Artikkel lähtub Hegeli filosoofilise süsteemi mittemetafüüsilisest tõlgendusest ja keskendub ühele aspektile Hegeli dialektilise meetodi juures, mille iseloomustamiseks oleks autori arvates kõige adekvaatsem kasutada narratiivi mõistet. Artikli tees on kokkuvõtlikult järgmine: Hegeli arvates ei ole filosoofiline tõde väljendatav ühe lause või propositsiooniga, vaid see nõuab tervet väidete jada, kusjuures mõistete määratlused selles väidete jadas peavad suutma teiseneda --- nii nagu kirjandusliku jutustuse käigus võivad teiseneda tegelaste iseloom ja arusaamine asjadest . Lisaks neile kahele omadusele on narratiivile iseloomulik talle omaste struktuurielementide abil (...) loodud terviklikkus, mis võimaldab tal anda edasi sellist mõtet, mis ei sisaldu üheski narratiivi moodustavas lauses üksikult võetuna. Need kolm omadust võimaldavad Hegeli "dialektilisele" meetodile narratiiviteooria vahenditega uut valgust heita ja spekulatiivse tõe loomust paremini mõista. The paper discusses the nature of Hegel's dialectical method and criticizes its wide-spread interpretation according to the thesis-antithesis-synthesis formula. It is argued that there is no evidence of triadic structures in Hegel's works. Rather, the elements or "determinations" ) that make up the body of Hegel's texts, are organized as "series" that form circles, in which, as Hegel maintains, the last element leads us back to the first. If synthesis means creating something new by using the initial elements then it is problematic whether anything becomes synthesized in Hegel texts. The paper argues against interpreting the every third element of the series or the end-points of the series as synthetic unities. Instead, the paper proposes that Hegel's speculative method uses the form of narrative for creating a vessel that is able to express the "speculative truth" which is "fluid" and which requires a "plastic" form of presentation. Narrative can accomplish what a singular proposition and a deductive system cannot, because it consists of a series of claims that is able to express the movement of what is said in each claim, and because its ending creates a point at which the story as a whole obtains a meaning that is not expressed in any particular sentence constituting the story. (shrink)