By Stephen Houlgate, Michael Baur
This better half presents unique, scholarly, and state of the art essays that disguise the full variety of Hegel’s mature inspiration and his lasting influence.
• A complete consultant to 1 of crucial sleek philosophers
• Essays are written in an obtainable demeanour and draw at the latest Hegel research
• Contributions are drawn from internationally and from a wide selection of philosophical ways and traditions
• Examines Hegel’s impression on a variety of thinkers, from Kierkegaard and Marx to Heidegger, Adorno and Derrida
• starts with a chronology of Hegel’s existence and paintings and is then cut up into sections overlaying subject matters reminiscent of Philosophy of Nature, Aesthetics, and Philosophy of faith
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Extra resources for A Companion to Hegel
23 There is no indication that Wallace was bored by the process of writing, but he struggled to stay on task, to keep at it to avoid distraction. He too bore down on his task, over and over again one must imagine, perhaps counting lines or pages—instead of forms—completed. How much greater must such a struggle be for those heroic characters who battle eight hours a 49/321 day with a task so boring it literally drives you to distraction? , later that same morning: His buttocks already ached from flexing, and the mere thought of envisioning the desolate beach unmanned him.
Nietzsche appeared, of course, like Beckett, at an earlier stage in the history of the West. He believed, for example, that it would be a long time before God’s grounding role in the culture was no longer obvious or taken for granted. 36 63/321 If there are such caves in Wallace’s world, then he gives no indication of knowing about them. 37 Nietzsche’s world had not declined so far. Nineteenth-century European culture on the whole still took for granted that the Judeo-Christian virtues were not only proper but sanctioned by God.
But it is not completely ungrounded speculation, for all that. Drinion was the hardest character for Wallace to write, in our view, the character with whom he was terminally unsatisfied, because he could never be sure whether he had gotten Drinion’s Happiness right. Wallace’s project, after all, was not just the postmodern project of finding more literary conventions to break. It was instead the very traditional—some might call it existential—project of writing characters in order to explore the possibilities (and impossibilities) for living well in the modern world.