Employs Derrida's critique of Hegel as the impetus for a new understanding of Hegel's concept of "spirit."

Hegel's philosophy of religion contains an implicit political theology. When viewed in connection with his wider work on subjectivity, history and politics, this political theology is a resource for apocalyptic thinking. In a world of climate change, inequality, oppressive gender roles and racism, Hegel can be used to theorise the hope found in the end of that world. Histories of apocalyptic thinking draw a line connecting the medieval prophet Joachim of Fiore and Marx. This line passes through Hegel, who transforms the relationship between philosophy and theology by philosophically employing theological concepts to critique the world. Jacob Taubes provides an example of this Hegelian political theology, weaving Christianity, Judaism and philosophy to develop an apocalypticism that is not invested in the world. Taubes awaits the end of the world knowing that apocalyptic destruction is also a form of creation. Catherine Malabou discusses this relationship between destruction and creation in terms of plasticity. Using plasticity to reformulate apocalypticism allows for a form of apocalyptic thinking that is immanent and materialist. Together Hegel, Taubes and Malabou provide the resources for thinking about why the world should end. The resulting apocalyptic pessimism is not passive, but requires an active refusal of the world.

Ernst Cassirer and the Autonomy of Language examines the central arguments in Cassirer’s first volume of the Philosophy of Symbolic Forms. Gregory Moss demonstrates both how Cassirer defends language as an autonomous cultural form and how he borrows the concept of the “concrete universal” from G. W. F. Hegel in order to develop a concept of cultural autonomy. While Cassirer rejected elements of Hegel’s methodology in order to preserve the autonomy of language, he also found it necessary to incorporate elements of Hegel’s method to save the Kantian paradigm from the pitfalls of skepticism. Moss advocates for the continuing relevanceof Cassirer’s work on language by situating it within in the context of contemporary linguistics and contemporary philosophy. This book provides a new program for investigating Cassirer’s work on the other forms of cultural symbolism in his Philosophy of Symbolic Forms, by showing how the autonomy of culture is one of the leading questions motivating Cassirer’s philosophy of culture. With a thorough comparison of Cassirer’s theory of symbolism to other dominant theories from the twentieth century, including Heidegger and Wittgenstein, this book provides valuable insight for studies in philosophy of language, semiotics, epistemology, pyscholinguistics, continental philosophy, Neo-Kantian philosophy, and German idealism.

Warren Breckman critically revisits thrilling experiments in the aftermath of Marxism.

Filling an important gap in post-Kantian philosophy, Hegel's Theory of Imagination focuses on the role of the imagination, and resolves the question of its apparent absence in Hegel's Phenomenology of Spirit. Jennifer Ann Bates discusses Hegel's theory of the imagination through the early and late Philosophy of Spirit lectures, and reveals that a dialectic between the two sides of the imagination (the "night" of inwardizing consciousness and the "light" of externalizing material) is essential to thought and community. The complexity and depth of Hegel's insights make this book essential reading for anyone seriously interested in understanding how central the imagination is to our every thought.

That aesthetics is central to Hegel's philosophical enterprise is not widely acknowledged, nor has his significant contribution to the discipline been truly appreciated. Some may be familiar with his theory of tragedy and his (supposed) doctrine of the "end of art," but many philosophers and writers on art pay little or no attention to his lectures on aesthetics. The essays in this collection, all but one written specifically for this volume, aim to raise the profile of Hegel's aesthetic theory by showing in detail precisely why that theory is so powerful. Writing from various perspectives and not necessarily aligned with Hegel's position, the contributors demonstrate that Hegel's lectures on aesthetics constitute one of the richest reservoirs of ideas about the arts, their history, and their future that we possess. Addressing a range of important topics, the essays examine the conceptual bases of Hegel's organization of his aesthetics, his treatment of various specific arts (architecture, sculpture, painting, music, and tragedy), and several of the most famous issues in the literature--including the "end of art" thesis, the relation between art and religion, and the vexed relationship between Hegel and the romantics. Together they shed light on the profound reflections on art contained in Hegel's philosophy and also suggest ways in which his aesthetics might resonate well beyond the field of philosophical aesthetics, perhaps beyond philosophy itself.