I begin by defending Heinrich Gustav Hotho’s foundational edition of the Lectures on Aesthetics (LA) contra Gethmann-Siebert and others who argue for a non-systematic view of Hegel’s aesthetics generally and music specifically. I defend Hegel against the common conceit that his comprehension of music was somehow deficient and introduce the Hegelian idea of absolute agency as performative in art and music. Reference to Kant’s transcendental aesthetics then allows us to grasp how, in Hegel, meaningful tones arise from the vibratory oscillation (...) between selfhood’s presiding unity and its temporal self-positing. I then trace back further elements of musical architecture, such as rhythm, harmony and melody to the temporal oscillation arising from within selfhood. The fundamental ambiguity within temporal oscillation is the source of meaningfulness in music, the feeling that its experience is meaningful without telling us exactly what that meaning is. Meaningfulness forms the absolute Ur-Ton of beautiful music, which arises as determinate tones within selfhood and resonates into the soul of the listener. The temporal vanishing of musical tones within a compositional framework is a pre-linguistic expression of meaning, performative of the ambiguous oscillation between the human and the divine. (shrink)

Hegel reads the poet Novalis as an expression of terminal irony, a pathological case of Gemüt, where the conscious mind is alienated from reality and turns its negativity inwards on the contents of its own natural soul. The condition of self-feeling, presented in Hegel’s “Anthropology”, is a self-consumption that manifests itself somatically in the physical disease (consumption) from which Novalis dies. The poet’s literary production represents a pathological fixation that impedes the dynamic organicity of Hegelian Science. As such, Novalis’s mental (...) illness and death constitute an expression of romantic irony and an ongoing threat to Hegel’s philosophy. (shrink)

Kate Crawford presents AI as “both reflecting and producing social relations and understandings of the world”; or again, as “a form of exercising power, and a way of seeing… as a manifestation of highly organized capital backed by vast systems of extraction and logistics, with supply chains that wrap around the entire planet”. I interpret these material insights through a Marxist understanding of ideology, with reference to Marx/Engels, Guy Debord and Louis Althusser. In the German Ideology, Marx and Engels present (...) ideology as the alienated and alienating discourse of exchange, dissimulating the material forces of production and its science. Guy Debord presents the spectacle as the further representation of capital. The spectacle is a total Weltanschauung, pure appearance, where “whatever appears is good and where what is good, appears.” Above all, the spectacle is ideology, representing “the impoverishment, enslavement and negation of real life”. Louis Althusser presents ideology as essential for the reproduction of labor-power and capital. His notion of “interpellation” explains the subjective uptake of ideology, how we respond, “yes!” to its call. The algorithms of AI are enactments of surplus value generating capital as data. The AI data-world is the spectacle, “the autonomous movement of non-life” (Debord) where the proletariat/consumer is the producer of their own ideological subjection. Is resistance possible? What form might it take? And if AI is understood as ideology, i.e. as a language that obscures the true conditions of real life, then what are those true conditions? What is “real life”? (shrink)

Hegel uses the term Einsicht (‘insight’) throughout several key subsections of Chapter Six of the Phenomenology of Spirit (notably in ‘Faith and Pure Insight’ and ‘The Struggle of the Enlightenment with Superstition’). Nowhere else in his work does the term enjoy such a sustained treatment. Commentators generally accept Hegel’s use of the term in the Phenomenology as simply referring to the type of counter-religious reasoning found in the French Enlightenment. I show how Hegel derives the term, through the lens of (...) Kant’s essay, ‘What Does It Mean to Orient Oneself in Thinking?’ from the Pantheismusstreit, the philosophical debate between Mendelssohn and Jacobi about knowledge of God. The Aufklärung provenance of Einsicht shows how a deep complicity between faith and reason, in the form of immediate knowing, leads beyond the Terror to a happier outcome in the Morality section. Finally, passing reference to Einsicht in the Vorbegriff of the Encyclopaedia Logic confirms its role in the ethical and political vocation of Hegel’s Science. (shrink)

