Terry Pinkard

Hegel remains widely known but largely unread in Anglo-American philosophy. Although the earlier hostility to his thought in these circles has begun to fade, Hegel still remains for many philosophers a more or less peripheral figure, somebody to be taught once other subjects in the philosophy department have been covered. This is partly because of his obscure style and mostly because of the standard picture of Hegel that remains in the psychic geography of many academic philosophers. Hegel is conceived as the last great thinker who tried to fashion a unified systematic picture of God, man and the world through something called dialectic. On this standard view, Hegel is seen as arguing for a kind of grand Spirit who is gradually coming to self-consciousness by struggling through the contradictions He has created, using people as instruments for His coming to self-consciousness, until finally He succeeds somewhere in Berlin. Spirit-God comes to full self-consciousness and as parts of this grand Spirit-God, we too come to a full awareness of what we really are. This kind of grand metaphysical cosmology and theodicy does not fit the more skeptical temperaments of many twentieth-century academic thinkers.

Few books in Hegel scholarship have been as anticipated as H. S. Harris's commentary on Hegel's Phenomenology of Spirit. Harris has long been one of the leading commentators and translators of Hegel's pre-Phenomenology works and life, and he was forcefully present at the creation of both the British and the North American Hegel societies. Probably nobody in the Anglophone philosophical world knows the details of all the ins and outs of Hegel's book like Harris does. The wait for his own comments on Hegel's book is now over, and the result is a thick, dense, often-rewarding commentary, even longer than the already-long book that is its subject. The commentary is replete with cross-references to the other parts of the texts and to Hegel's other works, and puts Harris's immense and bounteous erudition on display.

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”.