Stephen Houlgate

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.

In this response, I accept some of McDowell’s criticisms of my presentation of his views in my essay, but argue that his understanding of Hegel remains problematic. In particular, I claim that he fails to see that, for Kant, intuitional unit y is inseparable from judging; that his understanding of Hegelian absolute knowing is wrong as it stands ; that he fails to see that self-consciousness aims, not to overcome the specific antithesis between self-consciousness and the empirical world, but to achieve explicit consciousness of itself in its relation to what is other, and that this requires it to relate to another self-consciousness; and that the implications of his idea that Hegel’s account of the life and death struggle and the master/slave relation is “allegorical” remain unclear

In this essay I propose to examine Hegel’s account of necessity and contingency in the Science of Logic. Anyone who dares to take Hegel’s Logic seriously in public risks being accused by legions of formal logicians of “elementary logical fallacies”. Nevertheless, John Burbidge, Dieter Henrich, and others have demonstrated that it is possible to discuss the Logic with clarity and intelligibility, and I shall endeavor to emulate their example as best as I can. One should take heed, however; even Hegel admits that “the concept of necessity is very difficult,” and rendering the concept of necessity intelligible will not eliminate that difficulty. All I can hope to do, therefore, is take us from the point at which we are not even sure what the difficulty is supposed to be to the point at which the nature of the difficulty itself becomes clear.

In his excellent recent book, Recognition: Fichte and Hegel on the Other, Robert Williams argues that, contrary to what many commentators claim, Hegel’s philosophy does not seek to swallow up individuality and difference in an all-embracing and all-consuming absolute, but rather takes individuality and differentiation seriously as essential features of the society and the world in which we live. Williams defends this interpretation by arguing that Hegel understands all forms of genuine human community and interaction - including not just civil society and the state, but also family relations and forgiveness - as modes of reciprocal recognition between individuals.

Errol Harris’s new book is an impressive and bold attempt to call into question the presuppostions of modern thought and to argue that a dialectical conception of logic and metaphysics is what is required by present-day science and culture. Whether Harris will convince his readers of the validity of Hegelian dialectical logic, I am not sure. What is certain, however, is that this book poses a challenge to contemporary philosophy that deserves to be taken seriously. Harris has produced a highly stimulating book that will be of interest to students of logic, metaphysics, epistemology, philosophy of science and ethics, of any philosophical persuasion.

Rosen’s book renews the skeptical attack on Hegelianism. He pursues the attack well - perhaps as well as the case permits - and thus exposes Hegelianism to the discipline of an instructive test. He in fact concedes less to Hegel than his fellow anti-Hegelian in the skeptical tradition, Jacques Derrida. For where Derrida admits that Hegel is rationally impregnable and thus resorts to mockery and jest, Rosen ultimately denies such impregnability. True, Hegelianism cannot be criticized except from a standpoint within the system - which rules out negative criticism of the system. Yet behind this seeming imperviousness to criticism lurks a fatal criticism: the mere existence of internally rational standpoints outside the system refutes its claim - and apparently the claim of any philosophy - to being the universal system of human reason.

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 (ratherthan the abstract, subjective freedom of Romantic irony) 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 an a priori account of the logical determinations immanent in and peculiar to nature—determinations that incorporate the determinations set out in the Logic. Hegel then points to the empirical phenomena corresponding to each determination and so proves indirectly that such phenomena are necessary. Finally, he draws attention to 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