This article highlights the importance of new research on women philosophers and addresses some methodological issues to be taken in consideration. The thesis presented here is that through this new line of research it is possible to analyse the close connection between philosophy, politics and institutions. The paper opens with a critique of the assumption that philosophy has until recently been the exclusive property of men, giving the example of some forgotten women philosophers who lived in Hegel's time. After considering the risk of ghettoization inherent in Women's Studies, the author closes by showing how the reconsideration of women philosophers can help to question the methodology and the status of philosophy in general, and in particular to question the philosophical canon. The text serves as an introduction to a special issue of the Hegel Bulletin dedicated to women philosophers in Hegel's time.

In his introductions to the encyclopaedic Philosophy of Nature and to the Lectures on the Philosophy of Nature, Hegel distinguishes between three ‘attitudes’ (Verhaltensweisen, Einstellungen) towards nature—the theoretical, the practical and the philosophical attitude. According to him there is a certain ‘contradiction’ or tension between our theoretical attitude towards nature, which makes it an object of scientific inquiry, and the practical attitude that we assume as living rational beings who intervene in nature and shape it according to our purposes. This article focuses on how exactly to pinpoint that tension and on how it is resolved in what Hegel calls the ‘philosophical’ or ‘comprehending’ attitude towards nature.

This article puts forward a philosophical interpretation of Bettina von Arnim's epistolary book Die Günderode, in the following stages. First I situate von Arnim's work in relation to women's participation in early German Romanticism and idealism. The ideal of Symphilosophie, which was integral to Romantic epistemology, created possibilities for women to participate in philosophical discussion, albeit not on equal terms with men. This suggested that perhaps Symphilosophie between women could be more equal and reciprocal. However, interpreters have considered the Sym- in Günderrode and von Arnim's Symphilosophie more than the -philosophie, whereas here I foreground Die Günderode's rich philosophical content. I trace the stages in the unfolding dialogue between Günderrode and von Arnim and identify von Arnim's philosophical standpoint as it emerges from this dialogue. For Günderrode, finite beings are attracted together and can only fully unite by dying and superseding their boundaries. This feeds into a gigantic cosmic process through which the earth spiritualizes itself, progressively transcending its own materiality. Von Arnim likewise thinks that all finite beings are dynamically interconnected within the earth's creative process. But, unlike Günderrode, von Arnim thinks that finite beings can realize their interconnectedness within life without needing to die, which means in turn that material nature can rise into successive levels of spirit without its materiality having to be superseded. This metaphysical difference orchestrates many other philosophical disagreements between the two women. I then conclude that on balance, and with significant qualifications, Die Günderode embodies a successful Symphilosophie between women, but that von Arnim is simultaneously pointing out the fragility of Symphilosophie. The more independence dialogue partners have, the more liable they are to move away in new directions and abandon or outgrow the conversation, just as Günderrode turns away from von Arnim by the end of the book.

One of the most memorable lines of Hegel's oeuvre is from the preface to his Phenomenology of Spirit: ‘Quite generally, the familiar, just because it is familiar, is not cognitively understood.’ Surprisingly, relatively little philosophical attention has been paid to the notion of ‘the familiar’ in Hegel scholarship. This essay aims to rectify this lack by offering a preliminary inquiry in what the notion means across Hegel's work. It does so by focusing on three underexplored moments in Hegel's work: (1) the exposition of the logic of appearance in the description and diagnosis of seventeenth and eighteenth century Dutch painting in the lecture notes from the 1823 Berlin lectures on the philosophy of fine art; (2) the function of institutionalized practice in Hegel's Tübingen essay of 1793; and (3) the conjunctural relation of the familiar with philosophical terminology in an entry from the ‘Aphorisms from the Wastebook.’ Through a careful reading of these three moments, I will show that the familiar is a point that constellates multiple processes, mechanisms and apparatuses that, when grasped in their complex totality, functions as the ‘prius’ (priority/prioritization/first moment) of Hegel's speculative philosophy.

This article investigates Hegel's later theory of perception and cognition, identifying and analysing its general assumptions about the relation among the mind's activities. These often unremarked upon assumptions, I claim, continue to underwrite recent interpretive controversies. I demonstrate how a correct understanding of such assumptions points us toward an alternative interpretation of Hegel's model of the mind. I argue that this new model changes how we understand (a) Hegel's later notion of ‘non-conceptual content’ and (b) his distinction between human and animal minds—two areas that constitute the fault line dividing interpretations of late Hegel. To isolate the relevant assumptions, I use Matthew Boyle's influential conceptual distinction between ‘additive’ and ‘transformative’ models of rationality. I demonstrate that Hegel himself addresses the basic issues characterizing this distinction and clarify how approaching his work in these terms presents considerable interpretative and conceptual advantages, including allowing us to defend the position that Hegel adopts a ‘transformative’ framework of mind. To support this argument, this paper closely analyses Hegel's treatment of sensation (Empfindung), which has not yet been systematically addressed by scholars. I show how sensation can be best understood as part of Hegel's later ‘transformative’ framework for cognition. I also show how this framework can be extended to other parts of Hegel's theory.

