte (Frankfurt: Klostermann, 1985). See also Beierwaltes, “Die Wiederentdeckung des Eriugena im Deutschen Idealismus,” in Platonismus und Idealismus (Frankfurt: Klostermann, 1972), pp. 188–201, and his “Zur Wirkungsgeschichte Eriugenas im Deutschen Idealismus und danach. Eine kurze, unsystematische Nachlese,” in Eriugena. Grundzüge seines Denkens (Frankfurt: Klostermann, 1994), pp. 313–330. Eyjólfur Kjalar Emilsson, “Cognition and its Object,” in Lloyd P. Gerson, ed., The Cambridge Companion to Plotinus (Cambridge: Cambridge U.P., 1996), pp. 217–49, esp. pp. 245–49. But see, Lloyd P. Gerson, Plotinus (London: Routledge, 1994), p. 227, n.3, who maintains that Plotinus is not an idealist. Similarly, in a 1989 study, I argued not only that idealism was a genuine possibility in late classical and in medieval philosophy, but that that the ninth-century Carolingian philosopher Johannes Eriugena presents a striking example of an extremely radical, almost fantastical, idealism.Dermot Moran, The Philosophy of John Scottus Eriugena. A Study of Idealism in the Middle Ages (Cambridge: Cambridge U.P., 1989). Of course, the whole discussion depends entirely on what is meant by ‘idealism’. Burnyeat uses Berkeley’s immaterialism as his standard for idealism, and it is this decision, coupled with his failure to acknowledge the legacy of German idealism, which prevents him from seeing the classical and medieval roots of idealism more broadly understood. (shrink)

Hans-Georg GADAMER, Hermeneutische Entwürfe. Vorträge und Aufsätze ; Pascal MICHON, Poétique d’une anti-anthropologie: l’herméneutique deGadamer ; Robert J. DOSTAL, The Cambridge Companion to Gadamer ; Denis SERON, Le problème de la métaphysique. Recherches sur l’interprétation heideggerienne de Platon et d’Aristote ; Henry MALDINEY, Ouvrir le rien. L’art nu ; Dominique JANICAUD, Heidegger en France, I. Récit; II. Entretiens ; Maurice MERLEAU-PONTY, Fenomenologia percepţiei ; Trish GLAZEBROOK, Heidegger’s Philosophy of Science ; Richard WOLIN, Heidegger’s Children. Hannah Arendt, Karl Löwith, Hans (...) Jonas and Herbert Marcuse ; Ivo DEGENNARO, Logos – Heidegger liest Heraklit ; O. K. WIEGAND, R. J. DOSTAL, L. EMBREE, J. KOCKELMANS and J. N. MOHANTY, Phenomenology on Kant, German Idealism, Hermeneutics and Logic ; James FAULCONER and Mark WRATHALL, Appropriating Heidegger. (shrink)

Some think of art as opposed to philosophy and science, and indeed sometimes opposed to morality. Here, Wall explores the fundamental ways of pursuing aesthetics, speculation, science, mathematics, and morality. Conceptually these are not opposed. He illustrates the ideas with reference to an array of ancient and modern thinkers.

Knowledge and Ignorance of Self in Platonic Philosophy is the first volume of essays dedicated to the whole question of self-knowledge and its role in Platonic philosophy. It brings together established and rising scholars from every interpretative school of Plato studies, and a variety of texts from across Plato's corpus - including the classic discussions of self-knowledge in the Charmides and Alcibiades I, and dialogues such as the Republic, Theaetetus, and Theages, which are not often enough mined for (...) insights about this crucial philosophical topic. The rich variety of readings and hermeneutical methods allows for an encompassing view of the relevant scholarly debates. The volume is intended to serve as a standard resource for further research on Plato's treatment of self-knowledge, and will highlight the relevance of Plato's thought to contemporary debates on selfhood, self-reflection and subjectivity. (shrink)

In this article I wish to re-examine the vexed issue of the possibility of idealism in ancient and medieval philosophy with particular reference to the case of Johannes Scottus Eriugena (c. 800idealisms immaterialism as his standard for idealism, and it is this decision, coupled with his failure to acknowledge the legacy of German idealism, which prevents him from seeing the classical and medieval roots of idealism more broadly understood.

