- Madrid, España
- Iconoclastic Controversy and Iconophilia, German romanticism and idealism, Deutscher Idealismus, Byzantine Iconography, Iconoclasm, Visual Studies, and 17 moreIdealism, German Idealism, Bildwissenschaft, Iconology, Romanticism, Aesthetics, Hegel, Byzantine Iconoclasm, The Sublime, Theory of Sublime, Greek Literature, Ancient Greek Philosophy, Ancient Aesthetics, Byzantine Studies, Byzantine art, Late Antiquity, and Late Antique and Byzantine Studiesedit
- Doctor en Filosofía e Historia de la Filosofía y Doctor Europaeus, nació en Atenas y se formó en distintos países eur... moreDoctor en Filosofía e Historia de la Filosofía y Doctor Europaeus, nació en Atenas y se formó en distintos países europeos. Es Profesor Ayudante Doctor en la Universidad Complutense de Madrid donde imparte Estética Antigua y Medieval. Entre sus publicaciones destaca la monografía Iconoclastia Endogena. Una teoria dell’immagine hegeliana. Saggio introduttivo di Félix Duque (Milano: Mímesis, 2019) y la edición comentada del tratado Acerca de lo sublime de Longino (Madrid: Alianza, 2022). Actualmente está trabajando sobre la “querella entre antiguos y modernos”, la recopilación de fuentes para el estudio de la estética griega, la iconoclasia y la pervivencia de lo sublime en la estética bizantina.edit
Obra fundamental para el desarrollo y la comprensión de la estética a partir de su redescubrimiento en la edad moderna, Acerca de lo sublime es un tratado en el que Longino analiza el concepto de lo "sublime", en el que posteriormente... more
Obra fundamental para el desarrollo y la comprensión de la estética a partir de su redescubrimiento en la edad moderna, Acerca de lo sublime es un tratado en el que Longino analiza el concepto de lo "sublime", en el que posteriormente profundizarían Boileau, Burke, la Ilustración alemana y el Romanticismo. Refuerza la presente traducción, basada sobre una nueva edición crítica del texto griego, un penetrante comentario con una visión de conjunto y, a la vez, un análisis crítico de cada uno de los pasajes que presentan alguna dificultad de interpretación. Finalmente, un epílogo traza la fortuna, trayectoria y comprensión del concepto de lo sublime en la estética y el arte de nuestros días, de Barnett Newman a Anselm Kiefer y de Paul Celan a Nick Cave.
Introducción, traducción, comentario y epílogo de Haris Papoulias
Introducción, traducción, comentario y epílogo de Haris Papoulias
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Obiettivo di questa ricerca è la ricostruzione sistematica del senso della nozione di "immagine" nel pensiero hegeliano, seguendo come linea guida l'"Enciclopedia delle scienze filosofiche" e approfondendo ulteriormente secondo le lezioni... more
Obiettivo di questa ricerca è la ricostruzione sistematica del senso della nozione di "immagine" nel pensiero hegeliano, seguendo come linea guida l'"Enciclopedia delle scienze filosofiche" e approfondendo ulteriormente secondo le lezioni berlinesi di Hegel sulle diverse discipline filosofiche. Le tre grandi sfere di Idea-Natura-Spirito danno luogo a una declinazione tripartita (l'ontologia della parvenza, la teoria della visibilità e la teoria della rappresentazione) di una teoria dell'immagine unitaria. La parte conclusiva della ricerca indaga il senso dell'immagine nei prodotti concreti dello spirito (l'immagine nell'arte e nella religione) alla luce delle acquisizioni dell'intero percorso concettuale. Si evidenzia così la presenza di una riflessione articolata da parte di Hegel, non solo riguardo al concetto di immagine, ma sull'intero campo della cultura visuale. L'essere dell'immagine risulta così intrinsecamente connesso all'essenza dell'essere. Il principio qui denominato "iconoclastia endogena" vuole dar conto del come l'immagine, per essere vera, deve poter mostrare la sua auto-destituzione. Si tratta di una concezione dell'iconoclastia inedita dal punto di vista teorico che individua nella sparizione dell'immagine la sua perfezione e la sua verità ontologica.