In 1971, answering a question concerning one of the main motifs of his works, Derrida declared that ‘if there were a definition of différance, it would be precisely the limit, the interruption, the destruction of the Hegelian “relève” [i.e. Aufhebung] wherever it operates’. It is apparent that such an approach to Hegel is indebted to Heidegger's program of a ‘destruction’ (Destruktion) of the history of ontology. But what does Derrida's reading of Hegel owe to Heidegger exactly? In this paper, I investigate this question and the genesis of Derrida's reading of Hegel more generally by looking into the interpretation which can be found in the 1964–65 lectures about Heidegger: The Question of Being and History. In the process of interpreting Heidegger, Derrida produces extensive comments about Hegel which document the early elaboration of his perception of the author of the Phenomenology of Spirit. Here, I focus on Hegel's conception of experience, which Derrida compares to Heidegger's understanding of the historicity of Dasein. As will become clear, however, this question involves the way Derrida presents the relationship between the two thinkers throughout these lectures. Specifically, I show that Derrida significantly bases his account of Heidegger's ‘destruction’ of Hegel's philosophy on the former's interpretation of the latter's concept of experience. By examining such an interpretation, I intend to challenge the way Derrida portrays Hegel and I argue as a result that it is questionable whether Heidegger's departure from Hegel can be taken to be as ‘radical’ as Derrida makes it seem.

The goal of my essay is to clarify the status of the a priori in Hegel's Science of Logic. My claim is that in order to make possible an appreciation of the originality of Hegel's position we need to map a context of discussion and to dissolve a set of preconceptions about Hegel's idea of philosophy. My argument will be articulated in two parts. In the first part, I will analyse four possible positions regarding the issue of the aprioricity of the Logic, I will defend a fifth position, and I will draw a distinction between apriorism and a priori. In the second part, I will examine three distinct charges of apriorism against Hegel's Logic: the charge of assuming God's point of view of the universe, the charge of vicious circularity between the beginning and the end of the Logic, the charge of self-sufficiency of the Logic. As a result, I hope to show that these charges are unfounded, and to clear the ground for an adequate evaluation of Hegel's own sublation (Aufhebung) of the a priori/a posteriori divide.

Although his positions on gender were neither particularly radical nor particularly representative of his age, Hegel proved counterintuitively central to early German philosophers elaborating openly feminist positions. The Young Hegelians' critique of religion offered a readymade way to critique traditional modes of grounding and vindicating gender roles. But it also, especially among more materialist thinkers like Ludwig Feuerbach, tended to rely on supposedly “natural” bases for gender inequality. This article traces a line of women thinkers beginning in Hegel's age, stretching through the immediate aftermath of Hegel's death, all the way to the fin-de-siècle, who sought to destabilize the very idea of nature that lay behind both Hegelian and Young Hegelian accounts. Thinkers like Bettina Brentano-von Arnim (1785–1859), Louise Dittmar (1807–1884), and Helene von Druskowitz (1856–1918) charted a path between Hegel himself, Hegel's critics, renewers, and overcomers, to arrive at strikingly modern position. In particular von Druskowitz, critic of Feuerbach and Comte, interlocutor to Nietzsche and Hartmann, ended up with a philosophical position on nature that was nearly identical to the most radical feminist proposals of the 1960s: the end of human nature, even if it meant the end of the species.

Robert Pippin's recent study of Hegel's Logic, Hegel's Realm of Shadows, argues that we should read Hegel as rejecting the need for a Transcendental Deduction in logic because he takes Hegel, in the Phenomenology of Spirit, to have ruled out the scepticism that motivates Kant's Deduction. By contrast, I argue, we cannot understand what Pippin calls the ‘identity’ of logic and metaphysics in the Science of Logic unless we see how Hegel does provide a kind of Deduction argument in the Logic, albeit one stripped of the psychologism present in the Kantian version. Accordingly, I provide a sketch of what such an ‘absolute’ Deduction must look like, and argue that Hegel's presentation of the ‘absolute idea’ functions as the conclusion of such an argument.