In lieu of an abstract, here is a brief excerpt of the content:The Enchantment of Art: Abstraction and Empathy from German Romanticism to ExpressionismDavid MorganA familiar tradition since the eighteenth century has invested art with the power to heal a decadent human condition. Inheriting this ability from religion—the romantic enthusiast Wilhelm Wackenroder considered artistic inspiration to originate in “divine inspiration” in the case of his hero, Raphael 1 —art eventually replaced institutionalized belief in an evolutionary schedule of cultural development (...) determined by German idealism. Hegel, for instance, theorized the evolution of spirit from religion to art as a qualitative advancement over time. Rejecting the metaphysics of German idealism, Friedrich Nietzsche nevertheless contended that “Art raises its head where religions decline.” By assuming the “feelings and moods” of religion which had been dismantled by enlightenment, Nietzsche claimed that art gave new form to the life of feeling and imbued human endeavors with a “loftier, darker coloration.” 2 In the early twentieth century Wassily Kandinsky believed that the “spiritual in art” was the historical manifestation of an “inner necessity” that was in itself timeless and universal. Kandinsky portrayed the “life of the spirit” as “a large acute-angled triangle divided horizontally into unequal parts.” In a kind of “trickle down” aesthetic, the compartments of the triangle move slowly upward toward the apex, which is inhabited by the solitary genius of an age whose vision gradually elevates all those who occupy the lower stages. 3 [End Page 317]The point for proponents of the spiritual in art from romanticism to expressionism (and beyond) was to find in works of art what can best be described as an enchantment. 4 As the negotiation of the gaps or disjunctures separating human beings from complete power over their lives, enchantment conjoins the plane of immediate human experience to a desirable state of affairs through the mediation of such symbolic devices as rituals, incantations, or charms. Thus, evil can be warded off by the use of an apotropaic amulet, and fertility can be enhanced by the recitation of a suitable prayer or the performance of a certain ritual. In a modern analogy a sense of impotence is often alleviated by a trip to the mall where the bored therapeutically lose themselves in symbolic acts of self-renewing consumption. In the traditions of philosophy and science, systems of representation such as astrology, the microcosm, the harmony of the spheres, the great chain of being, the celestial hierarchies, or the mechanisms of theurgy and divination situate humanity within a cosmos that follows a particular order accessible to and in some degree manipulable by human beings. Enchantment consists of an apparatus of belief whose form of representation or enactment is thought to exert influence over the realities it configures.But enchantment is not limited to the spells and magic of premodern metaphysics (or modern consumerism). By means of religion, morality, and aesthetics, Nietzsche once averred, “man likes to believe that... he is touching the heart of the world.” 5 This study will focus on the manner in which art as constructed within the idealist tradition of German art theory functioned as an enchantment. Specifically, it will explore what the history of ideas about abstraction and empathy has to tell us about the spiritualization or enchantment of art. After identifying the philosophical and aesthetic wherewithal of enchantment in nineteenth-century Germany, attention focusses on Franz Marc’s early twentieth-century theorization of abstraction. It is certainly more customary to study Kandinsky, whose writings and early efforts at abstraction are much better known, but Marc’s ideas offer more immediate connections to German intellectual history and clarify the aims of his abstract art as a strategy of enchantment. Moreover, Marc was unusually articulate and wrote often, exploring ideas and artistic efforts with great insight. Focusing on Marc therefore offers a corrective to the historiography that has favored Kandinsky’s writings. Finally, Marc differed from his Russian friend over the cause of the war. Manifesting a difference that is portentous for this study, Kandinsky left Germany for Russia in 1914, while Marc enthusiastically took up arms for the fatherland. Given these circumstances and the unfortunate tendency of art historians to valorize expressionist art rather than situate it in the ideological context of... (shrink)