Research Interests: Philosophy, Aesthetics, Iconoclasm, Philosophy of Art, German Idealism, and 10 moreHegel, G.W.F. Hegel, Philosophy of Nature, Iconoclastic Controversy and Iconophilia, Bildwissenschaft, Art and image theory, Iconoclasia, Iconoclasmo, Theory and Philosophy of Image, and Enciclopedia delle Scienze Filosofiche in Compendio
Resumen: este capítulo trata de la idea de “carisma” en la filosofía hegeliana desde un punto de vista inédito. Dejando atrás los clichés acusatorios relativos a la filosofía de la historia universal hegeliana, descubriremos sus... more
Resumen: este capítulo trata de la idea de “carisma” en la filosofía hegeliana desde un punto de vista inédito. Dejando atrás los clichés acusatorios relativos a la filosofía de la historia universal hegeliana, descubriremos sus verdaderas raíces en el núcleo teórico de su ontología, la relación entre finitud e infinito. A partir de ahí, se hallarán también otras facetas del “carisma”, no sólo en la historia política, sino también en la religión (como “chrisma”) y en el arte (como “cháris”), creando así una polifonía coral alrededor del Héroe, un canto –no a su dominio– sino a su hundimiento. Palabras clave: carisma; crisma; gracia; bello; sublime.
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This book deals with the intersection between religion, philosophy, and politics in the Graeco-Roman world, and especially in Late Antiquity, with special reference to the figure alluded to in ancient sources with the expression "theios... more
This book deals with the intersection between religion, philosophy, and politics in the Graeco-Roman world, and especially in Late Antiquity, with special reference to the figure alluded to in ancient sources with the expression "theios aner". Charisma and leadership are basic elements of this notion: its literary, historical, and ideological context and the different interpretations of holiness and sanctity in a sociopolitical or educative community are researched in this collective endeavour. The scholarly contributions are organized along three sections – 'Holiness', 'Charisma and Leadership', and 'Transmission and Reception' – aiming at an overall analysis of the patterns involving charismatic leadership of the intellectual and spiritual figures in the sources and its socio-political context, with the central axis of Late Antiquity. Thus, together with some methodological considerations, this book examines some well-known figures of holiness and attempts to offer a panoramic, transdisciplinary, and comparative view of their cultural and intellectual context, and to determine what socio-political role they had.
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Dos eventos, aparentemente distantes uno del otro y sin vínculos directos entre ellos, pero sin embargo estrictamente relacionados por un legado espiritual común, constituyen el tema de este trabajo. El primero, tuvo lugar en 1971, cuando... more
Dos eventos, aparentemente distantes uno del otro y sin vínculos directos entre ellos, pero sin embargo estrictamente relacionados por un legado espiritual común, constituyen el tema de este trabajo. El primero, tuvo lugar en 1971, cuando una «capilla ecuménica» abrió sus puertas al público. Es conocida bajo el nombre de «Rothko Chapel», debido al proyecto general, realizado por el pintor Mark Rothko. El segundo evento, tuvo lugar en 1795, cuando dos jóvenes amigos, Hegel y Schelling, estaban haciendo una especie de juramento bajo el signo de una Iglesia Invisible, actualizando un concepto ambiguo que, incluso ar-raigándose en las Sagradas Escrituras, ya había sido condenado por las iglesias oficiales por sus consecuencias heréticas. La relación entre estos dos eventos está dada por historiadores del arte moderno que han establecido que la pintura abstracta, desde un punto de vista formal, tiene sus raíces en la tradición romántica. Con este trabajo me gustaría contribuir al establecimiento de esta conexión, no solo por medios formales, sino también mostrando una actitud espiritual común hacia las imágenes.
