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Auf den Spuren der richtigen Hegelschen Ästhetik

100%
Weiss J.
Estetika: The Central European Journal of Aesthetics
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2008
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vol. 45
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issue 1
41-54
EN
Heinrich Gustav Hotho (1802-1873) published the three-volume 'Ästhetik' (1835) four years after the death of Hegel. From archive research it has become clear that in the 'compilation' of his Hegelian 'Ästhetik' Hotho employed mainly his own lectures of 1823. This has led to the view that Hothos's 1823 lectures taken all together actually constitute Hegelian aesthetics. The present article seeks to challenge this notion. Hegel gave four series of lectures on aesthetics in Berlin in 1820/21, 1823, 1826, and 1828/29. Since he never wrote his own work on aesthetics, one might consider the edition of four series of lectures to be the 'real' Hegelian 'Ästhetik'. This amalgam conceals difficulties linked with the analysis of particular works of art. These difficulties are not resolved in the Hegelian 'Ästhetik', nor can they be with the edition of the lecture notes. Towards the end of the article, the author therefore comments on two other attempts at interpretation.
2

THE THEOLOGICAL EPISTEMOLOGY OF THE OLDER HEGEL ACCORDING TO LECTURES ON THE PHILOSOPHY OF RELIGION AND THE CLASSICAL LUTHERAN DOCTRINE OF THE MEANS OF GRACE (Polish title- below)

80%
Oseka M.
Przegląd Filozoficzno-Literacki
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2010
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vol. 9
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issue 2(27)
197-216
EN
(Title in Polish - 'Teologiczna epistemologia póznego Hegla wedlug Wykladów z filozofii religii a klasyczna luteranska koncepcja srodków laski'). The paper discusses the similarities and differences between the theological epistemology of Hegel as stated in Lectures and the Lutheran doctrine of the means of grace as stated in the Reformation (Luther, Melanchthon). The author stated on the basis of the analysis that Hegel rejected the Scripture principle of the Reformation because of the rationalistic Bible criticism expressed by the German Enlightenment, and strove to derive the philosophy of Christianity from the reason principle and preserve basic Christian truths adapted to his own system in this way; and the means of grace (namely the Word of Gospel in the Scripture, in preaching, and in the sacraments) were lost in the Hegelian system and replaced by reason.
3

KANT A HEGEL O OSVIETENSTVE

80%
Belás Ľ.
Filozofia (Philosophy)
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2009
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vol. 64
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issue 6
584-591
EN
The paper focuses on the Enlightenment as an important object of the German tradition of philosophical-cultural researches and debates. It starts with an analysis of Kant's model of 'Aufklärung', underlining its social dimension. In Hegel's conception of the Enlightenment, the problem is approached critically and included in the process of the phenomenological-philosophical-historical development of mind. Hegel, unlike Kant, is historicizing, and thus narrowing the term of the enlightenment itself. In conclusion the author asks the question: Is it reasonable to see the real nature of the Enlightenment only in its fighting against mistakes, superstitions and prejudices?
4

KIERKEGAARD’S RELATION TO HEGEL AND QUELLENFORSCHUNG: SOME METHODOLOGICAL CONSIDERATIONS

80%
Stewart J.
Filozofia (Philosophy)
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2013
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vol. 68
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issue 1
17 – 26
EN
This article attempts to demonstrate the advantages of using the methodology of Quellenforschung or source work research when approaching the corpus of Søren Kierkegaard. The field of Kierkegaard studies has been long dominated by a number of misconceptions concerning the Danish thinker’s relation to Hegel, which has almost invariably been portrayed as singularly negative and critical. This article applies source work research to three different passages from Kierkegaard’s primary texts, where his alleged polemic with Hegel is thought to be in evidence. However, when the actual sources of his criticisms are determined, an entirely different picture emerges and the role of Hegel fades into the background.
5
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„Das Lebendige ist schön“. Bemerkungen zu Hegels Kunstauffassung

80%
Bacso B.
Estetika: The Central European Journal of Aesthetics
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2008
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vol. 45
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issue 1
55-63
EN
The true importance of the role of the interpretation of art in Hegel's later thinking is understandable only now, after the publication of the almost original version of the lectures on aesthetics. This article aims to highlight a usually neglected reading of Hegelian aesthetics, namely its 'Vergangenheitscharakter'. The starting point for this is a thesis of Hegel's: 'What is alive is beautiful, in so far as the soul becomes apparent in it'. It is 'not yet sufficient', yet it is true that in its endless approximation to a spiritually real 'doubling of the Idea' it aims at something indefinite, or, rather, we are, with a work of art, in an unreal place or in a place where things are continuously changeable. The work of art entered into a time of art and history, which requires interpretation, whereby the ever- 'changeable appearance of the Beautiful' is manifested in the work of art itself. Its being alive accepts being threatened only by its conceptual/illusory appearance.
6

KIERKEGAARD’S ACCOUNT OF FAITH AS ‘THE NEW IMMEDIACY’

61%
Schreiber G.
Filozofia (Philosophy)
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2013
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vol. 68
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issue 1
27 – 37
EN
The paper discusses Kierkegaard’s account of faith as ‘the new immediacy’. After considering the term ‘immediacy’ with respect both to its ambiguity and to the different ways in which it can be used, i.e. as an epistemological assumption and as an ontological assumption, the author will argue that this very distinction can provide a hermeneutic key for an understanding of Kierkegaard’s account of faith.
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