Karin De Boer

Resumo Não há dúvida que tanto Kant como Hegel viram os seus respectivos trabalhos, como contribuições para aquilo que consideravam ser a “metafísica”. No entanto, a autora argumenta, que isto só deve ser compreendido, tendo presente, as concepções de metafísica de cada um dos autores. A autora, começando pela distinção implícita entre metafísica geral e metafísica especial na Crítica da Razão Pura, argumenta que Kant, Fichte, Schelling e Hegel comprometeram-se com uma investigação que, até essa altura, era do domínio da metafísica geral. A autora, concentrando-se na noção de sistema de razão pura, tal como aludido na Crítica da Razão Pura, mostra, que os sucessores de Kant, interpretaram erroneamente a distinção kantiana entre crítica e sistema, o que permitiu elaborarem um sistema completo de razão pura, contrário àquilo que era intenção de Kant. Palavras-chave : Fichte, Hegel, idealismo alemão, Kant, metafísica, sistemaThere is no doubt that both Kant and Hegel saw their work as contributions to what they considered metaphysics proper. Yet what they meant by this, I argue, can only be understood by taking into account their own conception of metaphysics. Starting from Kant’s implicit distinction between general metaphysics and special metaphysics in the Critique of Pure Reason, I argue that Kant, Fichte, Schelling and Hegel engaged in the investigation that used to be carried out in general metaphysics. Focusing on the notion of a system of pure reason intimated in the Critique of Pure Reason, I show, moreover, that Kant’s successors, while misinterpreting the Kantian distinction between critique and system, elaborated a method that made it possible to produce a complete system of pure reason, albeit one that differed from the system Kant had in mind. Keywords : Fichte, german idealism, Hegel, Kant, metaphysics, system

This chapter examines Hegel’s conception of philosophical critique in order to shed light on the force and limits of the method that has become known as immanent critique. At least in modern philosophy, it was Kant who first conceived of critique as a form of reflection that draws its criterion from reason itself. As I argue, Hegel is deeply indebted to Kant in this respect. The chapter begins with an analysis of Hegel's seminal essay ‘On the Essence of Philosophical Criticism Generally, and its Relationship to the Present State of Philosophy in Particular’, published in 1802. After a brief discussion of the Phenomenology, I turn to his Philosophy of Right. These texts make clear, I argue, that the criterion from which immanent critique takes its bearings is necessarily tainted with a particularity that it cannot affirm without losing its force. According to this account, immanent critique comes to refer to a form of reflection that is more complicated and more precarious than Kant and Hegel seem to have assumed.

This essay re-examines Hegel's account of Greek culture in the section of the _Phenomenology of Spirit_ devoted to “ethical action”. The thrust of this section cannot be adequately grasped, it is argued, by focusing on Hegel's references to either Sophocles' _Antigone_ or Greek tragedy as a whole. Taking into account Hegel's complex use of literary sources, the essay shows in particular that Hegel draws on Aristophanes' comedies to comprehend the collapse of Greek culture, a collapse he considered to result from the tragic conflict constitutive of Greek culture as a whole. The essay thus aims to shed light on Hegel's abstruse remarks on womanhood and, more generally, to demonstrate that Hegel's peculiar employment of literary sources constitutes an essential element of the method he employs throughout the _Phenomenology of Spirit_

While Kant in the Critique of Pure Reason maintains that things in themselves cannot be known, he also seems to assert that they affect our senses and produce representations. Following Jacobi, many commentators have considered these claims to be contradictory. Instead of adding another artificial solution to the existing literature on this subject, I maintain that Kant’s use of terms such as thing-in-itself, noumenon, and transcendental object becomes perfectly consistent if we take them to acquire a different meaning in the various parts of the work. Challenging the opposed interpretations of Allison and Langton, I argue that Kant’s account of things in themselves is primarily relevant to the second-order reflection on the possibility and limits of a scientific metaphysics that the Critique undertakes.