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Hegel—contrary to Fichte and Schelling—has always been considered an enemy of images and as an iconoclast. But what does “iconoclasm” really mean? The Hegelian Aesthetics have influenced the universal philosophy of art in the last two... more
Hegel—contrary to Fichte and Schelling—has always been considered an enemy of images and as an iconoclast. But what does “iconoclasm” really mean? The Hegelian Aesthetics have influenced the universal philosophy of art in the last two centuries; thus, to call Hegel an “iconoclast” seems, at best, paradoxical. Perhaps, to better understand what the Hegelian iconoclasm means, we should understand better what images are for Hegel. Since images are not simply pictures, the lectures on Aesthetics could not provide us with the deeper ontological meaning of this notion. Thus, we will move to the background of every picture: to the doctrine of representation in the Subjective Spirit, where the whole philosophical tradition on the relationships between images and memory is inverted. Here I will focus on why images come into being only to fade away later. Is this an iconoclastic action of the intellect, or just an internal movement of the images themselves? The theory of representation is not able to answer definitely to our quest. Where is the real reason of their disappearance to be found? I claim that this very reason, the real ground of the image, is theorized in Science of Logic, and specifically in its Doctrine of Essence. Schein, Erscheinung and Offenbarung, do not only designate three moments of this section, but also, according to my approach, the ontological stages that constitute every image. However, here, we should only focus on the exposition and comprehension of a single issue that could possibly give us, in a glance, the entire logic of the image: this is what I call the “endogenous iconoclasm”, i.e. not an external process of violence or image-breaking, but an endogenous, internal, ontological process of the image in itself. Not only something that dwells in the image, but also something that without it, the image would not be an image. This could literally change our view, even with respect to some well established historical events to which we owe our present visual culture today.
Book's abstract:
This book offers new critical perspectives on the relationship between the notions of speculation, logic and reality in Hegel's thought as basis for his philosophical account of nature, history, spirit and human experience. The systematic functions of logic and pure thought are explored in their concrete forms and processual progression from subjective spirit to philosophy of right, society, the notion of habit, the idea of work, art, religion and science. Engaging the relation between the Logic and its realisations, this book shows the internal tension that inhabits Hegel's philosophy at the intersection of logical (conceptual) speculation and concrete (interpretative) analysis. The investigation of this tension allows for a hermeneutical approach that demystifies the common view of Hegel's idealism as a form of abstract thought, while allowing for a new assessment of the importance of speculation for a concrete understanding of the world.
Book's abstract:
This book offers new critical perspectives on the relationship between the notions of speculation, logic and reality in Hegel's thought as basis for his philosophical account of nature, history, spirit and human experience. The systematic functions of logic and pure thought are explored in their concrete forms and processual progression from subjective spirit to philosophy of right, society, the notion of habit, the idea of work, art, religion and science. Engaging the relation between the Logic and its realisations, this book shows the internal tension that inhabits Hegel's philosophy at the intersection of logical (conceptual) speculation and concrete (interpretative) analysis. The investigation of this tension allows for a hermeneutical approach that demystifies the common view of Hegel's idealism as a form of abstract thought, while allowing for a new assessment of the importance of speculation for a concrete understanding of the world.
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"There is no System for Existence": with this declaration Kierkegaard was thinking to open a new era, against the Hegelian Absolute. But do we know enough on Hegel's thought on finitude? Where does finitude come from? Every answer to... more
"There is no System for Existence": with this declaration Kierkegaard was thinking to open a new era, against the Hegelian Absolute. But do we know enough on Hegel's thought on finitude? Where does finitude come from? Every answer to this question, tells what the finitude's destiny is. So, in the Science of Logic, Hegel declares that "finite" is what has the Contradiction in itself, is what "is broken inside" and so passes to its Foundation (Grund).
Dis-cover the essence is the target of Philosophy, in order to realize the internal telos of Thought. But, if "to realize" means "to go down to the Foundation" or "to die" (for the ambiguity of the German "zu Grunde gehen"), Philosophy is constantly facing up to Death: Death as fulfillment or Death as vanishing to Nothingness. Beyond the ethereal world of the Concept, we find Nature coming forth, as the very level of Finitude. At the end of Nature's development, when living Organism appears, we discover the first resistance to this ambiguous meaning of Foundation: the Notion of Subject is declared as what is able to carry on the contradiction of itself. Philosophy of the Spirit is a kind of systematic exposal of our victories over Death and possibly the achievement of our Foundation; it presents the solutions to this contradiction that we carry inside. For what concerns the single human existence, the Philosophy of Subjective Spirit is what some could call "the hegelian existentialist philosophy". Nonetheless, that doesn't mean to reflect on the "casual, insignificant, and untrue aspects of spiritual life", i.e. on the "the recesses of the human heart". On the contrary it is to discover the real meaning of Spirit as the image of God: this assumption permits Hegel to declare that "he who knows the true essence of Spirit, has no fear of Death".