The creation of the University of Berlin in 1810 was the result of interaction between the state and philosophy, two human expressions whose relationship, at least since Socrates' death and Aristotle's exile, has tended to be problematical. That university, which became an important model for North American institutions of higher learning, was from the outset a state university; it was designed and run by the state, as opposed to what was previously the rule: institutions dependent on the Church or princes. (...) The bind, of course, is that this idea of a modern university, defined by its independence with regard to ecclesiastical and private interests, must henceforth depend on the state to guarantee its independence. This dilemma is already apparent in the philosophical ideas at work in the University of Berlin's early evolution. (shrink)

Through reference to Karl Löwith's reading of time in Hegel as fundamentally inspired by the temporality of Aristotle, the paper shows how the absolute "now" is thoroughly informed by historical time. Hegel's preferred tense is that of the Perfekt, the present perfect, where the present "now" is always also what it has been. Hegel thus reconciles Greek and Christian forms of temporality, the distinction that Löwith reads as unreconciled and tragic in Hegel's "young" followers: Feuerbach, Stirner, Bauer, Marx and Nietzsche. (...) Nonetheless, the Left Hegelian heritage is right in comprehending Hegelian time as fundamentally past-oriented. Their own stunted philosophical endeavors are aimed at the future. (shrink)

Hegel's critique of the Early German Romantic figures of Fr. Schlegel, Novalis and Schleiermacher resonates to the very core of his work and is as essential to understanding his vision of Science as Plato's polemic against the Sophists is to comprehending his philosophy. Hegel's presentation of romantic irony may not be faithful to its Romantic conception but it is deeply insightful in apprehending irony's postmodern threat to systematic philosophy.

There exists a very particular grasp of the relation between language and objectivity in the work of G.W.F. Hegel (1770-1831), one that rejects the idea of truth as the reflection between words and what they represent.Jeffrey Reid's Real ...

Contemporary reluctance to consider any complicity between philosophy and religion has led to an inability to consider, in Hegel studies, how the revelatory agency of the Absolute necessarily complements the narrative of human reason. According to Hegel, reason alone can do no more than end in the endless limitations of actuality, in the infinite approximations of a moral summum bonum and in the ad infinitum strivings for concrete political freedom. Recognizing where revelatory agency occurs in Hegel’s Science allows us to (...) recognize the Idea’s freedom in the worldly, human expressions of art, religion and philosophy, in their philosophical study within the state University. Without such recognition, both Left and Right fields of Hegel interpretation tend to evaluate the success (or failure) of his philosophy based on inflated, unrealistic expectations of what is meant by “actuality.”. (shrink)

In the Philosophy of Nature, Hegel describes at length and in detail the particular workings of animal digestion and excretion, referring to the empirical research of his day (Berzelius, Spallanzani, Traviranus). By becoming engaged in the scientific disputes and insights of the time—regarding, for example, the mechanical versus chemical nature of digestion, immediate digestive assimilation and the chemical composition of feces—Hegel arrives at the novel idea that what the animal excretes as superfluous is its own particular entanglement with inorganic otherness. (...) The animal’s subsequent feeling of triumph and satisfaction constitutes the affirmation of individual purposiveness, a form of immediate ideality that Hegel presents as animal subjectivity. (shrink)

Romantic psychology is first specified in counter-distinction to Enlightenment-informed faculty-psychology, whose scientific paradigm is fundamentally materialistic and mechanistic. Romantic psychology is then presented through Fr. Schlegel’s theory and practice of the literary fragment. In the fragment, we discover selfhood that is self-positing, powered by electro-chemical forces and enlivened by the stimulating Other. Romantic psychology determines the self as an ironic system, complete and yet organically open to other selves. It is phenomenological in nature and its contemporary legacy can be found (...) in psychoanalysis and psychoanalytical hermeneutics. (shrink)

This is a version of a book chapter included in a mss on Hegel and the Absolute. It deals with metaphysical issues in Big Bang cosmology (the Big Crunch, the Big Chill, the anthropic principle, singularities...) from a Hegelian point of view. If human consciousness is an undeniable feature of the universe, then can we not say that the universe possesses or has possessed consciousness and therefore is or has been conscious? Similarly, Hegel's Absolute knows itself through the self-knowing agency (...) of human thought. And so should we not attribute to the universe the same divine existence that Hegel's Encyclopedia evokes, in its last paragraph where he refers to Aristotle's self-contemplating, self-enjoying god? (shrink)

