Stephen Houlgate

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.

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.

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