Keywords: Hegel - Finitude - Death - Subjective - Spirit
Dis-cover the essence is the target of Philosophy, in order to realize the internal telos of Thought. But, if "to realize" means "to go down to the Foundation" or "to die" (for the ambiguity of the German "zu Grunde gehen"), Philosophy is constantly facing up to Death: Death as fulfillment or Death as vanishing to Nothingness. Beyond the ethereal world of the Concept, we find Nature coming forth, as the very level of Finitude. At the end of Nature's development, when living Organism appears, we discover the first resistance to this ambiguous meaning of Foundation: the Notion of Subject is declared as what is able to carry on the contradiction of itself. Philosophy of the Spirit is a kind of systematic exposal of our victories over Death and possibly the achievement of our Foundation; it presents the solutions to this contradiction that we carry inside. For what concerns the single human existence, the Philosophy of Subjective Spirit is what some could call "the hegelian existentialist philosophy". Nonetheless, that doesn't mean to reflect on the "casual, insignificant, and untrue aspects of spiritual life", i.e. on the "the recesses of the human heart". On the contrary it is to discover the real meaning of Spirit as the image of God: this assumption permits Hegel to declare that "he who knows the true essence of Spirit, has no fear of Death".
Keywords: Hegel - Finitude - Death - Subjective - Spirit
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entrada para la base de datos del portal "Escuela neoplatónica de Atenas", del proyecto de investigación de la Universidad Complutense de Madrid. Este portal de proyectos interdisciplinarios –filología, filosofía e historia– recopila los... more
entrada para la base de datos del portal "Escuela neoplatónica de Atenas", del proyecto de investigación de la Universidad Complutense de Madrid.
Este portal de proyectos interdisciplinarios –filología, filosofía e historia– recopila los trabajos del grupo de investigación sobre las escuelas retóricas, filosóficas, teológicas y jurídicas de la tardoantigüedad como correa de transmisión de todos los saberes humanísticos y científicos desde la antigüedad al medievo
Este portal de proyectos interdisciplinarios –filología, filosofía e historia– recopila los trabajos del grupo de investigación sobre las escuelas retóricas, filosóficas, teológicas y jurídicas de la tardoantigüedad como correa de transmisión de todos los saberes humanísticos y científicos desde la antigüedad al medievo
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The aim of this article is to offer new proposals regarding the comprehension, the translation and interpretation, of some problematic passages in Dionysius Longinus’ text Περὶ ὕψους (On the Sublime) that have not been... more
The aim of this article is to offer new proposals regarding the comprehension, the translation and interpretation, of some problematic passages in Dionysius Longinus’ text Περὶ ὕψους (On the Sublime) that have not been adequately solved so far. Some solutions, already proposed by scholars but until now without a unanimous acceptance, will be taken under exam in order to suggest alternative and original solutions, both for a better reading of the Greek text and for its translation and understanding. The underlying theoretical premise is that an interdisciplinary cooperation is needed for a better approach to the ancient text, especially between philologists and philosophers, as long as both disciplines, today often separated in the academic circles, in ancient times were fundamental elements of the Greek παιδεία.
