Hegel's Phenomenology of Spirit has attracted much attention recently from philosophers, but none of the existing English-language books on the text addresses one of the most difficult questions the book raises: Why does the Phenomenology make such rich and provocative use of literary works and genres? Allen Speight's bold contribution to the debate on the work of Hegel argues that behind Hegel's extraordinary appeal to literature in the Phenomenology lies a philosophical project concerned with understanding human agency in the modern (...) world. It shows that Hegel looked to three literary genres - tragedy, comedy, and the Romantic novel - as offering privileged access to three moments of human agency: retrospectivity, theatricality, and forgiveness. Taking full account of the authors whom Hegel himself refers to, Allen Speight has written a book with a broad appeal to both philosophers and literary theorists. (shrink)
Hannah Arendt is often--but somehow not unfailingly--credited, together with Alasdair MacIntyre, Paul Ricoeur and Charles Taylor, as being one of the central voices in the philosophical turn to the concept of narrative of a generation or more ago. Some have even cited her 1958 The Human Condition as providing a particular impetus for later accounts of narrative. This essay examines what contemporary philosophical accounts of narrative might still owe Arendt, exploring her approach to narrative in theory as well as practice. (...) The first part looks at Arendt's use of philosophical sources from the tradition--Aristotle, Augustine and Hegel--with an eye to how her appropriation of these figures differs from that of contemporary philosophers of narrative. Three of Arendt's typically bold and rich claims about narrative action emerge as important: the notion of action as revealing an agent's own daimon: the condition that such action be revealable within a world or shared public space which has resilience yet vulnerability; and the potential for agents revealed within such a world to discover some form of narrative rebirth in their efforts at storytelling. The second section examines the extent to which Arendt herself allowed those claims to be tested and thought through in her own attempts (in Men in Dark Times, Rahel Varnhagen and elsewhere) at constructing biographical narratives. (shrink)
Among the sources of Hannah Arendt's philosophy of action is an unexplored one: the account of agency in Hegel's Phenomenology of Spirit. Drawing on a consideration of what has been called the 'dramaturgical' character of Arendt's philosophy of action, the article compares the accounts of action in Arendt's Human Condition and in the 'Spirit' chapter of the Phenomenology. Both works share a similar overall structure: in each case, the account of action begins with the opening-up of previously unseen or unexpected (...) tragic consequences within action and concludes with an exploration of what can be forgiven or reconciled in action. The Arendtian and Hegelian appropriations of tragedy and forgiveness reveal nonetheless important differences in their view of what counts as action and how its tragic elements are to be understood. Key Words: action • agency • Arendt • forgiveness • Hegel • tragedy. (shrink)
Jon Stewart’s recent book offers an opportunity to re-explore one of the richest areas of Hegel’s cultural research during the Berlin period, the wide-ranging study of world religions developed in the second part of his Lectures on the Philosophy of Religion. While this treatment of world religious traditions has often been taken as out-of-date and narrowly Eurocentric, there are, as Stewart suggests, important contributions within Hegel’s developing work on pre-classical and Asian religions that remain of interest to contemporary philosophers of (...) religion, art and history. This paper compares the changes Hegel makes in the Lectures on the Philosophy of Religion to those in the Aesthetics lectures belonging to the same period; and examines in particular how Hegel’s view of the relation between Athens and Jerusalem changed with developing knowledge of Egyptian and other near Eastern cultures. (shrink)
Dean Moyar’s Hegel’s Conscience represents a set of achievements that I discuss in three sections: the meaning of conscience in everyday moral discourse, the interpretation of Hegel’s treatment of conscience, and the importance of Hegel’s view of conscience for contemporary ethical/political discussion.
Whether art has come to an “end” in the modern age has been a question of interest for generations of philosophers and art critics since Hegel’s Lectures on Aesthetics. Beat Wyss takes up this question in the context of a wide-ranging account of post-Hegelian art history and art historians that has now been translated into English. Wyss’s project, whose larger aims can perhaps be better glimpsed from the book’s German title, divides into two major sets of reflections—the first devoted specifically (...) to Hegel’s treatment of art and the second to four critics who share with Hegel some sense of art’s having reached its fulfillment. (shrink)
There are relatively few recent works which attempt a serious and genuinely philosophical engagement with Hegel’s writings on aesthetics. Eschewing many of the limited ways in which Hegel is brought into conversations in contemporary literary criticism, Mark Roche has essayed a study of Hegel’s theory of the dramatic genres that seeks not simply to reiterate Hegel’s own thought, but to provide an immanent critique of Hegel’s theory that will be useful for the current critical debate.
