Robert Pippin

The project defended in this article is a forty-plus year attempt to argue for the continuing philosophical importance of the positions in theoretical and practical and aesthetic philosophy defended in what has come to be known as ‘German Idealism’ (or ‘post-Kantian German philosophy.’) For the most part this has concerned Kant, Fichte, Schelling, Hegel, and the relations among them, with most of the attention focused on Hegel. The Hegel interpretation has been criticized for its claim about the influence of Kant on Hegel’s account of apperceptive judgment, for the nature of the idealism ascribed to Hegel, and for the Kantian-Hegelian insistence on the autonomy and self-grounding authority of pure reason. The interpretation of Hegel’s practical philosophy has been criticized for defending an excessively social theory of agency, and the theory of modernization ascribed to Hegel has been criticized for claiming that philosophy could and should have a historically diagnostic task. The interpretation of Hegel’s theory of art argues that elements of Hegel’s basic philosophical position puts one in the best position to understand the meaning and importance of post-Hegelian pictorial modernism, that his general approach can be of great value in understanding his claim that great art had become ‘a thing of the past.’ A clarification of these positions, and a brief case for their philosophical importance comprises the substance of this recapitulation.

Hegel frequently claimed that the heart of his entire system was a book widely regarded as among the most difficult in the history of philosophy, The Science of Logic. This is the book that presents his metaphysics, an enterprise that he insists can only be properly understood as a “logic,” or a “science of pure thinking.” Since he also wrote that the proper object of any such logic is pure thinking itself, it has always been unclear in just what sense such a science could be a “metaphysics.” Robert B. Pippin offers here a bold, original interpretation of Hegel’s claim that only now, after Kant’s critical breakthrough in philosophy, can we understand how logic can be a metaphysics. Pippin addresses Hegel’s deep, constant reliance on Aristotle’s conception of metaphysics, the difference between Hegel’s project and modern rationalist metaphysics, and the links between the “logic as metaphysics” claim and modern developments in the philosophy of logic. Pippin goes on to explore many other facets of Hegel’s thought, including the significance for a philosophical logic of the self-conscious character of thought, the dynamism of reason in Kant and Hegel, life as a logical category, and what Hegel might mean by the unity of the idea of the true and the idea of the good in the “Absolute Idea.” The culmination of Pippin’s work on Hegel and German idealism, no Hegel scholar or historian of philosophy will want to miss this book.

Any interpretation of Hegel which stresses both his deep dependence on and radical revision of Kant must account for the nature of the difference between what Hegel calls a merely finite idealism and a so-called ’Absolute Idealism’. Such a clarification in turn depends on understanding Hegel’s claim to have preserved the distinguishability of intuition and concept, but to have insisted on their inseparability, or, to have defended their ’organic’ rather than ’mechanical’ relation. This is the main issue in this chapter, which invokes John McDowell’s notion of ’the unboundedness of the conceptual’ to clarify the issue, as well as noting a number of similar claims in Wittgenstein. The implications of Hegel’s view for the issues of metaphysics generally is explored.

In this latest book, renowned philosopher and scholar Robert B. Pippin offers the thought-provoking argument that the study of historical figures is not only an interpretation and explication of their views, but can be understood as a form of philosophy itself. In doing so, he reconceives philosophical scholarship as a kind of network of philosophical interanimations, one in which major positions in the history of philosophy, when they are themselves properly understood within their own historical context, form philosophy’s lingua franca. Examining a number of philosophers to explore the nature of this interanimation, he presents an illuminating assortment of especially thoughtful examples of historical commentary that powerfully enact philosophy. After opening up his territory with an initial discussion of contemporary revisionist readings of Kant’s moral theory, Pippin sets his sights on his main objects of interest: Hegel and Nietzsche. Through them, however, he offers what few others could: an astonishing synthesis of an immense and diverse set of thinkers and traditions. Deploying an almost dialogical, conversational approach, he pursues patterns of thought that both shape and, importantly, connect the major traditions: neo-Aristotelian, analytic, continental, and postmodern, bringing the likes of Heidegger, Honneth, MacIntyre, McDowell, Brandom, Strauss, Williams, and Žižek—not to mention Hegel and Nietzsche— into the same philosophical conversation. By means of these case studies, Pippin mounts an impressive argument about a relatively under discussed issue in professional philosophy—the bearing of work in the history of philosophy on philosophy itself—and thereby he argues for the controversial thesis that no strict separation between the domains is defensible.

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.