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Hegel ethical life
Hegel's three methods of history
Hegel reason of history
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Recommended: Hegel ethical life
In his Introduction to the Philosophy of History Hegel confronts the reader with a new way of understanding history. According to this infamous philosopher, there are three methods of dealing with history: original, reflective, and philosophic. The approach taken by Hegel is the philosophical approach to history, which is the foundation of his work. In order to understand this approach, Hegel introduces the reader to his understanding of what history is.
There are two fundamental principles which shape Hegel’s philosophy. First of all, Hegel maintains that “the state [with the consciousness of laws] is the subject matter of history.” From this it then follows that there existed periods of time, places in which there was no history. In so far
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So while Hegel believes that history is the rational account of the inevitable progression of the world towards perfection Kierkegaard thinks that history is told by the poet, whose God given vocation is to tell the story of the hero. He says: “just as God created man and woman, so he created the hero and the poet and the orator.” He continues, saying, “The poet or orator can do nothing the hero does; he can only admire, love, and delight in him.” So, the poet is no hero, but his position is vital in that through the poet, the hero is remembered. For, when the poet hears of the hero, he “roams about to every man’s door with his song and speech so that all may admire the hero as he does, may be proud of the hero as he is.” In the hegelian method, history is recalled through state laws but for Kierkegaard, history proclaims the tale of the hero through the …show more content…
Now, Kierkegaard understands the tragic hero to operate within the ethical, he states: “the tragic hero is great because of his moral virtue.” Again one sees the dicotemy between great men in these two works, Kierkegaard’s tragic hero operates within the ethical while Hegel’s operates above the ethical, and, indeed changes the nature of ethics itself through his
Poetry’s role is evaluated according to what extent it mirrors, shapes and is reshaped by historical events. In the mid-19th century, some critics viewed poetry as “an expression of the poet’s personality, a manifestation of the poet’s intuition and of the social and historical context which shaped him” ( Preminger, Warnke, Hardison 511). Analysis of the historical, social, political and cultural events at a certain time helps the reader fully grasp a given work. The historical approach is necessary in order for given allusions to be situated in their social, political and cultural background. In order to escape intentional fallacy, a poet should relate his work to universal
Take a minute to relax. Enjoy the lightness, or surprising heaviness, of the paper, the crispness of the ink, and the regularity of the type. There are over four pages in this stack, brimming with the answer to some question, proposed about subjects that are necessarily personal in nature. All of philosophy is personal, but some philosophers may deny this. Discussed here are philosophers that would not be that silly. Two proto-existentialists, Søren Kierkegaard and Friedrich Nietzsche, were keen observers of humanity, and yet their conclusions were different enough to seem contradictory. Discussed here will be Nietzsche’s “preparatory human being” and Kierkegaard’s “knight of faith”. Both are archetypal human beings that exist in accordance to their respective philosopher’s values, and as such, each serve different functions and have different qualities. Both serve the same purpose, though. The free spirit and the knight of faith are both human beings that brace themselves against the implosion of the god concept in western society.
In section 15 of The Crisis, Husserl proposes an introspective enquiry of ourselves that is guided by the teleology of philosophy. As part of trying to understand ourselves, we must go back and look at what other philosophers in history have been saying in a bid to “understand the unity running through all the [philosophical] projects of history that oppose one another and work together in their changing forms”. In as much as this historical analysis is personal, we are just a part of the whole history of philosophy, and have a role to build up on what has been established before. In order to understand the teleological journey of philosophy, and how we are part of it, we cannot just look at it from the outside. We have to try and understand it from the inside - we already have the spiritual-historical connection - if we are to truly know who we are.
In many works of Literature, a character comes forth as a hero, only to die because of a character trait known as a tragic flaw; Hamlet from Shakespeare’s Hamlet, Okonkwo from Achebe’s Things Fall Apart, and Winston Smith from Orwell’s 1984 all exhibit that single trait, which leads, in one way or another, to their deaths. These three tragic heroes are both similar and different in many ways: the way they die, their tragic flaws, and what they learn. All three characters strongly exhibit the traits needed to be classified as a tragic hero.
