Hegels Theory Of Imagination

Filling an important gap in post-Kantian philosophy, Hegel's Theory of Imagination focuses on the role of the imagination, and resolves the question of its apparent absence in Hegel's Phenomenology of Spirit. Jennifer Ann Bates discusses Hegel's theory of the imagination through the early and late Philosophy of Spirit lectures, and reveals that a dialectic between the two sides of the imagination (the "night" of inwardizing consciousness and the "light" of externalizing material) is essential to thought and community. The complexity and depth of Hegel's insights make this book essential reading for anyone seriously interested in understanding how central the imagination is to our every thought.

Given the importance of imagination for Kant, Fichte and Schelling, it is significant that the word only comes up once in Hegel's Phenomenology of Spirit, and that it is not a chapter heading alongside "Sense-Certainty," "Perception," "Understanding" and "Reason." Part I. "Imagination in Theory" looks at the development in Hegel's theory of imagination from the Differenzschrift and Faith and Knowledge, through three different versions of the Philosophy of Spirit (1803, 1805, 1830). Part II. "Imagination in Practice," focuses on the final moment of the imagination according to the 1830 Philosophy of Spirit--Sign-making Phantasie. I discuss two examples--the artist's activity as described in the Aesthetics, and the 'religion of imagination'--Hinduism as Hegel understood it in the Lectures on the Philosophy of Religion. Part III synthesizes the two previous parts, showing that the Phenomenology of Spirit is the culmination of the imagination's theoretical and practical activity: while in theory imagination is the middle moment of Vorstellen, practically it is at the heart of Aufhebung and thus of Spirit's inception and development. The Phenomenology is the story of consciousness' progress through its self-presentations. Imagination is therefore present throughout the entire book. I do not engage the moments of the Phenomenology, but focus instead on the single appearance of the word imagination in the Preface, and on how Hegel reinterprets Fichte's wavering imagination as a moment within the reflection--the "medium" of this 'Science of Experience.' Between 1801-1807 language becomes an increasingly important moment of imagination; by 1830 the externalizing of representations in communication (sign-making) is a moment of imagination. Hegel's psychology of the genesis of imagination and its moments reveals Spirit to be the community of interpreters. In the thesis Hegel's imagination is thought through to the Phenomenology, however, it is in the final transition of the Phenomenology--from Religion to Absolute Knowing, from picture thinking to knowing according to the Concept--that Hegel thinks the imagination through to its end. My Epilogue briefly discusses that transition, and the end of imagination in Absolute Knowing.

Study of self-consciousness in Hegel and Shakespeare.

This book shows how an understanding of the nature and role of insanity in Hegel's writing provides intriguing new points of access to many of the central themes of his larger philosophic project. Berthold-Bond situates Hegel's theory of madness within the history of psychiatric practice during the great reform period at the turn of the eighteenth century, and shows how Hegel developed a middle path between the stridently opposed camps of "empirical" and "romantic" medicine, and of "somatic" and "psychical" practitioners. A key point of the book is to show that Hegel does not conceive of madness and health as strictly opposing states, but as kindred phenomena sharing many of the same underlying mental structures and strategies, so that the ontologies of insanity and rationality involve a mutually illuminating, mirroring relation. Hegel's theory is tested against the critiques of the institution of psychiatry and the very concept of madness by such influential twentieth-century authors as Michel Foucault and Thomas Szasz, and defended as offering a genuinely reconciling position in the contemporary debate between the "social labeling" and "medical" models of mental illness.

Explores imagination and human rationality in a crucial period of philosophy, from hermeneutics and transcendental logic to ethics and aesthetics.

Art and the Absolute restores Hegel's aesthetics to a place of central importance in the Hegelian system. In so doing, it brings Hegel into direct relation with the central thrust of contemporary philosophy. The book draws on the astonishing scope and depths of Hegel's Lectures on Aesthetics, exploring the multifaceted issue of art and the absolute. Why does Hegel ascribe absoluteness to art? What can such absoluteness mean? How does it relate to religion and philosophy? How does Hegel's view of art illuminate the contemporary absence of the absolute? Art and the Absolute argues that these aesthetic questions are not mere theoretical conundrums for abstract analysis. It argues that Hegel's understanding of art can provide an indispensable hermeneutic relevant to current controversies. Art and the Absolute explores the intricacies of Hegel's aesthetic thought, communicating its contemporary relevance. It shows how for Hegel art illuminates the other areas of significant human experience such as history, religion, politics, literature. Against traditional, closed views, the result is a challenge to re-read Hegel's aesthetic philosophy.

A philosophical inquiry into the strengths and weaknesses of theism and naturalism in accounting for the emergence of consciousness, the visual imagination and aesthetic values. The authors begin by offering an account of modern scientific practice which gives a central place to the visual imagination and aesthetic values. They then move to test the explanatory power of naturalism and theism in accounting for consciousness and the very visual imagination and aesthetic values that lie behind and define modern science. Taliaferro and Evans argue that evolutionary biology alone is insufficient to account for consciousness, the visual imagination and aesthetic values. Insofar as naturalism is compelled to go beyond evolutionary biology, it does not fare as well as theism in terms of explanatory power.

As the title indicates, Faith and Knowledge deals with the relation between religious faith and cognitive beliefs, between the truth of religion and the truths of philosophy and science. Hegel is guided by his understanding of the historical situation: the individual alienated from God, nature, and community; and he is influenced by the new philosophy of Schelling, the Spinozistic Philosophy of Identity with its superb vision of the inner unity of God, nature, and rational man. Through a brilliant discussion of the philosophies of Kant, Fichte, and other luminaries of the period, Hegel shows that the time has finally come to give philosophy the authentic shape it has always been trying to reach, a shape in which philosophy’s old conflicts with religion on the one hand and with the sciences on the other are suspended once for all. This is the first English translation of this important essay. Professor H. S. Harris offers a historical and analytic commentary to the text and Professor Cerf offers an introduction to the general reader which focuses on the concept of intellectual intuition and on the difference between authentic and inauthentic philosophy.