What is the significance of the recurring link between tyranny and philosophy in Plato? Often, Plato’s treatment of tyranny is discussed either in the context of moral psychology—as a problem of agency, moral choice and akrasia — or political science, where it is the limit case of political decline. It is suggested, however, that a close inspection of the myth of Er and an elucidation of its neglected links, not just with the rest of the Republic but also with (...) dialogues such as the Philebus and the Symposium, shows that Socrates’ fascination with tyrannical characters points to a deeper theme — nature, and specifically the problem of its benevolence to our purposes and its very ambiguous relation to human excellence and degradation. Philosopher and tyrant, for all the radical differences between them, both illuminate the internal instability of the human being in Plato’s thought. (shrink)

What is the significance of the recurring link between tyranny and philosophy in Plato? Often, Plato’s treatment of tyranny is discussed either in the context of moral psychology—as a problem of agency, moral choice and akrasia — or political science, where it is the limit case of political decline. It is suggested, however, that a close inspection of the myth of Er and an elucidation of its neglected links, not just with the rest of the Republic but also with (...) dialogues such as the Philebus and the Symposium, shows that Socrates’ fascination with tyrannical characters points to a deeper theme — nature, and specifically the problem of its benevolence to our purposes and its very ambiguous relation to human excellence and degradation. Philosopher and tyrant, for all the radical differences between them, both illuminate the internal instability of the human being in Plato’s thought. (shrink)