Heroes in literature and history, more often than not, meet tragic ends, unless they were created by Walt Disney. These particular people are often seen as someone who is apart from the masses in morals and attempt to accomplish a higher calling for the common good. The problem with this type of hero is that they are destined for suffering.Two such characters exist in classic literature, Winston Smith of George Orwell’s 1984 and Hamlet of William Shakespeare’s “Hamlet, Prince of Denmark.” Hamlet is the true classic tragic hero, though, because he is of noble birth, possesses high moral standards, completes the task he is given to better the world, and causes tragedy in both his life and the lives of others.
Throughout “Equus”, it is obvious that Dysart is the true tragic character. Following the true tragic formula along with Miller’s description of the tragic commoner, Shaffer is able to develop a modern play that reveals itself as a true tragedy. Religion, science and adolesense all play an important role throughout the story portraying a true tragic figure.
In The Houses of History, many different schools of historical thought are presented and light in shed on what exactly it means to be those different types of historians. Not all historians think the same way or approach history from the same perspective, but some similar groups of thought have converged together and have formed the various types of historians that will be presented, such as empiricists, psychohistorians, oral historians, and gender historians. All of these groups can approach the same event or concept and look at them in an entirely different way simply due to the way the historical approach they are accustomed to views things.
The debate regarding whether or not history could be objective has been discussed and interpreted by many historians. The ways we think about history has allowed for the divergence of various perspectives in the world we live in today. In sum, the question discussed in this paper pertains to the extent of which history can be objective. This question has left room for several interpretations in the field of historiography and challenged our experienced in the era of modernity. This paper’s argument went for the subjective side of the argument with evidence for my argumentation from John Gaddis, Friedrich Nietzsche, Postmodernity and Modernity, Living in Modernity, and Heidegger’s Hermeneutics.
Kung, Hans. The Incarnation of God: An Introduction to Hegel's Theological Thought As Prolegomena to a Future Christology. T&T Clark, 2001. hard cover.
Hegel’s perspective of Sophocles’ Antigone is accurate in stating that at the center of the tragedy there is a collision between one-sided positions rather than one tragic hero. In Sophocles’ Antigone, two sides battle over the proper way to dispose of a person who was both a family member and an enemy of the state. Both sides embody some good, as King Kreon was acting to protect the kingdom from an enemy and Antigone was trying to honor her brother with a proper burial. When analyzed from different perspectives, both sides are equally justified.
A famed philosopher, Hegel, emphasizes that self-consciousness is attained by being recognized by another conscious being. When these two beings collide, one will be a Master and the other would be a Bondsman, after fighting in a life-or-death struggle to prove dominance over the other. This relationship is said to be fluid. This idea can be found in Ellison’s the invisible man where he gives the story of himself relating to the black experience in the 1950s. Most importantly, when he fought a white man in the alley, and with the Light & Power Company.
While Kierkegaard’s analysis of the superiority of the Knight of Faith in relation to those who follow the aesthetic life or ethical life is correct, he fails to acknowledge that faith can be rooted in joy and love, and can be far more spiritual and fulfilling than faith alone. This is the angst-ridden and unfortunate symptom of an existential despair, and does not truly reflect the complicated relationship between man and God.
The second chapter of the Introduction to the Philosophy of History bears the title "Reason in History"; however, careful study reveals that it could just as aptly been dubbed Reason is History or better, History is Reason. Although Reason exists in a finite form within the human being, the whole—infinite Reason—is necessarily greater than the sum of its parts—the sum of finite Reasons. Hegel's Reason is the infinite material of all reality—the substance, form, and power.
Although virtually unknown today outside of Danish philosophical circles, Moller (1794-1838) was, during his lifetime, esteemed as one of Denmark’s most loved poets, and beginning in 1831 he held the position of professor of philosophy at the University of Denmark. While at the university Moller taught Moral and Greek Philosophy, and his early philosophical position has been regarded as Hegelian. Kierkegaard began his university studies in 1830, and the young professor made a deep impression upon him.
A tragic hero can be defined by several different factors; the hero usually has a major flaw that prevents him from seeing the truth that lies in front of him, which contributes to the character’s peripeteia due to mistaken judgement. This mistake then leads to achieving anagnorisis, usually at the end of the play, but is too late to change anything, and results in death.