Reading the Phenomenology onto-grammatically means interpreting its constitutive forms of consciousness as grammatical iterations of the speculative proposition, where the subject-object relations can be read as dialogical encounters between subject and predicate, where the predicate “talks back”, creating a discursive space of hermeneutical ambiguity and openness, at play in the copula. The article begins with a brief presentation of Hegel’s general theory of language, as it pertains to the distinction between the linguistic sign (Zeichen) and the word (Wort), drawn from (...) his later writings, before applying these grammatical terms to the ontological reading of the speculative sentence, as presented in the Preface to the Phenomenology and discussed by Jere Surber. Then, the article puts its dialogical insights into practice, examining how the onto-grammatical reading of the speculative sentence plays out in the Phenomenology’s famous "lordship and bondage" (aka "master/slave") dialectic. (shrink)

The paper examines Hegel's views on Reinhold, from his earliest appreciation to his final remarks in the Encyclopedia. Ultimately, Reinhold's theory of representation helps Hegel see that the Late Enlightenment opposition between faith and reasoning is anchored in the language of representation. The speculative language of Hegelian Science is necessary in order to overcome the modern dilemma.

The article re-visits the different scholarly approaches to Hegel's end-of-art scenario, and then proposes a new reading whereby ending and finitude are presented as essential features of beautiful art. The first and most determinant of art's endings is the death of the Christly art object, not representations of Christ, but the actual death of (the son of) God himself as the last classical artwork. The death of God represents the last word in Greco-Roman art, the accomplishment of the beautiful individuality (...) and its failure to present the Absolute in a singular, naturally infected, lively, human (made) form. The ending of art brings about a new form of the sacred: the representational language of revelatory religion. The ongoing production of modern artistic forms is a feature of actuality ("Wirklichkeit") and as such is condemned to an infinite approximation of what has been. Such actuality nonetheless "ends" in the ironic discourse of contemporary artistic expression, which Hegel qualifies as a "Vereitelung". The final realization of the beautiful art form, as a human-informed singularity embodying absolute content, may well be the Encyclopedia of Philosophical Sciences, whose performative iteration takes place in the form of "worship" practiced in the modern, state university. (shrink)

Greek tragedy, in Hegel’s Phenomenology of Spirit, represents the performative realization of binary political difference, for example, “private versus public,” “man versus woman” or “nation versus state.” On the other hand, Roman comedy and French Revolutionary Terror, in Hegel, can be taken as radical expressions of political in-difference, defined as a state where all mediating structures of association and governance have collapsed into a world of “bread and circuses.” In examining the dialectical interplay between binary, tragic difference and comedic, terrible (...) in-difference, the paper arrives at hypothetical conclusions regarding how these political forms may be observed today. (shrink)

The organic trope is a popular way of accepting the systematicity of Hegelian science. It allows for diversity and difference within the living whole, where each organ contributes to the life of the holistic "one", which, in turn, ensures the vitality of each organ. For example, in the Philosophy of Right, the organic state maintains itself in relation to the various institutions and corporations that constitute its organs. However, one element of the organic trope remains largely ignored: excretion. Briefly, if (...) we take Hegel's system as organic, then what does it excrete? What constitutes its excrement? This book chapter examines Hegel's philosophical, syllogistic interpretation of animal digestion and excretion in the Philosophy of Nature and then attempts to apply it to the organic system of science, as an individual, purposive life form whose subjectivity arises through the excretion of what is deemed superfluous. (shrink)

Friedrich Schlegel's theory of irony is examined with reference to his theory of the literary fragment. Both are informed not only by Fichte's I = I but by Ritter's theory of galvanism as well as by John Brown's theory of medicine. In Ritter, electrical energy is created through the compression of opposite chemical elements in a closed (fragmentary) space. Brown's theory of excitability presents the compressive "other" as actually soliciting the energetic sparks that Schlegel associates with Witz. The literary fragment (...) is an electrically charged engine for the ironic production of further fragments. (shrink)

Hegel's take on mental illness, as presented in the Subjective Spirit chapter of his Encyclopedia, is explored through his diagnosis of the romantic poet/philosopher Novalis, whose yearning (Sehnsucht) becomes a pathological condition where subjective negativity turns inward, creating a pathological condition of Gemüt. The mental condition manifests itself physiologically. Sehnsucht becomes Schwindsucht (consumption) bringing about the death of Novalis.