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El objetivo de este artículo es doble: por un lado, se trata de refutar un tópico de la literatura filosófica moderna y contemporánea sobre el presunto valor de la ceguera en cuanto visión más profunda respecto a la visión física, una... more
El objetivo de este artículo es doble: por un lado, se trata de refutar un tópico de la literatura filosófica moderna y contemporánea sobre el presunto valor de la ceguera en cuanto visión más profunda respecto a la visión física, una especie de sabiduría directa, intuitiva, espiritual. Dicha idea, en los últimos dos siglos ha alimentado no sólo una mitología estética (lo “espiritual en el arte”, la “visibilidad de lo invisible”, etc.) sino también una metafísica que se podría resumir en el desprecio gnoseológico del Aparecer, pues la verdad estaría siempre detrás de los fenómenos, en la oscuridad de lo indeterminado, donde sólo unos pocos tendrían acceso: esta es la tiranía de la ceguera como paradigma cultural. La distorsión sistemática de la hermenéutica de los textos griegos, se ha introducido así en el lenguaje cotidiano, deformando lentamente toda nuestra concepción del valor teorético de lo visual y a la vez del legado griego. Por esta razón, el segundo objetivo del artículo, en desmontar las razones de este constructo, será el de ofrecer una lectura alternativa de la cultura visual griega, en este caso especialmente a través de la obra de Sófocles “Edipo Rey”, donde la mayoría de estos tópicos pretenden fundamentarse.
The aim of this article is twofold: on the one hand, it aims at a refutation of a modern topic in philosophical literature about the
supposed value of blindness as a kind of sight, deeper than the physical one, a kind of direct, intuitive and spiritual wisdom. This idea, in
the last two centuries, has nourished not only an aesthetic mythology (i.e. the “spiritual in art”, the “visibility of the invisible”, etc.) but
also a specific kind of Metaphysics that we could summarize as the epistemological denigration of the Appearance, since the truth would
always be behind the phenomena, in the darkness of the indeterminate, where only a few would have access: this is the tyranny of blindness
as a cultural paradigm. Thus, the systematic hermeneutical distortion of the Greek texts has been introduced into everyday language,
slowly deforming our entire conception of the theoretical value of the visual and at the same time of the Greek legacy. For this reason,
by dismantling the argumentation for this construct, the second aim of the article will be to offer an alternative reading of Greek visual
culture, in this case especially through the work of Sophocles “Oedipus Rex”, where the majority of these topics pretend to be grounded.
The aim of this article is twofold: on the one hand, it aims at a refutation of a modern topic in philosophical literature about the
supposed value of blindness as a kind of sight, deeper than the physical one, a kind of direct, intuitive and spiritual wisdom. This idea, in
the last two centuries, has nourished not only an aesthetic mythology (i.e. the “spiritual in art”, the “visibility of the invisible”, etc.) but
also a specific kind of Metaphysics that we could summarize as the epistemological denigration of the Appearance, since the truth would
always be behind the phenomena, in the darkness of the indeterminate, where only a few would have access: this is the tyranny of blindness
as a cultural paradigm. Thus, the systematic hermeneutical distortion of the Greek texts has been introduced into everyday language,
slowly deforming our entire conception of the theoretical value of the visual and at the same time of the Greek legacy. For this reason,
by dismantling the argumentation for this construct, the second aim of the article will be to offer an alternative reading of Greek visual
culture, in this case especially through the work of Sophocles “Oedipus Rex”, where the majority of these topics pretend to be grounded.
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Newspaper Article on the History of Iconoclasm and the recent anticolonialist iconoclastic events
https://www.larazon.es/cultura/20200816/iujgykfavbatjcojyxdzdtryjy.html
https://www.larazon.es/cultura/20200816/iujgykfavbatjcojyxdzdtryjy.html
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A very special kind of feast belongs to the Christian Orthodox tradition: there is a specific liturgical celebration of the Images in the so-called Sunday of Or-thodoxy. While in many cultures images are employed in order to celebrate an... more
A very special kind of feast belongs to the Christian Orthodox tradition: there is a specific liturgical celebration of the Images in the so-called Sunday of Or-thodoxy. While in many cultures images are employed in order to celebrate an historic event, this is the only feast in which, on the contrary, images are celebrated for themselves. Nonetheless, the role of images in Orthodoxy is not univocally and positively accepted. In fact, the title's expression «the wolf as a shepherd» belongs to a Desert Father and refers to the role of images in our mental life. This is not reported by a heretical iconoclastic document, but by the well-known Philokalia, a kind of handbook of Orthodox Aesthetics. This paper aims to present these two aspects in their paradoxical partnership. First, I will present some historical, symbolic and liturgical aspects of this feast. Thus, we should be able to understand better why many contemporary authors claimed that the origins of our visual culture can be traced in this Feast. However, if we comprehend the philosophical value of Byzantine icons, we realise that they have little to do with our contemporary images, no matter whether we mean artistic, religious or media images. We often talk about the «power of images», but just to blame them-as if they were autonomous entities-or to praise them, in a generalized aestheticization of contemporary life. Iconophobia and iconodoulia, I claim, are emerging as ontologically impoverished versions of the former Byzantine theoretical models. What falls into oblivion is the paradoxical status of the image as «appearance of the essence of Being» that demands as a condition of its own existence its self-sublation. These dialectics, conceptually inspired by the Hegelian logic, are fully present in Byzantine Aesthetics, where the feast is considered as a precarious image, held in memory of a future image loss event known as eschaton.
