Terry Pinkard

Neuhouser’s book is one of the most important contributions to the revival of Hegelian philosophy that has been taking place in Anglo-American philosophy over the last few years. Much of the debate in moral and political philosophy of the last few years has been set in terms of “the right” versus “the good,” and it is tempting to want to put Hegel in one of those categories and thereby also to classify him as either a “liberal,” a “communitarian,” or perhaps a “romantic.” Neuhouser develops a powerful case for understanding him as none of these things. Instead he wants to understand Hegel as developing a social and political philosophy around the central conception of “self-determi- nation.” At first blush, that makes Hegel sound very much like the post-Kantian many now take him to be, but Neuhouser argues that, however true that might be, Hegel is best understood as continuing and developing certain key Rousseauian insights. In Neuhouser’s treatment, both Hegel and Kant are “post- Rousseauians,” and his understanding of what this means throws new and great light on understanding why Hegel’s social philosophy may still be of importance to us.

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.