-/- In the prime years of Hegel’s philosophical career, Prussia made progressive reforms to childhood education. Hegel had long supported reform. In his early Stuttgart Gymnasium Valedictory Address (1788), he had advocated for a public interest in widespread public education as a means for developing the children’s potential. Like Wilhelm von Humboldt, Hegel believed in education’s power to promote individual development (Bildung) as a path of freedom, which is achieved largely by expanding the student’s linguistic capacity since language, as Humboldt (...) understands it, is “the formative organ of thought [das bildende Organ des Gedanken]”. By combining Humboldt’s insights on language (especially his discussion of the power of Sanskrit) with themes in Hegel’s Science of Logic, I will demonstrate that the mind’s power to make judgments is a forward movement that can be arrested by epistemic injustice. Humboldt’s reflections on linguistic flowering and the factors that might impede it can help us understand epistemic injustice as an interference in linguistic cognitive mediation. -/- . (shrink)

This paper explores the thought of Hegel, Saussure and Derrida regarding the nature of the linguistic sign. It argues that Derrida is right to maintain that Hegel is an influence on Saussure. However, Derrida misrepresents both Hegel and Saussure by interpreting them as falling within the Platonic rather than the Aristotelian philosophical tradition.

This paper explores the status of symbolic representation in the work of the Left Hegelians Bruno Bauer and Ludwig Feuerbach. Hegel believed, contrary to his Romantic contemporaries, that symbols were too ambiguous to serve as means of philosophical communication; and as his followers turned against religion, they radicalized Hegel's critique of Romantic symbolism in the name of an emancipatory impulse toward clarity and full possession of the object of meaning. While Bauer insisted that the possibility of human emancipation depended on (...) overcoming the otherness of symbolic representation, Feuerbach reintroduced the symbolic as a crucial dimension of his humanist theory of religion and his account of embodied subjectivity. (shrink)

En este artículo nos proponemos indagar acerca del lugar y significado que asume la categoría de autonomía estética en lo que Hegel denomina “consideración liberal de lo bello”. A tales fines, analizamos los aspectos de su teoría de la religión del arte, cuyo modelo puede encontrarse en la organización ético-política de la polis griega, así como también los presupuestos filosóficos de su célebre teorema acerca del carácter pasado del arte “en su determinación suprema”. La hipótesis que nos guía en esta (...) lectura sostiene que la estética hegeliana se encuentra tensionada por un movimiento doble que impide ubicar al arte en un lugar fijo: al mismo tiempo en que sostiene la necesidad de una categoría de libertad para la determinación conceptual de lo bello, ella es motivo de una constante complejización por una perspectiva que la excede. Esa perspectiva filosófico-histórica se fundamenta en una categoría del sujeto moral que justifica la interpretación del arte como medio de tránsito hacia figuras más avanzadas del espíritu. (shrink)

In this article I suggest that we should understand symbolic art not as some kind of wonderous prequel to classical art, but as a theory of the advent of spiritual self-reflection on a collective scale. Symbolic art is the first form of what Hegel calls ‘absolute spirit’. I understand absolute spirit as the realm of reflective social practices through which humans discuss and reflect on what it is to be human. Symbolic art is thus the first form in which spirit (...) generates genuine self-knowledge. I argue that symbolic art should be understood as the unprecedented beginning of asking what it is to be human, without having a picture of what it is to be human preceding it. The advantage of understanding Hegel's symbolic art in this way is that we are able to go beyond the narrow conception of symbolic art as existing only in the oriental world and arrive at an understanding of symbolic art which includes social practices from the deep history of our species. (shrink)

This issue is dedicated to thinking about art and current aesthetic perspectives through Hegelianism.

The aim of this thesis is to present the fundamental philosophical positions of Early German Romanticism, focusing on the three following writers: J. C. F. Holderlin, Novalis, and F. Schlegel. Chapter 1 begins with an examination of the first-philosophical, or ontological foundations of Romanticism and discusses its appropriation and critique of the work of Fichte, arriving at an elucidation of Romantic ontology as an ontology of differencing and production. The second chapter looks at how epistemology is transformed, in the hands (...) of the Romantics, and due to the attention they paid to language, semiotic theory, and the operations of irony in discourse, into poetology - a theory of knowledge, into a theory of poetic production. In the third chapter a confrontation between the philosophical positions of Romanticism and those of the main currents of German Idealism (Schelling, Hegel) is undertaken; through this confrontation, the essential trait of Romantic thought is arrived at, namely the thought of an incomplete Absolute, as opposed to the absolute as totality in Idealism. The final chapter considers the avenue left open by the notion of the incomplete Absolute, and the Romantics' chief legacy, namely the theory of literature; literature is thus seen as coextensive with philosophy, and analysed under three conceptual categories (the theory of genre, the fragment, criticism) which all betray their provenance from the thought lying at the core of Romanticism: the incomplete Absolute. Finally, in the conclusion a summation of this exposition of romanticism is presented, alongside a brief consideration of the relevance of the Romantic project in contemporary critical/philosophical debates. (shrink)

Our contributors invite new ways of thinking Hegel's ideas through contemporary art and theories that arise from current perspectives; and of thinking through such art and perspectives via Hegelianism.