The paper explores Hegel's theory of language, from the Subjective Spirit book of his Encyclopedia. Hegel distinguishes between linguistic signs, as arbitrary signifiers and words, which occur when the signs are filled with thought or meaning. Words have greater objectivity than signs. The words of the positive, empirical sciences are taken up into Hegelian Science (system), affording it greater objectivity, which it, reciprocally re-confers on its linguistic contents.

Why does Hegel change “Dreaming Soul” to “Feeling Soul” in the 1830 edition of the Philosophy of Subjective Spirit? By tracing the content of the Dreaming Soul section, through Hegel’s 1794 manuscript on psychology, to sources such as C.P. Moritz’s Magazin zur Erfahrungsseelenkunde, the paper shows how the section embraces a late Enlightenment mission: combating supposedly supernatural expressions of spiritual enthrallment by explaining them as pathological conditions of the soul. Responding to perceived attacks on the 1827 edition of the Encyclopedia (...) by Schleiermacher, Hegel alters the section and its heading, thereby including the pastor’s religion of feeling in the pathology of Schwärmerei. (shrink)

This paper deals with the problematic relationship between thought and nature in Hegel. This entails looking at the philosophy of nature and discovering to what extent it claims to incorporate natural otherness or contingency and how it does so. I briefly summarize other approaches to this question (Maker, Winfield, Braun, Wandschneider, Hoffheimer...) while putting forward my own solution. This is expressed in an argument articulated around the three Hegelian images (and their texts) in the paper’s title. We discover how the (...) relation between philosophy and nature is a dynamic one, mediated by the actual content of the positive natural sciences. In other words, thought and nature are mediated by the human activity of scientific knowing, within the systematic project of knowing all of nature. This raises the possibility of conceiving Hegel’s system as open to the future. (shrink)

Both continental and analytic traditions have tended to associate Hegel’s idealism with metaphysics and therefore as divorced from and even pernicious to reality. Hence, contemporary Hegel studies have tended to concentrate on discrete elements of his philosophy while attempting to avoid its metaphysical dimensions and their systematic pretensions. I seek to show that rather than dwelling in abstraction, Hegel’s metaphysics, as presented in his Logics, recount the thought determinations through which being comes to be grounded and thus, scientifically knowable as (...) nature. Such categorical determining is essentially linguistic, taking place through the grammatical forms of judgment (Urteil) and their outcome in the syllogism. The centrality of these grammatical forms reveals the anthropological goal of Hegel’s metaphysics, where the fully determined copula of judgment presents itself as the object of natural science, for us. (shrink)

Within Hegel's system of science, judgement(Urteil)is thought's original dividing from identity into difference. In the same context, judgement is also an act of predication where “subject” must be understood in both a grammatical and psychical sense. Thus, judgement expresses a language act that is a self-positing into the difference of being. This article looks at two examples where Hegel's ontological notion of judgement obtains, then finds, the roots of this notion in Hölderlin and Fichte.

In this paper, I explore the largely ignored ethical dimension in the first section of Hegel’s Phenomenology of Spirit, Sense-certainty, which tends to be understood exclusively as an epistemological critique of sense-data empiricism. I approach the ethical aspect of the chapter through Hegel’s analysis of language, there, as unable to refer to individual things. I then show that the position Hegel analyses is akin to the one presented by Thomas Hobbes in his Leviathan, as well as in his De Corpore, (...) and which serves to ground his naturalistic ethics. The linguistic juxtaposition consequently allows me to relate the ethics of sense-certainty to Hobbes, not only to his “shallow” empiricism, as Hegel puts it, but to the ethical vision Hobbes presents in his state of nature. (shrink)

Hegel's critique of Schleiermacher as the embodiment of two currents of romantic irony: empiricist skepticism (Schlegel) and feeling (Novalis), are explicitly presented as "absolute presupposition of our time". The article associates these "presuppositions" with features of postmodernity, as presented by Lyotard. Thus, the Hegelian critique of Schleiermacher might be read as a critique of postmodernity.