It is often claimed that Hegel's philosophy cannot accept that something would remain beyond the grasp of conceptual language, and that his thought therefore systematically represses the possibility that something cannot be said. By analysing Hegel's account of the ineffable in the ‘Sense-Certainty’ chapter of the Phenomenology of Spirit, this article argues that Hegel does not repress, but firmly confronts the problem of what cannot be said. With the help of Giorgio Agamben's linguistic interpretation, it is shown that Hegel's conception of the ineffable must be understood from the perspective of his dialectical understanding of language. What appears to be ineffable is only the constitutive result of the dialectical negation that conceptual discourse enacts. Consequently, the ineffable in Hegel's thought cannot be said to remain external to and independent from conceptual language.

Bettina Brentano-von Arnim (1785–1859) is one of the most fascinating writers of German Romanticism. After a late, but spectacular start to her career as an author with the biographically inspired Goethe's Correspondence with a Child (1835) that boldly claims the legacy of Germany's most admired poet, Bettina continues to explore the realm of biography, but also widens her perspective to the pressing social questions of her time. Her message is entertaining, yet clear: we need a new way of thinking that engages the whole human being who understands and accepts her rational as well as sensible side, who is situated in a society and engages in dialogue with others. Accordingly, her work is an apt example of the practice of symphilosophy in late German Romanticism. This paper will concentrate on the notion of self-formation through dialogue in her letter books, and the political-aesthetic idea of a ‘king for the people’ that guided Brentano-von Arnim's political engagement in the 1840s.

Understanding Hegel's account of particularity has proven to be anything but straightforward. Two main accounts of particularity have been advanced: the particular as an example or instance and the particular as a subjective perspective on a universal concept. The problem with these accounts is that they reduce particularity either to singularity or to universality. As Derrida's analyses make apparent, the ‘structure of exemplarity’ in Hegel is quite intricate. Hegel uses ‘example’ in three senses: it means (1) ‘instance’, ‘illustration’, or (2) ‘model’, ‘exemplary individual’, ‘paradigm’, or (3) a by-play (a meaning derived from Hegel's neologism beiherspielen, in which Beispiel is understood quasi-etymologically as a ‘by-play’ of accidental moments). A Beispiel in the first sense can be replaced by another instance in a free play (by-play). This play of accidental moments, however, is not entirely free; it generates a series (of replacements) that ultimately leads to an example in the second sense, to an exemplary individual. I argue that particularity can be taken as exemplarity of this kind, oscillating between a singular example and a universal paradigm. Within this by-play, the universal concept, its law, is supposed to be mediated and determined. However, out of the differences between the examples the by-play induces another law, the law of non-mediation, which may, in Derrida's view, actually negate the dialectical movement towards universality. I argue, utilizing Malabou's concept of plasticity, that this disruption may be recovered. This implies that each individual example within a series is a particular determination of the universal. Hence, we can take literally Hegel's claim that the movement of the concept is play.

This article argues that the citizens of Hegel's state cannot maintain themselves as politically free because they are susceptible to mutual enslavement. I demonstrate this by focusing on the Roman republican background of Hegel's constitution, the potential trajectory of its dissolution and the accompanying means of its cyclical fortification through courage. Hegel, by integrating aspects of the Roman mixed constitution also adopts the idea of decadence within his conception of civil society. After locating the source of decadence in the contractual relations of peace and the bourgeois inability to overcome the fear of death, I go on to argue that war for Hegel provides a theatre where freedom may be regenerated through courage. However, I also show that modern wars do not provide sufficient means of perpetuating Hegel's constitution. To demonstrate this, I distinguish three forms of war: colonial, limited and total war, arguing that only the latter offers a solution to decay of political disposition and loss of freedom, but that—by being itself susceptible to decadence—it cannot salvage Hegel's state from dissolution and reduction to contractual relations.

Salons evoke high-flown associations; we picture elegant people gathering in glamorous settings for cultivated conversations about the arts, literature, and politics. The so-called salons hosted around 1800 in Berlin by bourgeois Jewish women are tied to promises of emancipation and religious toleration. Scholars have either hailed the empowering functions of these convivial gatherings or debunked their enlightened promises as myths. Drawing on the latest research on conviviality in the social sciences, on Friedrich Schleiermacher's theory of sociability, and on writings by and about Rahel Varnhagen, Henriette Herz and Fanny Lewald, this essay approaches the topic of the salon from a different angle. I argue that these women's social endeavours were not tied to specific ends that we can either admiringly endorse or expose as failures from today's perspective. The notions of the female self, of writing, and the conceptions of literature and philosophy emerging from these convivial constellations are inherently dialogical and shifting. Conversations may sometimes break open hierarchies, but they may also foster conflict and no improvement. The value of these encounters, I suggest, lies in the effort made rather than a classifiable outcome.