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Two events, apparently distant one from the other and without any direct link between them, but nevertheless strictly connected by a common spiritual legacy, constitute the subject of this paper. The first one, took place in 1971, when a... more
Two events, apparently distant one from the other and without any direct link between them, but nevertheless strictly connected by a common spiritual legacy, constitute the subject of this paper. The first one, took place in 1971, when a very special «ecumenical chapel» opened its doors to the public. It is known under the name of «Rothko Chapel», due to the general project, undertaken by the painter Mark Rothko. Since that time, it has become one of the most precious artworks that represent the contemporary religious aesthetics. The black Rothko's paintings, the Greek-cross building designed by the architect Philip Johnson, the Broken Obelisk of the artist Barnett Newman standing right out of the Chapel and the music composed for this ambient by the composer Morton Feldman, have replaced what traditionally has been called an «imago templi»; but contrary to all Christian tradition they represent (literally) nothing. The second event, took place in 1795, when two young friends, Hegel and Schelling, were making a kind of oath under the sign of an Invisible Church, actualizing an ambiguous concept that, even if rooted in the Holy Scriptures, it had been condemned for its consequences as heretical. The relationship between these two events is given by contemporary art historians which have established that modern abstract painting, from a formal point of view, is rooted in the Romantic tradition. With this paper I would like to contribute to the establishment of this connection, not only by formal means, but by showing a common spiritual attitude towards images. Christianity, essentially figurative in its religious aesthetics, has always had to deal with the Jewish prohibition of image-making. This difficulty has been inherited to contemporary debates in which artist with classical readings and education, often of Jewish origins but active in Christian societies, try to create a new kind of art, above all traditions and free of dogmas. According to my suggestion, Rothko Chapel should be considered as the realization of a fragile balance in which both «aniconism» and «need of images» have simultaneously sublated their one-sidedness, producing a higher spiritual stage. us, such a chapel would not be a simple space where all religions could only meet and undertake a dialog, but should be considered as something more surprising: a unique realization of what logically appears as a pure contradiction: the realization of an Imago Templi for an Invisible Church.
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El propósito de este ensayo es discutir sobre la posibilidad de desarroyo de una ontología de la imagen a partir de las premisas teóricas del Sistema del Saber hegeliano, mostrando también su relevancia en el debate contemporáneo de los... more
El propósito de este ensayo es discutir sobre la posibilidad de desarroyo de una ontología de la imagen a partir de las premisas teóricas del Sistema del Saber hegeliano, mostrando también su relevancia en el debate contemporáneo de los visual studies o de la Bildkritik.
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The aim of this essay is to emphasize some structural differences between the concept of negation and the concept of negativity in the Hegelian logic. On the one hand, great philosophers and scholars of German Idealism such as Heidegger,... more
The aim of this essay is to emphasize some structural differences between
the concept of negation and the concept of negativity in the Hegelian logic.
