Stephen Houlgate

In this paper I wish to consider the following sentence from Hegel’s lectures on the philosophy of history: “World history is the progress of the consciousness of freedom, — a progress whose necessity it is our business to comprehend.” I wish to consider this sentence because it seems to me to lie at the heart of two important misunderstandings of Hegel’s philosophy of history. On the one hand, the statement that world history is the progress of the consciousness of freedom has led some — notably Marxists — to argue that Hegel’s is a one-sided, idealist view of history, which, for all its dialectical subtlety, ignores the important role played by material, economic factors in historical development. On the other hand, the statement that this progress must be comprehended as necessary has led others — Nietzsche, for example — to see Hegel as denying the importance of human agency in history and as positing some kind of mysterious world-spirit as the cosmic puppet-master of historical change. Both of these criticisms, in my view, are based on misinterpretations of Hegel’s project in the philosophy of history, and both, I believe, can be avoided if we pay close attention to what Hegel actually means by the sentence cited above.

This study of Hegel and Nietzsche evaluates and compares their work through their common criticism of the metaphysics for operating with conceptual oppositions such as being/becoming and egoism/altruism. Dr Houlgate exposes Nietzsche's critique as employing the distinction of Life and Thought, which itself constitutes a metaphysical dualism of the kind Nietzsche attacks. By comparison Hegel is shown to provide a more profound critique of metaphysical dualism by applying his philosophy of the dialectic, which sees such alleged opposites as defining components of a dynamic. In choosing to study a theme so fundamental to both philosophers' work, Houlgate has established a framework within which to evaluate the Hegel-Nietzsche debate; to make the first full study of Nietzsche's view of Hegel's work; and to compare Nietzsche's Dionysic philosophy with Hegel's dialectical philosophy by focusing on tragedy, a subject central to the philosophy of both.

The publication in the mid-1980s of the new critical edition of Hegel’s lectures on the philosophy of religion is widely recognized to have been one of the most important events in the history of modern Hegel scholarship. By differentiating between Hegel’s own manuscript and the individual transcripts of the lectures made by his students, this edition enabled a wider philosophical public to trace for the first time the development of Hegel’s philosophy of religion throughout the 1820s. In view of the great importance of this new version of Hegel’s lectures, Jaeschke’s Reason in Religion, originally published in 1986 as Die Vernunft in der Religion: Studien zur Grundlegung der Religionsphilosophie Hegels, deserves particular attention and respect, because it is the first comprehensive study of Hegel’s philosophy of religion to be based on the new edition, and because Jaeschke himself was the person primarily responsible for preparing that edition.

The "logic of essence" is arguably the most important part of Hegel's Science of Logic, since it is where he offers his distinctive account of the fundamental concepts of metaphysics, such as form, substance, and causality. Yet, by Hegel's own admission, the "logic of essence" is by far "the most difficult part of the Logic" ; indeed, it is regarded by some as quite impenetrable. What Gerhard Martin Wölfle tries to do in this ambitious and remarkably lucid book is remove some of the difficulty of Hegel's notoriously dense text by elucidating what he takes to be the speculative method employed by Hegel in the "logic of essence."

This volume focuses on Hegel's philosophy of action in connection to current concerns. Including key papers by Charles Taylor, Alasdair MacIntyre, and John McDowell, as well as eleven especially commissioned contributions by leading scholars in the field, it aims to readdress the dialogue between Hegel and contemporary philosophy of action. Topics include: the nature of action, reasons and causes; explanation and justification of action; social and narrative aspects of agency; the inner and the outer; the relation between intention, planning, and purposeful behaviour; freedom and responsibility; and self-actualisation. This book will appeal alike to Hegel scholars and philosophers of action. List of Contributors: Katerina Deligiorgi, Stephen Houlgate, Dudley Knowles, Arto Laitinen, Alasdair Macintyre, John Mcdowell, Francesca Menegoni, Dean Moyar, Terry Pinkard, Robert B. Pippin, Michael Quante, Constantine Sandis, Hans-Christoph Schmidt Am Busch, Allen Speight, Charles Taylor, Allen W. Wood

It is a commonplace among certain recent philosophers that there is no such thing as the essence of anything. Nietzsche, for example, asserts that things have no essence of their own, because they are nothing but ceaselessly changing ways of acting on, and reacting to, other things. Wittgenstein, famously, rejects the idea that there is an essence to language and thought – at least if we mean by that some a priori logical structure underlying our everyday utterances. Finally, Richard Rorty urges that we ‘abandon … the notion of “essence” altogether’, along with ‘the notion that man's essence is to be a knower of essences’.