G. W. F. Hegel sees Oedipus as an epitome of the philosophical quest for self-knowledge. In Hegel's readings of Oedipus, the latter becomes a distant reflection of the modern and mature Hegelian self, who consciously takes on this quest. Yet unlike Oedipus, whose search for the truth about his past is characterized by both metaphorical and literal blindness, the modern self knows itself, precisely because it understands its past and can thus appropriate and situate itself in relation to the present. For Hegel, self-understanding entails grasping the proper relationship between past and present, which in turn necessitates acknowledging his own relationship to Oedipus. This essay examines Henrik Ibsen's turn to the Hegelian engagement with the past (Oedipus being one crucial moment in the Hegelian story of the history of self-consciousness), by focusing on one of the most enigmatic scenes in his 1866 drama, Peer Gynt, where the Norwegian protagonist is cast as Oedipus. The scene examines the drama's own past—through an engagement with a dramatic ancestor—and focuses on the influence of the past on fashioning modern European identity. Moreover, it offers a critique of how the past is utilized in the creation and consolidation of that identity. With this, Ibsen offers an implicit critique of Hegel's understanding of Oedipus, and his encounter with the Sphinx in particular. Revisiting Oedipus through its modern reception, Ibsen questions the act by which the past is revealed as such and is put to work in the service of a particular present.

In his Encyclopaedia Logic, Hegel affirms that truth is ‘usually’ understood as the agreement of thought with the object, but that in the ‘deeper, i.e. philosophical sense’, truth is the agreement of a content with itself or of an object with its concept. Hegel then provides illustrations of this second sort of truth: a ‘true friend’, a ‘true state’, a ‘true work of art’. Robert Stern has argued that Hegel's ‘deeper’ or ‘philosophical’ truth is close to what Heidegger labelled ‘material’ truth, namely a property attributed to a thing on the basis of the accordance of that thing with its essence. It has since been common to think of Hegel's concept of ‘philosophical’ truth as ‘ontological’, ‘objective’ or ‘material’ in contrast to ‘epistemological’ or ‘propositional’ definitions. In this paper, I wish to add an important nuance to the existing literature on this subject: even though things have a truth-value for Hegel, the latter is always negative. I argue that Hegel's criterion of ‘philosophical’ truth, which is best formulated as ‘agreement with self’, is first and foremost intended to examine the truth-value of thought-determinations. I then argue that even though this criterion may also be applied to examine the truth-value of things (namely, even though things have a truth-value), things never fall under this definition. After reviewing several of Hegel's explicit remarks on the matter, I provide an alternative explanation to those features of Hegel's ‘philosophical’ truth which have led scholars to view it as a truth in things. Especially, I argue that what are generally seen as Hegel's examples (‘true friend’, ‘true state’, ‘true work of art’) are not intended as examples but only as imperfect illustrations of ‘philosophical’ truth.

This paper collects some of Rahel Levin Varnhagen's thinking about truth. It aims to contextualize Levin Varnhagen's non-conventional writing within German Romanticism. Her so-called ‘diaries’ vary between aphorisms, personal reflections, problem-oriented sketches and apodictic definitions concerning anthropology and society. Truth and honesty are shaped in opposition to lies but also build a base for the process of thinking itself. According to Levin Varnhagen, truth leads to the real quality of things and towards understanding—thinking truth is an epistemic process. The paper follows Levin Varnhagen's quest for and definition of truth by re-reading her diaries as philosophical practice. Thematizing the possibilities of critical female thought by a (Jewish) woman of the early nineteenth century (with a ‘twice incorrect name’, as Barbara Hahn has put it) and the restrictions in education and publishing, the paper addresses furthermore intersectional questions of gender and religion.

Arash Abazari's Hegel's Ontology of Power is a superb study of the relevance of Hegel's logic to Marx's theory. Hegel is often dismissed by Marxists as an ‘idealist’ denying the reality of the world, as if Hegel were Bishop Berkeley with a German accent.1 Abazari recognizes this is not the case: ‘(T)he logical categories are not self-standing, but shadow, or track, the empirical world’ (Abazari 2020: 7). But the world in its full actuality does not simply consist of the objects we sense or perceive. It is intrinsically intelligible, and its intelligibility can be comprehended only in thought. When it is, the ‘idealist’ thesis of the identity (in difference) of thought and being holds. Anyone asserting a truth claim implicitly asserts this identity. In so far as Marx asserts that Capital comprehends the capitalist mode of production, he too is an ‘idealist’ in the Hegelian sense of the term.