On the one hand, great philosophers and scholars of German Idealism such
as Heidegger, Kojève, and Henrich, have intentionally promoted an obscure
and ambiguous treatment of these concepts in order to employ the Hegelian
dialectics to their own proper theories. On the other hand, based on
the previous ambiguities, a lot of critics accused the Hegelian philosophy of
justifying forms of negation or negativity (as the evil in Ethics or the effectiveness
of contradiction in Logic, or the death of God in the Philosophy of
Religion). But, in the very beginning of the highest sphere of the Hegelian
System, i.e. in the introduction to the Philosophy of Spirit (Enz.§ 382, 1830)
Hegel affirms that “the Essence of the Spirit is […] Freedom, the absolute
negativity of the Concept, as identity with itself”. This suggests to us that
what Hegel had in mind when he was speaking about “absolute negativity”
was something completely different than a simple negative notion. Thus,
in order to clarify the sense of negativity, I will suggest a double operation.
Initially, in the first part of this essay, I will deduce three forms of negativity
following three stages of what I call “the Hegelian discourse on method” (i.e.
beginning and end of both the “great” and the “encyclopedia” Logic) trying
to separate them from every simple operation of negation. In the second part
of the essay, I will focus on the Doctrine of Essence, taking it as a very special
place to which we can go to understand negativity’s dialectics. In that way,
the threefold negativity specified earlier will come forth to show its development
inside the determinations of reflection (Identity-Difference-Ground).
The very last determination, the one of Ground, will make us clear the double
(but not ambiguous) meaning of the absolute negativity. My final claim
is that this highest form of negativity is not controlled or operated by finite
subjects (which by nature belong to an abstract negativity and by culture to a
relational negativity), but rather I believe that it is in act as a living, spiritual,
ontological foundation in which finite subjects participate in order to dismiss
(or to be absorbed by) their proper finitude.
Keywords: Hegel, logic, essence, negativity, negation.
the concept of negation and the concept of negativity in the Hegelian logic.
On the one hand, great philosophers and scholars of German Idealism such
as Heidegger, Kojève, and Henrich, have intentionally promoted an obscure
and ambiguous treatment of these concepts in order to employ the Hegelian
dialectics to their own proper theories. On the other hand, based on
the previous ambiguities, a lot of critics accused the Hegelian philosophy of
justifying forms of negation or negativity (as the evil in Ethics or the effectiveness
of contradiction in Logic, or the death of God in the Philosophy of
Religion). But, in the very beginning of the highest sphere of the Hegelian
System, i.e. in the introduction to the Philosophy of Spirit (Enz.§ 382, 1830)
Hegel affirms that “the Essence of the Spirit is […] Freedom, the absolute
negativity of the Concept, as identity with itself”. This suggests to us that
what Hegel had in mind when he was speaking about “absolute negativity”
was something completely different than a simple negative notion. Thus,
in order to clarify the sense of negativity, I will suggest a double operation.
Initially, in the first part of this essay, I will deduce three forms of negativity
following three stages of what I call “the Hegelian discourse on method” (i.e.
beginning and end of both the “great” and the “encyclopedia” Logic) trying
to separate them from every simple operation of negation. In the second part
of the essay, I will focus on the Doctrine of Essence, taking it as a very special
place to which we can go to understand negativity’s dialectics. In that way,
the threefold negativity specified earlier will come forth to show its development
inside the determinations of reflection (Identity-Difference-Ground).
The very last determination, the one of Ground, will make us clear the double
(but not ambiguous) meaning of the absolute negativity. My final claim
is that this highest form of negativity is not controlled or operated by finite
subjects (which by nature belong to an abstract negativity and by culture to a
relational negativity), but rather I believe that it is in act as a living, spiritual,
ontological foundation in which finite subjects participate in order to dismiss
(or to be absorbed by) their proper finitude.
Keywords: Hegel, logic, essence, negativity, negation.
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Una nueva edición de Acerca de lo sublime, el tratado griego sobre el éxtasis provocado por la belleza, refleja la evolución del término en tiempos de turismo de masas y bombardeos bélicos Lo sublime ya no es lo que era.
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Review of the book "Iconoclastia endogena" in French, written by the Prof. of Aesthetics, J.M. Hernández Leon, Universidad Politecnica de Madrid, Spain.
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p. 40 Jueves. 3 de septiembre de 2020 • LA RAZÓN Libros Ensayo
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Research Interests:
Research Interests:
Reseña del libro de Gianni Vattimo, Alrededores del Ser