In this essay I challenge John McDowell’s controversial claim that “the real topic” of Hegel’s master/slave dialectic is the relation between “two aspects of the consciousness of a single individual.” I first consider McDowell’s interpretation of Kant, and then, by analysing briefly Hegel’s account of self-consciousness prior to the master/slave dialectic, I defend the more traditional view that that dialectic describes the relation between two separate individuals. I also criticize McDowell’s conception of absolute knowing, which, as I understand it, underlies his contention that the master/slave dialectic examines the relation between apperceptive spontaneit y and empirical consciousness within a single self

G.W.F. Hegel's aesthetics, or philosophy of art, forms part of the extraordinarily rich German aesthetic tradition that stretches from J.J. Winckelmann's Thoughts on the Imitation of the Painting and Sculpture of the Greeks and G.E. Lessing's Laocoon through Immanuel Kant's Critique of the Power of Judgment and Friedrich Schiller's Letters on the Aesthetic Education of Man to Friedrich Nietzsche's Birth of Tragedy and Martin Heidegger's The Origin of the Work of Art and T.W. Adorno's Aesthetic Theory. Hegel was influenced in particular by Winckelmann, Kant and Schiller, and his own thesis of the “end of art” has itself been the focus of close attention by Heidegger and Adorno. Hegel's philosophy of art is a wide ranging account of beauty in art, the historical development of art, and the individual arts of architecture, sculpture, painting, music and poetry. It contains distinctive and influential analyses of Egyptian art, Greek sculpture, and ancient and modern tragedy, and is regarded by many as one of the greatest aesthetic theories to have been produced since Aristotle's Poetics

IN HIS PROVOCATIVE AND HIGHLY READABLE BOOK, Schelling and Modern European Philosophy, Andrew Bowie argues that “Schelling... helps define key structures in modern philosophy by revealing the flaws in Hegel in ways which help set the agenda for philosophy even today.” The claim that Schelling’s critique of Hegel has exercised considerable influence on subsequent generations of philosophers is undeniably true. Kierkegaard, Feuerbach, and Engels all heard Schelling lecture in the years after Hegel’s death in 1831 and were receptive to his critique of the Hegelian system. Furthermore, many leading twentieth-century continental philosophers, including especially Heidegger and Habermas, studied Schelling closely and have taken up positions vis-à-vis Hegel which are recognizably Schellingian in origin and which have influenced other philosophers in turn. Schelling’s critique of Hegel is thus by no means merely of local interest to students of German idealism, but is of interest to all students of the continental tradition in post-Kantian philosophy for the simple reason that his critique is one of the most important sources of that very tradition.

The philosopher G.W.F. Hegel (1771-1831) is now recognized to be one of the most important modern thinkers. His influence is to be found in Marx's conception of historical dialectic, Kierkegaard's existentialism, Dewey's pragmatism and Gadamer's hermeneutics and Derrida's deconstruction. Until now, however, it has been difficult for the non-specialist to find a reasonably comprehensive introduction to this important, yet at times almost impenetrable philosopher. With this book Stephen Houlgate offers just such an introduction. His book is written in an accessible style and covers a range of topics: the philosophy of history, logic and phenomenology, political philosophy, aesthetics and the philosophy of religion. In the course of the book the author relates Hegel's ideas to those of many other thinkers, including Luther, Descartes, Kant and Thomas Kuhn.

William Desmond maintains that preserving the difference between God and humanity means retaining the transcendent otherness of God. In this article, by contrast, I argue that Hegel is right to maintain that insisting on God’s transcendent otherness actually turns God into a finite divinity and so eliminates the very difference Desmond wishes to retain. The only way to preserve the genuine difference between God and humanity, therefore, is to give up the idea that God is a transcendent other and to understand him to be immanent in humanity itself. I argue that this Hegelian position is closer to the orthodox Christian understanding of God than Desmond allows.

The aim of this article is to explain why, in Hegel's view, art's history brings it to the point at which it can no longer afford the highest satisfaction of our spiritual needs and so fulfill its own highest calling, and why, nevertheless, we moderns still need art and still need it to create beauty. I argue that Hegel advocates a modern art of beauty because he believes that what has to be given aesthetic expression in the modern world is concrete human freedom and life and that the aesthetic expression of such concrete human freedom entails beauty

In this essay I argue that Hegel’s Philosophy of Nature combines four elements. Hegel develops (1) an a priori account of the logical determinations immanent in and peculiar to nature—determinations that incorporate (but are not reducible to) (2) the determinations set out in the Logic. Hegel then points to (3) the empirical phenomena corresponding to each determination and so proves indirectly that such phenomena are necessary. Finally, he draws attention to (4) those aspects of nature that cannot be explained by nature’s immanent logic and so are contingent. In this way, I argue, Hegel demonstrates a priori that certain natural processes are made necessary by the distinctive logic of nature, but he also recognizes that there are contingencies in nature that only empirical science can discover

In this essay I argue that Hegel criticizes Kant for failing to carry out a thorough critique of the categories of thought. In Hegel's view, Kant merely limits the validity of the categories to objects of possible experience, but he does not challenge the way in which the ‘understanding’ conceives of those categories and other concepts. Indeed, for Hegel, Kant's limitation of the validity of the categories itself presupposes the sharp distinctions, drawn by understanding, between concepts such as ‘form’ and ‘matter’ or ‘subjective’ and ‘objective’. I note that Hegel does not do complete justice to Kant's concept of the ‘thing in itself’ or to his conception of ‘critique’, but I argue that his criticism of Kant is none the less correct.