Abstract

Given the importance of imagination for Kant, Fichte and Schelling, it is significant that the word only comes up once in Hegel's Phenomenology of Spirit, and that it is not a chapter heading alongside "Sense-Certainty," "Perception," "Understanding" and "Reason." ;Part I. "Imagination in Theory" looks at the development in Hegel's theory of imagination from the Differenzschrift and Faith and Knowledge, through three different versions of the Philosophy of Spirit . Part II. "Imagination in Practice," focuses on the final moment of the imagination according to the 1830 Philosophy of Spirit--Sign-making Phantasie. I discuss two examples--the artist's activity as described in the Aesthetics, and the 'religion of imagination'--Hinduism as Hegel understood it in the Lectures on the Philosophy of Religion. Part III synthesizes the two previous parts, showing that the Phenomenology of Spirit is the culmination of the imagination's theoretical and practical activity: while in theory imagination is the middle moment of Vorstellen, practically it is at the heart of Aufhebung and thus of Spirit's inception and development. The Phenomenology is the story of consciousness' progress through its self-presentations. Imagination is therefore present throughout the entire book. I do not engage the moments of the Phenomenology, but focus instead on the single appearance of the word imagination in the Preface, and on how Hegel reinterprets Fichte's wavering imagination as a moment within the reflection--the "medium" of this 'Science of Experience.' ;Between 1801-1807 language becomes an increasingly important moment of imagination; by 1830 the externalizing of representations in communication is a moment of imagination. Hegel's psychology of the genesis of imagination and its moments reveals Spirit to be the community of interpreters. In the thesis Hegel's imagination is thought through to the Phenomenology, however, it is in the final transition of the Phenomenology--from Religion to Absolute Knowing, from picture thinking to knowing according to the Concept--that Hegel thinks the imagination through to its end. My Epilogue briefly discusses that transition, and the end of imagination in Absolute Knowing