This paper examines the Hegelian moment of the for-another in its negative relation to the other moment of particularity: the for-itself. I identify the dissolving, fluidifying action of the for-another by examining figures within the Philosophy of Nature, particularly comets and moons, but also Hegel’s physics of light and sound. The dissolution of the lunar for-itself at the hands of the cometary for-another illustrates how the dynamic relation between the two moments of particularity participates in the presentation of essence, within (...) the Hegelian syllogism, i.e. as mediating between the universal and the singular. The dynamic action of cometary negativity occurs throughout the Philosophy of Nature and therefore should be pivotal to how the work is read. (shrink)

Mettre en rapport des textes de Hegel sur l’amour érotique avec quelques passages du penseur romantique Friedrich Schlegel permet de mettre en relief la méfiance hégélienne à l’égard du désir sexuel. Selon l’échelle hiérarchique de désirs chez Hegel, le désir érotique fait preuve d’un déséquilibre entre le sujet désirant et l’objet désiré, ce qui est typique d’un rapport purement naturel et non spirituel. C’est dire que la connaissance charnelle, avec son objet dénué de Soi propre, représente pour Hegel une forme (...) inférieure de savoir. L’inégalité sujet-objet propre à l’amour érotique n’est dépassée que par la participation à la substance éthique, ce qui exige la reconnaissance réciproque de consciences de soi égales. Dans ce contexte, il s’agit du mariage. Juxtaposing some of Hegel’s texts on erotic love with certain passages from the romantic thinker Friedrich Schlegel throws light on Hegel’s problematic relationship with sexual desire. According to his hierarchy of types of desire, erotic desire betrays an imbalance between the desiring subject and the object of desire, typical of a purely natural, non-spiritual relation. This means that carnal knowledge, with its self-less object, represents an inferior form of knowing. The inequality between subject and object, inherent in erotic love, is only surpassed through participation in the ethical substance, requiring the reciprocal recognition of equal self-consciousnesses. In the present context, this means marriage. (shrink)

Deals with Hegel's critique of Fr. Schlegel, Novalis and Schleiermacher, as representatives of ironic Romanticism.

Le fait que Hegel ne se soit pas joint au groupe de lecture qui s’est formé au Stift de Tübingen en 1790, dans le but de discuter de la philosophie kantienne, est généralement évoqué comme preuve de son manque d’intérêt pour la première Critique. Or les premières références à Kant, dès 1787, dans les extraits que Hegel a recopiés à partir de sources premières et secondaires, nous montrent qu’il s’était déjà approprié des éléments essentiels au développement de sa propre pensée. (...) Ces éléments s’accordaient mal avec les tendances théoriques du groupe, animé par le « Kantianer enragé » Carl Diez, qui rendaient impossible le langage spéculatif tel que Hegel le trouvait en germe dans les antinomies de la raison pure. (shrink)

The book holds the French translation of Hegel's 1828 review of K.W.F. Solger's Posthumous Writings and Correspondence, published by his friends in 1818, along with a lengthy introduction in French. In his review, Hegel distinguished between Solger's little-known theory of aesthetic irony, which he had likened to Hegel's own dialectic of the Absolute, from the romantic irony of Friedrich Schlegel.

Great Philosophers tells the story of Western philosophy through the thought of its main protagonists, the great philosophers. The narrative begins with the Presocratic philosophers Heraclitus and Parmenides and ends in recent times, as each philosopher wrestles with the problems and solutions of his or her predecessors. Along the way, Jeffrey Reid provides an engaging introduction to many of the principal ideas of luminaries such as Plato, Descartes, Hume, Kant, Hegel, Nietzsche and Sartre. Great Philosophers not only provides an ideal (...) introduction to philosophical thought, but also an original understanding of the discipline of philosophy itself. The book aims not only to recount an important tradition, but also to reveal something about how it has affected who we are. (shrink)

Hegel's critique of Solger's theory of irony, through his review of the latter's posthumous writings and correspondence, shows that while he distinguishes Solger's irony over that of Fr. Schlegel, the literary forms that Solger's work takes reveals the lack of mediation and content in his philosophical expression: the linguistic forms that Hegel associates with Spirit.

The paper examines Hegel's review of Solger's posthumous writing and correspondence, which had recently been published. While Hegel appreciates Solger's absolute dialectic, he is critical of the un-scientific linguistic form his thought must take (literary dialogues), as revelatory of the missing middle between the infinite and the finite: the province that Hegel calls Geist.

