Hegel And The Art Of Negation

Why is the philosopher Hegel returning as a potent force in contemporary thinking? Why, after a long period when Hegel and his dialectics of history have seemed less compelling than they were for previous generations of philosophers, is study of Hegel again becoming important? Fashionable contemporary theorists like Francis Fukuyama and Slavoj Zizek, as well as radical theologians like Thomas Altizer, have all recently been influenced by Hegel, the philosopher whose philosophy now seems somehow perennial- or, to borrow an idea from Nietzsche-eternally returning. Exploring this revival via the notion of 'negation' in Hegelian thought, and relating such negativity to sophisticated ideas about art and artistic creation, Andrew W. Hass argues that the notion of Hegelian negation moves us into an expansive territory where art, religion and philosophy may all be radically conceived and broken open into new forms of philosophical expression. The implications of such a revived Hegelian philosophy are, the author argues, vast and current. Hegel thereby becomes the philosopher par excellence who can address vital issues in politics, economics, war and violence, leading to a new form of globalised ethics. Hass makes a bold and original contribution to religion, philosophy, art and the history of ideas.

Representing a new generation of theorists reaffirming the radical dimensions of art, Gail Day launches a bold critique of late twentieth-century art theory and its often reductive analysis of cultural objects. Exploring core debates in discourses on art, from the New Left to theories of "critical postmodernism" and beyond, Day counters the belief that recent tendencies in art fail to be adequately critical. She also challenges the political inertia that results from these conclusions. Day organizes her defense around critics who have engaged substantively with emancipatory thought and social process: T. J. Clark, Manfredo Tafuri, Fredric Jameson, Benjamin H. D. Buchloh, and Hal Foster, among others. She maps the tension between radical dialectics and left nihilism and assesses the interpretation and internalization of negation in art theory. Chapters confront the claim that exchange and equivalence have subsumed the use value of cultural objects and with it critical distance and interrogate the proposition of completed nihilism and the metropolis put forward in the politics of Italian operaismo. Day covers the debates on symbol and allegory waged within the context of 1980s art and their relation to the writings of Walter Benjamin and Paul de Man. She also examines common conceptions of mediation, totality, negation, and the politics of anticipation. A necessary unsettling of received wisdoms, Dialectical Passions recasts emancipatory reflection in aesthetics, art, and architecture.

In Hegel’s Conception of the Determinate Negation, Terje Sparby develops a comprehensive account of the three forms of the determinate negation in Hegel’s philosophy.

Reading the philosophy of Nagarjuna in retrospective, his method of Nagarjuna is variously explained in this book. How the application of tetralemma-four-value structure (catuskoti) would give us enough resources to expand our thoughts and how that could help us negate the binary either/or structure of thought that demands theoretical postulations. Notably, the art of logical negation used by Nagarjuna employing neither/nor structure would help us understand the Middle Path (Madhyamika) philosophy clearly. Most of the philosophies use the structure of two-value logical interpretations to introduce their metaphysics and ethics. Metaphysical conception of soul-God is the basis of virtue ethics centred on transcendentals of goodness, truth, beauty, unity, justice, being, etc. of the classical Greeks, later being followed by Christians, Jews and Islamic thinkers. The conception of atman-Brahman is the foundation of Vedic philosophers' understanding of transcendentals as truth (sat), consciousness (cit) and bliss (ananada), Nagarjuna, on the other hand, employs negative dialectics to confute the logical structure of either/or that demands metaphysical concepts; and by employing the four-value logical structure, he introduces the transcendentals as wisdom and compassion. This book uses Nagarjunian art of negation to reread his philosophy differently to discern the concept of emptiness (sunyata) as the co-dependent evolution of various elements of the subjective self and the elements of objective experiences in the dominion of the subjective self and the elements of objective experiences in the dominion of the subjective self; therein it is possible to redefine no-soul (nairatmya) as self-being, and "dominion of subjectivity" for replacing a metaphysical postulation; and the transcendentals as wisdom and compassion.

wide criticism both from Western and Eastern scholars.

Hegel, Deleuze, and the Critique of Representation provides a critical account of the key connections between twentieth-century French philosopher Gilles Deleuze and nineteenth-century German idealist G. W. F. Hegel. While Hegel has been recognized as one of the key targets of Deleuze's philosophical writing, Henry Somers-Hall shows how Deleuze's antipathy to Hegel has its roots in a problem the two thinkers both try to address: getting beyond a philosophy of judgment and the restrictions of Kant's transcendental idealism. By tracing the development of their attempts to address this problem, Somers-Hall offers an interpretation of the sweep of nineteenth- and twentieth-century philosophy, providing a series of analyses of key moments in the history of thought, including the logics of Aristotle and Russell, Kant's own philosophy of judgment, and the philosophy of Bergson. He also develops a novel interpretation of Deleuze's philosophy of difference, and situates his philosophy in relation to the broader post-Kantian tradition. In addition to Deleuze's relation to Hegel, the book makes important contributions to the study of Deleuze's philosophy of mathematics, as well as to the study of several underappreciated areas of Hegel's own philosophy.

This book argues that Hip Hop’s early history in the South Bronx charts a course remarkably similar to the conceptual history of artistic creation presented in Hegel’s Lectures on Aesthetics. It contends that the resonances between Hegel’s account of the trajectory of art in general, and the historical shifts in the particular culture of Hip Hop, are both numerous and substantial enough to make us re-think not only the nature and import of Hegel’s philosophy of art, but the origin, essence and lesson of Hip Hop. As a result, the book articulates and defends a unique reading of Hegel’s Aesthetics, as well as providing a philosophical explanation of the Hip Hop community’s transition from total social abandonment to some limited form of social inclusion, via the specific mediation of an artistic culture grounded in novel forms of sensible expression. Thus, the fundamental thesis of this book is that Hegel and Hip Hop are mutually illuminating, and when considered in tandem each helps to clarify and reinforce the validity and power of the other.