Resumen El propósito del presente ensayo es explorar la comprensión de technê que Epícteto asocia con la expresión technê peri bion ("arte/técnica de la vida"), utilizada por él para determinar tanto la "materia" de la que se debe ocupar la filosofía como el tipo de actividad que ha de aplicarse a dicha materia. Con base en dicha exploración, el ensayo defiende la tesis de que la filosofía de Epícteto acusa un cierto talante individualista que la acerca a conocidas variantes modernas (...) de la filosofía como arte de vivir.It is the purpose of this essay to inquire into the understanding of technê which Epictetus links with the expression technê peri bion ("art of living") used by him to determine both the (subject-) "matter" with which philosophy deals and the kind of activity to be duly applied to such matter. Based upon this inquiry, the essay upholds the thesis that Epictetus' philosophy bares an individualist spirit close to well-known modern versions of philosophy as an art of living. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 41.4 (2003) 565-566 [Access article in PDF] Kai Hammermeister. The German Aesthetic Tradition. New York: Cambridge University Press, 2002. Pp. xv + 259. Cloth, $60.00. Paper, $22.00. This history of German (or more accurately, Germanic) aesthetics surveys the tradition stretching from Alexander Baumgarten to Theodor Adorno. The author has divided his survey into three thematic parts. In the first, "The (...) Age of Paradigms," Baumgarten, Mendelssohn, Kant, Schiller, Schelling, and Hegel establish the principal approaches to aesthetics and the philosophy of art that will structure the tradition. In the second part, "Challenging the Paradigms," Schopenhauer, Kierkegaard, and Nietzsche raise critical problems with the positions of their forebears. In the final part, "Renewing the Paradigms," Cassirer, Lukács, Heidegger, Gadamer, Marcuse, and Adorno revive elements of the classical tradition for twentieth-century purposes. As one might expect, covering fifteen complex figures in a relatively short book makes for a survey primarily of the surfaces of their thought. Even so, the exercise may be useful for those with no knowledge of German aesthetics who would like a quick introduction.From the outset the author establishes a plan to consider each philosopher's work in terms of his ontological treatment of art, the epistemic role he attributes to art and beauty, and the practical functions he assigns art. In the early chapters the author dutifully addresses these matters at the end of each chapter, but from Hegel on, the author's commitment to this structure seems to wane. It becomes more difficult to discern these assessments of each philosopher as the book progresses. It is an odd feature of the book that its [End Page 565] author announces these "principles of comparison" so explicitly in the introduction, but does not consistently apply them.There is also inconsistency in the author's choices regarding whose theories to directly criticize. In some cases (with Hegel, Schopenhauer, Nietzsche, and Cassirer, for example), Hammermeister offers quite global criticisms of the philosophers' views, while in other cases (with Kant, Schiller, Schelling, Heidegger, and Gadamer) he provides very little criticism. The book does not advance a philosophical position from which to understand why some figures in this tradition, but not others, warrant sharp criticisms that on occasion (with Kierkegaard, for example) amount to blanket dismissals.The second part of the book, "Challenging the Paradigms," stands in an uncertain relationship to the first part, "The Age of Paradigms." Hammermeister advertises Schopenhauer, Kierkegaard, and Nietzsche as thinkers intent on dismantling the aesthetic-theoretical systems of their predecessors, and there is no doubt much truth in this assertion. Yet these chapters offer little in the way of explicit elaboration of precisely which views of which prior thinkers each of these rebels seeks to undermine. Schopenhauer, for example, is presented as a champion of Kantian aesthetic disinterestedness, while his delirious antipathy for Hegel is hardly discussed. Kierkegaard's famous disagreements with Hegel receive little attention, either.The third part, "Renewing the Paradigms," advances one of the author's principal claims in the book: that twentieth-century German(ic) philosophers recapitulate the sequence of positions in the classical Kant-Schiller-Schelling-Hegel development. Cassirer revives Kant; Lukács and other neo-Marxist thinkers revive Schiller; Heidegger is far more indebted to Schelling than he acknowledges. To some extent the author's proposal is a useful heuristic, especially regarding Cassirer and Lukács. With Heidegger problems begin to arise. Hammermeister argues that Heidegger shares with Schelling a view of art as a "truth-event," but this, of course, would be a view that Heidegger also shares with Hegel. When Hammermeister notes (189) that for Heidegger truth can happen in practices other than art, this strengthens a comparison to Hegel (despite the profound differences between Heidegger and Hegel), rather than to Schelling (for whom art alone is the organon of truth, at least in the System of Transcendental Idealism that Hammermeister treats as the most Schellingian of Schelling's texts).As with the author's other overarching structures for the book, the paradigm-renewal claim also loses momentum halfway through. Hammermeister appropriately presents... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Hegel on Self-Consciousness: Desire and Death in the Phenomenology of SpiritAndy R. GermanRobert B. Pippin. Hegel on Self-Consciousness: Desire and Death in the Phenomenology of Spirit. Princeton-Oxford: Princeton University Press, 2011. Pp. viii + 103. Cloth, $29.95.If Hegel's system cannot be understood without the Phenomenology of Spirit, it is certainly impossible to understand the Phenomenology without understanding its famous transition, in chapter 4, to self-consciousness and the (perhaps (...) all-too-famous) master-slave dialectic. In these published lectures, then, Robert Pippin has compelling reasons for seeking the heart of the Phenomenology in two of its crucial assertions: that "Self-Consciousness is desire itself" and that "Self-Consciousness attains its satisfaction only in another self-consciousness" (¶¶167 and 175 in Miller's translation).Pippin's Hegel is essentially Kantian, concerned with the apperceptive nature of self-consciousness, i.e. not as mere receptivity to sensory or intellectual form, but as an activity, a judging or "taking" the world to be such and so. For Kant, this activity is transcendental or purely formal, the unification of the spatio-temporal manifold by a continuous, apperceptive "I" (31). Pippin argues that Hegel jettisons Kantian formality in favor of a broader question: how, rather than being subject to my desires, am I the subject of my desires? (32). An answer is possible only if self-consciousness is neither observational nor an immediate self-presence but instead (i) a practical achievement (15) that (ii) requires other self-conscious subjects (19). Unlike Platonic erōs, then, which points away from human life, self-conscious desire is constant self-examination of the reasons for our actions or beliefs. This is Hegel's version of Kant's insight that reason is the desire for justification, ultimately before "all others" (56–57).Thus we pivot to the claim that the successful or "satisfying" achievement of self-consciousness involves recognition by others. "Our answerability to the world," as Pippin writes, "is inextricably bound up with... our answerability to each other" (61). Unlike John McDowell's interpretation of the master-slave dialectic as an analogy for the struggle between the passive and active elements within one mind (42), Pippin argues that self-consciousness is social all the way down. It is "something like having a position," i.e. avowing a practical commitment or making a normative claim (65), which implies the presence of another self-conscious subject who recognizes my right to such claims, or challenges that right, even to the outermost—a struggle to the death over recognition and authority. Self-consciousness, then, is "not... a reflection of some substantive or metaphysical nature but... a social achievement... bound up with... social conflict" (75). On the decisive point, Pippin agrees with Brandom's neo-pragmatism: "[S]elf-conscious beings do not have natures, they have histories" (68), specifically, the history of struggle and reconciliation among rational, mutually recognizing subjects.But what, then, does recognition mean and how does it "satisfy"? And in what does our "answerability to others" consist if there is no "non-question begging... standard" (83) by which to judge our answers? Hegel, Pippin writes, "has a ‘pragmatic' or a ‘historicized' or ‘dialogical' view of what counts as the appeal to reasons.... He understands practical reason as a kind of interchange of attempts at justification among persons... " (84). Justification, however, cannot mean an appeal to nature. Indeed, in the struggle for recognition, self-conscious freedom means indifference to mere natural life or desire. Nature no longer points to philosophical wholeness, as our love of seeing does in Aristotle's Metaphysics. To paraphrase Pippin's titles, he shows with superior clarity that Hegel's idealism really is modernism: i.e. the most thoroughgoing rejection of the Greek link between eleutheria and eudaimonia.But when Hegel writes of "the point where knowledge no longer needs to go beyond itself... where Concept corresponds to object and object to Concept" as the necessary "goal" of knowledge (¶80), this suggests that the "interchange of justifications" reaches an end. Even if this end is the socio-political order of mutual recognition among rational persons, it is surely not the mere fact of recognition that satisfies us... (shrink)

