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Sebastian Rödl undermines a foundational dogma of contemporary philosophy: that knowledge, in order to be objective, must be knowledge of something that is as it is, independent of being known to be so. This profound work revives the thought that knowledge, precisely on account of being objective, is self-knowledge: knowledge knowing itself.
When Timothy Sprigge's The Vindication of Absolute Idealism appeared in 1983 it ran very much against the grain of the dominant linguistic and analytic traditions of philosophy in Britain. The very title of this work was a challenge to those who believed that Absolute Idealism fell with the critiques of Bertrand Russell and G. E. Moore at the beginning of the 20th century. Sprigge, however, saw himself as providing an underrepresented position in the philosophical spectrum rather than as advocating an abandoned view. For him, idealism did not fall at any determinate point in the history of philosophy. The truth of any philosophical thesis cannot depend on what happens to be currently fashionable, but rather must stand on the soundness of philosophical argument. To this end, The Vindication of Absolute Idealism is a bold statement of his conclusions, a synthesis of panpsychism and absolute idealism, which he contends is the most satisfactory solution to the question of the nature of consciousness and the mind-body problem. Sprigge's view of consciousness remains a challenge to mainstream physicalism and a viable option that addresses pressing contemporary concerns not only in metaphysics and philosophy of mind but also in environmental ethics and animal rights.
The absolute was one of the most significant philosophical concepts in the early nineteenth century, particularly for the German romantics. Its exact meaning and its role within philosophical romanticism remain, however, a highly contested topic among contemporary scholars. In The Romantic Absolute, Dalia Nassar offers an illuminating new assessment of the romantics and their understanding of the absolute. In doing so, she fills an important gap in the history of philosophy, especially with respect to the crucial period between Kant and Hegel. Scholars today interpret philosophical romanticism along two competing lines: one emphasizes the romantics’ concern with epistemology, the other their concern with metaphysics. Through careful textual analysis and systematic reconstruction of the work of three major romantics—Novalis, Friedrich Schlegel, and Friedrich Schelling—Nassar shows that neither interpretation is fully satisfying. Rather, she argues, one needs to approach the absolute from both perspectives. Rescuing these philosophers from frequent misunderstanding, and even dismissal, she articulates not only a new angle on the philosophical foundations of romanticism but on the meaning and significance of the notion of the absolute itself.
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Comprehensive and incisive, with three new chapters, this updated edition sees world-renowned scholars explore a rich and complex philosophical movement.
This book bridges the gap between the sacramental praxis of Christian religion, seemingly dependent upon naïve acceptance of phenomena in their immediacy, and the mediation of spiritual reality via philosophy of mind, and self-consciousness generally. Thus, it is a philosophy of incarnation as, inter alia, discrete essence of the Hegelian dialectic as the absorbing and thereby cancelling of finitude in the Absolute as its own Idea and, consequently, the total converse of pantheism. The Aristotelico-Hegelian concept of substance as mediated by visible “accidents”, the phenomena, is essential here. Thus Nature, but not the substance, which is Nature’s idea, is a self-conflicting phenomenon only, generating natural misconceptions in us, its offspring. Hence self-consciousness, the “I”, is to be perfected in its self-confident development towards the Absolute Idea, with which each finite idea is identical in absorption and difference, while religion becomes absolutised in, or as, sophia, chief intellectual virtue according to Aquinas. Here, a new theology, product of faith, resumes the old. It is time to put it to work.
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.
In Brink's study of T.H. Green's classic 'Prolegomena to Ethics' the author restores the work to its rightful place in the history of philosophy. Brink provides a prolegomenon to the 'Prolegomena' - one that situates the work in its intellectual context of classic British idealism.
