By Michael Inwood
This ebook offers a finished survey of Hegel's philosophical suggestion through a scientific exploration of over a hundred key words, from `absolute' to `will'. by means of exploring either the etymological historical past of such phrases and Hegel's specific use of them, Michael Inwood clarifies for the trendy reader a lot that has been considered as tricky and imprecise in Hegel's paintings.
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Additional info for A Hegel Dictionary (Blackwell Philosopher Dictionaries)
Is Hegel claiming that two such worlds would be indistinguishable? g. g. black and white) do not. Are we to think of the human subject as inhabiting each of these worlds and as undergoing a corresponding reversal, or rather as transcending both worlds and holding them together in thought (which would imply that he at least is not mere Erscheinung)? But some things are clear. , the reversal of good and evil. , the alienated social world after the fall of Rome generates a similarly inverted world of FAITH.
But this book is written in the belief that the reader need not abandon all hope of understanding them, and can, like Dante, re-emerge from them enriched. Notes 1 Rudolf Haym, in what is still one of the best books on Hegel, Hegel und seine Zeit (Berlin: Gaertner, 1857), stresses Hegel's supreme and life-long objectivity. 2 J. L. Borges, 'Everything and nothing', in Labyrinths (Harmondsworth: Penguin Books, 1970), pp. 2845. 3 See R. Pascal, The German Sturm und Drang (Manchester: Manchester University Press, 1953).
The alienated social world after the fall of Rome generates a similarly inverted world of FAITH. ). The essence or logical structure (which Hegel does not hesitate to call 'GOD') of the world of appearance is fully manifest in its interplay and reversals. , Shklar, Freedom and Independence (1976), link the inverted world with the world of Plato's FORMS. ) Arbitrary, Arbitrariness see WILL AND WILFULNESS Art, Beauty and Aesthetics (Die) Kunst ('art, skill, craft', from können, 'can, to be able') originally had, like the Greek techne *, no special connection with beauty (Schönheit) or with what came to be known in the eighteenth century as the 'fine arts' (die schönen Künste) in contrast to (1) the seven medieval liberal arts (including astronomy, mathematics and philosophy), and (2) a craft, skill or profession.