Robert Pippin

John McDowell has criticized readings of Hegel that would have him holding that freedom should be understood as the achievement of some mutual recognitive status. He thinks that this saddles Hegel with an “unconvincing” argument, and one that is “out of tune with the characteristic shape of Hegel’s thinking.” Second, he criticizes an interpretation of the “inner-outer” relation in acting, one that tries to account for Hegel’s claim for the speculative “identity” of inner and outer in action. McDowell thinks that the criticized interpretation involves, again, a “misreading”, one that has Hegel “mishandle” the topic in general. And again, an alternate interpretation is presented and defended; defended both as a better reading of the text and sounder philosophically. In both cases the interpretations are mine, and I respond to them in this essay as both correct interpretations and as philosophically sound.

In the most influential chapter of his most important philosophical work, the Phenomenology of Spirit, Hegel makes the central and disarming assertions that "self-consciousness is desire itself" and that it attains its "satisfaction" only in another self-consciousness. Hegel on Self-Consciousness presents a groundbreaking new interpretation of these revolutionary claims, tracing their roots to Kant's philosophy and demonstrating their continued relevance for contemporary thought. As Robert Pippin shows, Hegel argues that we must understand Kant's account of the self-conscious nature of consciousness as a claim in practical philosophy, and that therefore we need radically different views of human sentience, the conditions of our knowledge of the world, and the social nature of subjectivity and normativity. Pippin explains why this chapter of Hegel's Phenomenology should be seen as the basis of much later continental philosophy and the Marxist, neo-Marxist, and critical-theory traditions. He also contrasts his own interpretation of Hegel's assertions with influential interpretations of the chapter put forward by philosophers John McDowell and Robert Brandom

Trisokkas raises two objections to my defence of Heidegger's claim against Hegel. Heidegger's claim is that Hegel had dogmatically assumed the priority of ‘logic’ in any inquiry into the meaning of being, thus inheriting the metaphysical tradition's dual assumptions that what must be said to matter most of all in our attempt understand our place in the world and a possible reconciliation with the world is the knowability of being. Everything else can only matter if the world is first of all available as knowable. The claim is not that Hegel cannot develop a ‘science of logic’ or, to use Hegelian shorthand, that Being cannot be understood as Concept. The issue is the status of the Logic, what significance it has in our attempt to understand ourselves and the meaning of being in general. Ultimately Hegel counts as the culmination of the metaphysical tradition because he believes, citing Aristotle, that ‘nous rules the world’, that everything is primordially available to us as rationally available, explicable. This means that even the meaning of the being of human history, sociality, religion and art is as expressions of reason, even as modes of rationality. Trisokkas objects that it is question-begging to saddle Hegel with a question that he is not, in the Science of Logic at least, attempting to answer. He puts this by saying that Hegel is simply not addressing the question of the status or significance of the Logic, that he has not ‘chosen’ to raise any question about what matters to human beings or to Hegel himself, but has chosen an inquiry into being. (‘Mattering is irrelevant at the beginning of Hegel's Logic.’ ‘All being is taken to be, is simply being.’) According to Trisokkas the Logic is simply an inquiry into being's possible determinacy. Trisokkas's second objection is a classic Hegelian objection, the one he himself raised against Schelling. He alleges that any philosophical understanding, even of the nondiscursive sources of meaningfulness, must itself be discursive in some way, as in Heidegger's own analysis or as in my book, and he cites this as evidence against the priority, at least for philosophy, of a nondiscursive attunement to significances. Mattering is a concept and our account of its significance must remain conceptual, not itself ‘poetic’.

In this astonishingly rich volume, experts in ethics, epistemology, philosophy of mind, political theory, aesthetics, history, critical theory, and hermeneutics bring to light the best philosophical scholarship on what is arguably Nietzsche's most rewarding but most challenging text. Including essays that were commissioned specifically for the volume as well as essays revised and edited by their authors, this collection showcases definitive works that have shaped Nietzsche studies alongside new works of interest to students and experts alike. A lengthy introduction, annotated bibliography, and index make this an extremely useful guide for the classroom and advanced research

With the rise of review sites and social media, films today, as soon as they are shown, immediately become the topic of debates on their merits not only as entertainment, but also as serious forms of artistic expression. Philosopher Robert B. Pippin, however, wants us to consider a more radical proposition: film as thought, as a reflective form. Pippin explores this idea through a series of perceptive analyses of cinematic masterpieces, revealing how films can illuminate, in a concrete manner, core features and problems of shared human life. Filmed Thought examines questions of morality in Almodóvar’s Talk to Her, goodness and naïveté in Hitchcock’s Shadow of a Doubt, love and fantasy in Sirk’s All That Heaven Allows, politics and society in Polanski’s Chinatown and Malick’s The Thin Red Line, and self-understanding and understanding others in Nicholas Ray’s In a Lonely Place and in the Dardennes brothers' oeuvre. In each reading, Pippin pays close attention to what makes these films exceptional as technical works of art and as intellectual and philosophical achievements. Throughout, he shows how films offer a view of basic problems of human agency from the inside and allow viewers to think with and through them. Captivating and insightful, Filmed Thought shows us what it means to take cinema seriously not just as art, but as thought, and how this medium provides a singular form of reflection on what it is to be human.