This volume comprises studies written by prominent scholars working in the field of German Idealism. These scholars come from the English speaking philosophical world and Continental Europe. They treat major aspects of the place of religion in Idealism, Romanticism and other schools of thought and culture. They also discuss the tensions and relations between religion and philosophy in terms of the specific form they take in German Idealism, and in terms of the effect they still have on (...) contemporary culture. The authors consider figures such as Kant, Fichte, Hegel, and Jacobi. The book will prove very informative to researchers and teachers working in the fields of philosophy, philosophy of religion, and classical German philosophy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 41.4 (2003) 565-566 [Access article in PDF] Kai Hammermeister. The German Aesthetic Tradition. New York: Cambridge University Press, 2002. Pp. xv + 259. Cloth, $60.00. Paper, $22.00. This history of German (or more accurately, Germanic) aesthetics surveys the tradition stretching from Alexander Baumgarten to Theodor Adorno. The author has divided his survey into three thematic parts. In the first, "The (...) Age of Paradigms," Baumgarten, Mendelssohn, Kant, Schiller, Schelling, and Hegel establish the principal approaches to aesthetics and the philosophy of art that will structure the tradition. In the second part, "Challenging the Paradigms," Schopenhauer, Kierkegaard, and Nietzsche raise critical problems with the positions of their forebears. In the final part, "Renewing the Paradigms," Cassirer, Lukács, Heidegger, Gadamer, Marcuse, and Adorno revive elements of the classical tradition for twentieth-century purposes. As one might expect, covering fifteen complex figures in a relatively short book makes for a survey primarily of the surfaces of their thought. Even so, the exercise may be useful for those with no knowledge of German aesthetics who would like a quick introduction.From the outset the author establishes a plan to consider each philosopher's work in terms of his ontological treatment of art, the epistemic role he attributes to art and beauty, and the practical functions he assigns art. In the early chapters the author dutifully addresses these matters at the end of each chapter, but from Hegel on, the author's commitment to this structure seems to wane. It becomes more difficult to discern these assessments of each philosopher as the book progresses. It is an odd feature of the book that its [End Page 565] author announces these "principles of comparison" so explicitly in the introduction, but does not consistently apply them.There is also inconsistency in the author's choices regarding whose theories to directly criticize. In some cases (with Hegel, Schopenhauer, Nietzsche, and Cassirer, for example), Hammermeister offers quite global criticisms of the philosophers' views, while in other cases (with Kant, Schiller, Schelling, Heidegger, and Gadamer) he provides very little criticism. The book does not advance a philosophical position from which to understand why some figures in this tradition, but not others, warrant sharp criticisms that on occasion (with Kierkegaard, for example) amount to blanket dismissals.The second part of the book, "Challenging the Paradigms," stands in an uncertain relationship to the first part, "The Age of Paradigms." Hammermeister advertises Schopenhauer, Kierkegaard, and Nietzsche as thinkers intent on dismantling the aesthetic-theoretical systems of their predecessors, and there is no doubt much truth in this assertion. Yet these chapters offer little in the way of explicit elaboration of precisely which views of which prior thinkers each of these rebels seeks to undermine. Schopenhauer, for example, is presented as a champion of Kantian aesthetic disinterestedness, while his delirious antipathy for Hegel is hardly discussed. Kierkegaard's famous disagreements with Hegel receive little attention, either.The third part, "Renewing the Paradigms," advances one of the author's principal claims in the book: that twentieth-century German(ic) philosophers recapitulate the sequence of positions in the classical Kant-Schiller-Schelling-Hegel development. Cassirer revives Kant; Lukács and other neo-Marxist thinkers revive Schiller; Heidegger is far more indebted to Schelling than he acknowledges. To some extent the author's proposal is a useful heuristic, especially regarding Cassirer and Lukács. With Heidegger problems begin to arise. Hammermeister argues that Heidegger shares with Schelling a view of art as a "truth-event," but this, of course, would be a view that Heidegger also shares with Hegel. When Hammermeister notes (189) that for Heidegger truth can happen in practices other than art, this strengthens a comparison to Hegel (despite the profound differences between Heidegger and Hegel), rather than to Schelling (for whom art alone is the organon of truth, at least in the System of Transcendental Idealism that Hammermeister treats as the most Schellingian of Schelling's texts).As with the author's other overarching structures for the book, the paradigm-renewal claim also loses momentum halfway through. Hammermeister appropriately presents... (shrink)