Reading The Phenomenology of Spirit through a linguistic lens, Jeffrey Reid provides an original commentary on Hegel's most famous work. Beginning with a close analysis of the preface, where Hegel himself addresses the book's difficulty and explains his tortured language in terms of what he calls the “speculative proposition”, Reid demonstrates how every form of consciousness discussed in The Phenomenology involves and reveals itself as a form of language. Elucidating Hegel's speculative proposition, which consists of the reversal of the roles (...) of the subject and predicate in such a way that the copula of the proposition becomes the lively arena of dialogical ambiguity and hermeneutical openness, this book offers new onto-grammatical readings of every chapter of The Phenomenology. Not only does this bring a new understanding to Hegel's foundational text, but the linguistic approach further allows Reid to unpack its complexity by relating it to contemporary contexts that share the same language structures that we discover in Hegel. Amongst many others, this includes Hegel's account of sense-certainty and the critique of the immediacy of consumer culture today. There's a YouTube interview on the book, under Professor Jeffrey Reid. (shrink)

The paper examines the "Pleasure and Necessity" section of the Reason chapter in the Phenomenology of Spirit. The temporality of sexual pleasure and satisfaction is best iterated, for Hegel, in the Mozart's Don Giovanni, rather than in Goethe's early Faust fragment, as is usually supposed. In the figure of Don Giovanni, Hegel finds an expression of the futile punctuality of the pleasure-seeker's pursuits and his ultimate destiny in the uncompromising necessity of natural death.

L'objectivité dont s'occupe la science hégélienne n'est pas celle d'une réalité détachée, mue selon les lois dialectiques, et le discours scientifique n'est pas vrai et objectif parce qu'il serait la réflexion adéquate d'une telle réalité. L'objectivité scientifique chez Hegel doit être saisie comme le logos , c'est-à-dire le discours de la science elle-même dans son actualité existante. Il s'agit d'un discours qui est son objet et qui est l'objectivité véritable. Ce type de langage est seulement possible s'il est compris comme (...) le moyen terme entre l'être et le penser, c'est-à-dire en termes du syllogisme hégélien et non pas de la prédication. Concrètement, les objets de la science, ou les contenus de l' Encyclopédie , sont eux-mêmes des discours objectifs, c'est-à-dire existants et vrais. Ainsi, par exemple, c'est seulement comme discours que l'Etat peut constituer un objet/contenu de la science hégélienne.The objectivity that Hegelian science deals with is not a detached reality running on dialectical laws, and scientific discourse is not true and objective because it is the faithful reflection of such a reality. Scientific objectivity, in Hegel, should be understood as logos, as existing scientific discourse. It is a discourse that is its object and is true objectivity. This type of language is only possible if it is grasped as the middle term between mere being and thought, in terms of the Hegelian syllogism rather than predication. Concretely, the objects of science, or the contents of the Encyclopedia, are themselves existing, true discourses. Thus, for example, only as discourse does the State become an object/content of science. (shrink)

The paper examines the historiographic element in Hegel's philosophy of history, i.e. how the philosophy is constituted as a narrative whose objective truth is guaranteed through the incorporation of original accounts, which are reflected upon in secondary sources. It is these accounts that the philosophy of history further reflects upon and incorporates as the objective linguistic content of Science. Briefly, philosophy of history is a discourse that reflects upon other discourses and not on historical "events" themselves.

How is Hegel's scientific (systematic) language meant to be objective? Through an examination of Hegel's theory of language, as outlined in the Encyclopedia, we understand how thought inhabits signs to form words, gaining in objectivity. The words of the positive sciences of the understanding are then taken up (reflected upon) syllogistically, where the discourse of Science is informed by the relative objectivity of its linguistic contents. The Philosophy of Nature, for example, does not reflect directly on nature but rather gains (...) its truth and objectivity through reflection on the discourses of the natural sciences. (shrink)

The paper explores Hegel's earlier-than-supposed encounter with Kant's thought, at the Tuebingen Stift, where a reading group formed around the "radical" Kantian, C.I. Diez. The paper argues that Hegel avoided this group and its interpretation because its strictly anthropological interpretation of Kant and its eschewal of any reference to divine (absolute) revelation left it anchored in empirical understanding, leaving aside the speculative elements of Kantian philosophy, notably, the ideal agency of reason and the possibility of rational faith.