Terry Pinkard

One of the founders of modern philosophical thought Georg Wilhelm Friedrich Hegel has gained the reputation of being one of the most abstruse and impenetrable of thinkers. This major biography of Hegel offers not only a complete account of the life, but also a perspicuous overview of the key philosophical concepts in Hegel's work in a style that will be accessible to professionals and non-professionals alike. Terry Pinkard situates Hegel firmly in the historical context of his times. The story of that life is of an ambitious, powerful thinker living in a period of great tumult dominated by the figure of Napoleon. The Hegel who emerges from this account is a complex, fascinating figure of European modernity, who offers us a still compelling examination of that new world born out of the political, industrial, social, and scientific revolutions of his period

Kant’s conception of nature’s having a “purposiveness without a purpose” was quickly picked by the Romantics and made into a theory of art as revealing the otherwise hidden unity of nature and freedom. Other responses (such as Hegel’s) turned instead to Kant’s concept of judgment and used this to develop a theory that, instead of the Romantics’ conception of the non-discursive manifestation of the absolute, argued for the discursively articulable realization of conceptual truths. Although Hegel did not argue for the “end of art” (although it is widely held that he did just that), he did, curiously enough, claim that it is art and not philosophy which tells us about the “life” of agents. To see how he reconciles that claim with his otherwise entirely discursively oriented philosophy, it is necessary to look at his thesis of the end of art’s “absolute” importance. Hegel’s worries have to do with the impossibility of fully exhibiting the “inner” in the “outer” in modern art and with the newly emerging problem of “fraudulence” in the poet’s voice. This is illustrated by examples drawn from the history of music and the problems besetting the lyric poet in modern life. Because of these problems, we are, Hegel says, now “amphibious animals” having to live in different and seemingly incompatible worlds. Hegel’s student, Heinrich Heine, found that the only satisfactory way of responding to this was for the modern artist to adopt a distinctive type of irony in response to the Hegel’s worries about modern art. This form of irony, it is argued, is itself Hegelian in spirit.

Charvet’s arguments revolve around very recent discussions in Anglo-American analytical ethics and political philosophy. He considers and rejects, for example, arguments in favor of both Thomas Nagel’s version of ethical realism and the view that value is constituted by fulfillment of our strongest desires. Both suffer from the inadequate “shared assumption as to the fundamental independence of desire and value, and hence desire and reason”. Instead, we should see both as “interdependent”; value “comes into the world through the medium of the interacting desire and the belief systems of the organism as these articulate and project onto the environment the organism’s needs”. He likewise rejects Nagel’s and Parfit’s views on prudential rationality and personal identity, arguing that no “attempt to establish [personal identity] purely in impersonal terms” can succeed, that “the self is a basic primitive concept that is presupposed in all experience”.

This review of peter hodgson's new english translation of hegel's "lectures on the philosophy of religion", Part iii, And of two other books on hegel, Includes a report on plans for retranslating the entire "lectures". A new edition is made feasible by the hegel archiv's ability to construct a superior critical text of each of the four lecture series (1821, 1824, 1827, 1831) from lasson plus additional recently-Discovered auditors' transcripts. Stephen dunning's book on hegel and hamann, And james yerkes' on hegel's christology, Disagree emphatically on the suitability of hegel's conceptual framework for doing justice to the nature of christianity

IT IS A TRUISM THAT HEGEL took much of his program from Kant, but it has always been a matter of great dispute as to just what he took, how much he took, and how much he altered and added to the Kantian program. Since Kant is currently at a high point in acceptance in Anglo-American philosophical circles, a fresh look at Hegel's adoption and criticisms of that program will perhaps not only shed new light on Hegel but also point the way to a new integration of Hegelian themes in contemporary thought. In Hegel's Idealism: The Satisfactions of Self-Consciousness, Robert Pippin goes a long way to doing just that. Pippin provides a balanced philosophical account of Hegel and his program by arguing, among other things, that Hegel's work should be understood as a transformation of the Kantian idea of deriving all the conditions of knowledge from the transcendental unity of apperception, a special kind of self-conscious awareness of objects. The results are impressive.