Preface by the Editors to the special thematic volume dedicated to the memory of Jakub Kloc-Konkołowicz.

What form can metaphysics still take in a philosophical modernity that has been decisively shaped by the impact of Kant’s critical project? This question has exercised Dieter Henrich, one of Kant’s greatest living interpreters. This paper focuses on Henrich’s intricate argument that metaphysical thinking, albeit of a new kind, remains indispensable especially in an age for which self-consciousness is a first principle. Henrich seeks a form of thought that can justify and preserve what he views as modernity’s greatest achievement, its (...) conception of the free, self-determining subject. Yet his description of this metaphysics for a new era reveals its surprisingly Platonic affinities. The paper focuses on those affinities, both in order critically to assess Henrich’s own work on subjectivity, but also because they reveal a fundamental and philosophically significant continuity that underlies all forms of comprehensive thinking, even in forms as divergent as those of Plato and Kant. (shrink)

Excerpt from The New Idealism The aim of this book is twofold: to examine the foundations of realism more critically, and to outline a reconstruction of idealism more closely than was possible five years ago. The latest developments of philosophy demand a revision of the whole problem, from a shifted standpoint. Since 1917 realism has gained in solidity and a certain intricate precision. The Critical Realists have discovered a flaw in its theory of perception and tried to mend it (...) (not, I think, with conspicuous success); Professor Whitehead has laid down its first principles once for all; and Professor Alexander has built it up into a system among systems. Realism is ten times more formidable than it was in 1917. And since 1917 the issue has been narrowed down to the field of Space and Time, and it is there that the battle between realism and idealism must be fought. That issue is very clear. For, however realists may differ among themselves, whether they say with Professor Alexander that Space-Time is the ultimate reality, or with Professor Whitehead that the ultimate entities are events, they are all agreed that mind is not the ultimate entity and must be kept out of the problem. "Nature," Professor Whitehead says, "is closed to mind." About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

The texts in this volume constitute highlights in the movement called transcendental idealism.

German philosopher G. W. F. Hegel problematized the term “aesthetics” in his writings on art. This article attempts to capture the tension between Hegel's theory of art and philosophy of art and its impact on the subsequent theorization of art in the twentieth century as consumer or emancipatory. Music, poetry and plastic arts seem to resonate differently with philosophers such as Plato, Aristotle, Kant, Hegel and Adorno. Plato considered music soothing to the soul. In Aristotle, one could trace (...) the oblique beginnings of the tension between a theory of art and a philosophy of art as he questioned the role of art in philosophy. While Kant's approach is more formal and deals with concepts such as beauty, sublime, genius, and the status of aesthetic objects, Hegel grapples with the rational and emotional aspects of works of art which determine whether art is free or under the thralldom of nature. Both Kant and Hegel distinguished artistic from natural beauty. Critical theorists such as Adorno were also influenced by Hegel. Adorno's analysis of concepts such as mimesis forms an important part of his critique of culture industry. Adorno was also emphatic that classical art could only exist as a product of an epoch. Yet in its dialectical form, art serves as a critique of ideology. Progressively, from the nineteenth to the twentieth century, what began as a crevice between a philosophy of art and a theory of art became a chasm. Thus, begins a contentious relationship between art as a pursuit in itself and art for consumption, that is, art as an integral aspect of consumer culture. The new phenomenon of AI art also poses interesting questions about the paradigmatic shift in dynamics between human element and technology. This article would also attempt to trace how art continues to defy reification, while in the process being consumed constantly, recreating and reinventing itself. (shrink)

This volume collects thirteen original essays that address the concept of will in Classical German Philosophy from Kant to Schopenhauer. During this short, but prolific period, the concept of will underwent various transformations. While Kant identifies the will with pure practical reason, Fichte introduces, in the wake of Reinhold, an originally biological concept of drive into his ethical theory, thereby expanding on the Kantian notion of the will. Schelling, Hegel, and Schopenhauer take a step further and conceive (...) the will either as a primal being, as a socio-ontological entity, or as a blindly striving, non-rational force. Thus, the history of the will is marked by a complex set of tensions between rational and non-rational aspects of practical volition. The book outlines these transformations from a historical and systematic point of view. It offers an overview of the most important theories of the will by the major figures of Classical German Philosophy, but also includes interpretations of conceptions developed by lesser-studied philosophers such as Maimon, Jacobi, Reinhold, and Bouterwek. (shrink)