This work brings together, for the first time in English translation, Hegel's journal publications from his years in Heidelberg, writings which have been previously either untranslated or only partially translated into English. The Heidelberg years marked Hegel's return to university teaching and represented an important transition in his life and thought. The translated texts include his important reassessment of the works of the philosopher F. H. Jacobi, whose engagement with Spinozism, especially, was of decisive significance for the philosophical development of (...) German Idealism. They also include his most influential writing about contemporary political events, his essay on the constitutional assembly in his native Württemberg, which was written against the background of the dramatic political and social changes occurring in post-Napoleonic Germany. The translators have provided an introduction and notes that offer a scholarly commentary on the philosophical and political background of Hegel's Heidelberg writings. (shrink)
This article explores the distinctive artistic form of caricature and the philosophical treatment it receives in the work of Karl Rosenkranz (1805–1879), who gives it a central role in the context of his remarkable book The Aesthetics of Ugliness (Die Ästhetik des Hässlichen). Rosenkranz’ legacy on this score is not much discussed (certainly in Anglo-American philosophical circles), but its importance for the development of post-eighteenth-century aesthetics—in particular, for an aesthetics that stretches beyond the conventional concerns with the beautiful and the (...) sublime—can hardly be overstated. After a presentation of Rosenkranz’ project on the aesthetics of ugliness, this article examines his take on caricature and its relation to philosophy (as well as philosophy’s relation to caricature), and then takes up some pressing contemporary questions that arise for caricature’s use of stereotypes. (shrink)
Few philosophers can induce as much puzzlement among students as Hegel. His works are notoriously dense and make very few concessions for a readership unfamiliar with his systematic view of the world. Allen Speight's introduction to Hegel's philosophy takes a chronological perspective on the development of Hegel's system. In this way, some of the most important questions in Hegelian scholarship are illuminated by examining in their respective contexts works such as the "Phenomenology and the Logic". Speight begins with the young (...) Hegel and his writings prior to the "Phenomenology" focusing on the notion of positivity and how Hegel's social, economic and religious concerns became linked to systematic and logical ones. He then examines the "Phenomenology" in detail, including its treatment of scepticism, the problem of immediacy, the transition from "consciousness" to "self-consciousness", and the emergence of the social and historical category of "Spirit". The following chapter explores the Logic, paying particular attention to a number of vexed issues associated with Hegel's claims to systematicity and the relation between the categories of Hegel's logic and nature or spirit. The final chapters discuss Hegel's ethical and political thought and the three elements of his notion of "absolute spirit": art, religion and philosophy, as well as the importance of history to his philosophical approach as a whole. (shrink)
Few philosophers can induce as much puzzlement among students as Hegel. His works are notoriously dense and make very few concessions for a readership unfamiliar with his systematic view of the world. Allen Speight's introduction to Hegel's philosophy takes a chronological perspective on the development of Hegel's system. In this way, some of the most important questions in Hegelian scholarship are illuminated by examining in their respective contexts works such as the "Phenomenology and the Logic". Speight begins with the young (...) Hegel and his writings prior to the "Phenomenology" focusing on the notion of positivity and how Hegel's social, economic and religious concerns became linked to systematic and logical ones. He then examines the "Phenomenology" in detail, including its treatment of scepticism, the problem of immediacy, the transition from "consciousness" to "self-consciousness", and the emergence of the social and historical category of "Spirit". The following chapter explores the Logic, paying particular attention to a number of vexed issues associated with Hegel's claims to systematicity and the relation between the categories of Hegel's logic and nature or spirit . The final chapters discuss Hegel's ethical and political thought and the three elements of his notion of "absolute spirit": art, religion and philosophy, as well as the importance of history to his philosophical approach as a whole. (shrink)
Frederick Neuhouser has written a clear and well-argued account of Hegel’s social theory which will be a welcome addition to the growing literature on Hegel’s concept of freedom within ethical and social institutions.
Murphy’s book is concerned with what he calls the “puzzle of beneficence”: that, while there are many moral issues on which people tend to agree, there is not only no consensus about the extent of the obligation to promote the wellbeing of strangers, but in fact a contentedness about the uncertainty of our obligation in this regard. Although there are some famous philosophical suggestions concerning the reasons for this puzzle, Murphy claims that what is most important is our tendency to (...) view beneficence in terms of collective responsibility. The question of collective responsibility raises particularly the issue of “non-ideal theory”—“what a given person is required to do in circumstances where at least some others are not doing what they are required to do.” Murphy’s chief aims are first to explain the absurdity of the demands of the utilitarians’ “optimizing principle of beneficence”—that we must keep benefiting others until the point where further efforts would burden us as much as they would help the others—and to suggest instead a more plausible principle of beneficence. His suggestion—a “collective principle of beneficence”— involves a “compliance condition”: that the demands on a complying person should not exceed what they would be under full compliance with the principle. Murphy argues at some length that the apparent absurdity of the optimizing principle of beneficence is due not to a problem of “overdemandingness” in general, but rather to a failure to take into consideration nonideal situations where there is only partial compliance. Although his more technical formulations of the correcting “collective” principle of beneficence are admittedly “cumbersome,” the “basic idea,” as he represents it, is that “a person need never sacrifice so much that he would end up less well-off than he would be under full compliance from now on, but within that constraint he must do as much good as possible”. The argument for this position has some intuitive appeal when it is applied, for example, in situations where the fairness of imposing extreme demands is clearly in question. Murphy uses the following example: if everyone else including me would die from a nuclear explosion that I can prevent by exposing myself to a lethal does of radiation, I am required under his principle to do so. Murphy has to give a more complicated response to a less intuitively appealing apparent consequence of his principle—that, when used to consider issues like poverty, it would not seem to require many people in our actual world to sacrifice. He admits that his principle cannot be a stand-alone basis for ethics—for one thing, the concern of his argument is specifically with the difficulties of principles of beneficence, which make a requirement on us that it would be wrong not to perform; voluntary or supererogatory acts are thereby left aside. There are, as well, some familiar further problems which may in the end, however, be no more difficult for Murphy’s principle than for the principle of optimizing beneficence.—Allen Speight, Boston University. (shrink)
Frederick Neuhouser has written a clear and well-argued account of Hegel’s social theory which will be a welcome addition to the growing literature on Hegel’s concept of freedom within ethical and social institutions.
There are relatively few recent works which attempt a serious and genuinely philosophical engagement with Hegel’s writings on aesthetics. Eschewing many of the limited ways in which Hegel is brought into conversations in contemporary literary criticism, Mark Roche has essayed a study of Hegel’s theory of the dramatic genres that seeks not simply to reiterate Hegel’s own thought, but to provide an immanent critique of Hegel’s theory that will be useful for the current critical debate.