This is a comprehensive, integrated account of eighteenth and early nineteenth century German figurative aesthetics. The author focuses on the theologically-minded discourse on the visual arts that unfolded in Germany, circa 1754-1828, to critique the assumption that German romanticism and idealism pursued a formalist worship of beauty and of unbridled artistic autonomy. This book foregrounds what the author terms an "Aesthetics of Figurative Theo humanism". It begins with the sculptural aesthetics of Johann Joachim Winckelmann and Gottfried Herder before (...) moving on to Karl Philipp Moritz, Wilhelm Heinrich Wackenroder and Friedrich Schelling. The reader will discover how this aesthetic tradition, after an initial obsession with classical sculpture, chose painting as the medium more suited to the modern self's exploration of transcendence. This paradigm-shift is traced in the aesthetic discourse of Friedrich Schlegel and Georg Wilhelm Friedrich Hegel. In this work, the widespread prejudice that such aesthetics initiated a so-called "Modern Grand Narrative of the Arts" is deconstructed. One accusation directed at 18th century aesthetics has been that it realised into "Art" what had previously been a living, rich tissue of meaning: this work shows how Figurative Theo humanism's attention to aesthetic values was never detached from deeper theological and humanistic considerations. Furthermore, it argues that this aesthetic discourse never forgot that it emerged from modern disenchantment-far from occluding the dimension of secularization, it draws poignant meaning from it. Anyone with an interest in the current debates about the scope and nature of aesthetics (philosophers of art, theology, or religion) will find this book of great interest and assistance. (shrink)

In the Remark to the final paragraph of the Chapter on “existence” (Dasein) in the Logic of the Encyclopedia of the Philosophical Sciences in Basic Outline (1830) Hegel states that the “ideality of the finite is the chief proposition of philosophy” and that “every true philosophy is for that reason idealism” (Enz § 95A). In turn, at the end of the Chapter on “existence” in the Science of Logic (1832) Hegel claims, further, that “every philosophy is essentially (...) idealism or at least has idealism for its principle, and the question then is only how far this principle is carried out” (GW 21.142). Along this line, Hegel conceives of absolute idealism not only as the result of the history of philosophy, but also as the philosophical system that reveals the essence of the philosophical systems before idealism, that is to say, as the philosophy that reveals, by developing it and formulating it adequately, what the precedent philosophies, mostly unknowingly, tried to develop and formulate, namely a general theory about reality based on the principle of the unity of being and thought. According to Hegel, every particular philosophy throughout history exposed in a successive, partial and complementary way the process of identification of being and thought; inasmuch as the system of absolute idealism assumes the latently idealist theses present in former philosophies, it makes those theses explicit and exposes the process of the identification of being and thought as its own internal development. Thus, absolute idealism is for Hegel the philosophy that exposes and shows what philosophy is actually about. The purpose of this essay is to render explicit the metaphilosophical implications of Hegel´s conception of absolute idealism as the “true philosophy” (wahre Philosophie, wahrhafte Philosophie). (shrink)

I argue that Plato’s deployment of the resumptive phrase πάλιν ἐξ ἀρχῆς illuminates the philosophical significance of his art of transition in Socratic dialogues. These explicit calls for a new beginning often appear when a conversation fails to account for two particular elements of ordinary experience: assumptions about whole-part relations and about the interlocutor’s self-conception as a being responsive to basic rational and normative distinctions. Returning to the archē is a form of ἀνάμνησις, reminding us that these assumptions constitute true, (...) but inarticulate, opinions of a fundamental kind. They are the preconditions for discourse that philosophical διαλέγεσθαι must preserve and ground. (shrink)

I argue that Plato’s deployment of the resumptive phrase πάλιν ἐξ ἀρχῆς illuminates the philosophical significance of his art of transition in Socratic dialogues. These explicit calls for a new beginning often appear when a conversation fails to account for two particular elements of ordinary experience: assumptions about whole-part relations and about the interlocutor’s self-conception as a being responsive to basic rational and normative distinctions. Returning to the archē is a form of ἀνάμνησις, reminding us that these assumptions constitute true, (...) but inarticulate, opinions of a fundamental kind. They are the preconditions for discourse that philosophical διαλέγεσθαι must preserve and ground. (shrink)