In her innovative take on G.W. F. Hegel's The Encyclopaedia Logic, Julie E. Maybee uses pictures and diagrams to cut through the philosopher's dense, difficult writing. Picturing Hegel: An Illustrated Guide to Hegel's Encyclopaedia Logic utilizes diagrams in order to rehabilitate Hegel's logic for serious consideration by showing how each stage develops step-by-step from earlier stages according to definite, logical patterns. This interpretation makes Hegel's work accessible and understandable for new and experienced readers alike. Because Hegel uses the same logic in all of his works, Maybee's analysis and defense of the logic will capture the attention of those readers interested in Hegel's ethics, politics, history, philosophy of religion, and phenomenology. Through the included diagrams, Maybee is able to define central Hegelian concepts such as 'being-in-itself, ' and 'being-in-and-for-itself' with a new level of precision. Maybee argues that Hegel's logic does not include the one logistical pattern most often attributed to him; namely, the pattern 'thesis-antithesis-synthesis.' Rather, Hegel's model of logic was more scientific than formalistic in nature, as the philosopher himself pointed out. Hegel considered himself an encyclopedic culmination of Western philosophy in some ways, and indeed his work summarizes many of the presuppositions of Western philosophy. By picturing Hegel's logic, we can gain a greater understanding of ourselves.

In her innovative take on G.W. F. Hegel's The Encyclopaedia Logic, Julie E. Maybee uses pictures and diagrams to cut through the philosopher's dense, difficult writing. Picturing Hegel: An Illustrated Guide to Hegel's Encyclopaedia Logic utilizes diagrams in order to rehabilitate Hegel's logic for serious consideration by showing how each stage develops step-by-step from earlier stages according to definite, logical patterns. This interpretation makes Hegel's work accessible and understandable for new and experienced readers alike. Because Hegel uses the same logic in all of his works, Maybee's analysis and defense of the logic will capture the attention of those readers interested in Hegel's ethics, politics, history, philosophy of religion, and phenomenology. Through the included diagrams, Maybee is able to define central Hegelian concepts such as 'being-in-itself,' and 'being-in-and-for-itself' with a new level of precision. Maybee argues that Hegel's logic does not include the one logistical pattern most often attributed to him; namely, the pattern 'thesis-antithesis-synthesis.' Rather, Hegel's model of logic was more scientific than formalistic in nature, as the philosopher himself pointed out. Hegel considered himself an encyclopedic culmination of Western philosophy in some ways, and indeed his work summarizes many of the presuppositions of Western philosophy. By picturing Hegel's logic, we can gain a greater understanding of ourselves.

In her innovative take on G.W. F. Hegel's The Encyclopaedia Logic, Julie E. Maybee uses pictures and diagrams to cut through the philosopher's dense, difficult writing. Picturing Hegel: An Illustrated Guide to Hegel's Encyclopaedia Logic utilizes diagrams in order to rehabilitate Hegel's logic for serious consideration by showing how each stage develops step-by-step from earlier stages according to definite, logical patterns. This interpretation makes Hegel's work accessible and understandable for new and experienced readers alike. Because Hegel uses the same logic in all of his works, Maybee's analysis and defense of the logic will capture the attention of those readers interested in Hegel's ethics, politics, history, philosophy of religion, and phenomenology. Through the included diagrams, Maybee is able to define central Hegelian concepts such as "being-in-itself," and "being-in-and-for-itself" with a new level of precision. Maybee argues that Hegel's logic does not include the one logistical pattern most often attributed to him; namely, the pattern "thesis-antithesis-synthesis." Rather, Hegel's model of logic was more scientific than formalistic in nature, as the philosopher himself pointed out. Hegel considered himself an encyclopedic culmination of Western philosophy in some ways, and indeed his work summarizes many of the presuppositions of Western philosophy. By picturing Hegel's logic, we can gain a greater understanding of ourselves.

The aim of this book is to critically examine whether it is methodologically possible to combine mathematical rigor – topology with a systematic dialectical methodology in Hegel, and if so, to provide as result of my interpretation the outline of Hegel’s Analysis Situs, also with the proposed models (build on the topological manifold, cobordism, topological data analysis, persistent homology, simplicial complexes and graph theory, to provide an indication of how the merger of Hegel’s dialectical logic and topology may be instrumental to a systematic logician and of how a systematic dialectical logic perspective may help mathematical model builders.

In his Berlin lectures on fine art, Hegel argued that art involves a unique form of aesthetic intelligibility—the expression of a distinct collective self-understanding that develops through historical time. Hegel’s approach to art has been influential in a number of different contexts, but in a twist of historical irony Hegel would die just before the most radical artistic revolution in history: modernism. In After the Beautiful, Robert B. Pippin, looking at modernist paintings by artists such as Édouard Manet and Paul Cézanne through Hegel’s lens, does what Hegel never had the chance to do. While Hegel could never engage modernist painting, he did have an understanding of modernity, and in it, art—he famously asserted—was “a thing of the past,” no longer an important vehicle of self-understanding and no longer an indispensable expression of human meaning. Pippin offers a sophisticated exploration of Hegel’s position and its implications. He also shows that had Hegel known how the social institutions of his day would ultimately fail to achieve his own version of genuine equality, a mutuality of recognition, he would have had to explore a different, new role for art in modernity. After laying this groundwork, Pippin goes on to illuminate the dimensions of Hegel’s aesthetic approach in the path-breaking works of Manet, the “grandfather of modernism,” drawing on art historians T. J. Clark and Michael Fried to do so. He concludes with a look at Cézanne, the “father of modernism,” this time as his works illuminate the relationship between Hegel and the philosopher who would challenge Hegel’s account of both modernity and art—Martin Heidegger. Elegantly inter-weaving philosophy and art history, After the Beautiful is a stunning reassessment of the modernist project. It gets at the core of the significance of modernism itself and what it means in general for art to have a history. Ultimately, it is a testament, via Hegel, to the distinctive philosophical achievements of modernist art in the unsettled, tumultuous era we have inherited.

A new Translation with Afterword of Hegel's Monumental work The Phenomenology of Spirit (1807) G.W.F. Hegel's "The Phenomenology of Spirit," published in 1807, is one of the foundational texts of German idealism. Through a narrative of historical and philosophical developments, Hegel explores the evolution of consciousness from immediate sensory experience to the highest form of self-aware Spirit. Engaging with a diverse array of figures and movements, from ancient Greek thought to his contemporary German Idealists, Hegel presents a complex analysis of human experience and its inherent contradictions, culminating in the realization of absolute knowing. The work's intricate dialectical method, wherein concepts evolve through thesis-antithesis-synthesis progressions, has greatly influenced modern philosophy and the humanities.

Winner of the hegelpd–prize 2022 Contemporary philosophical discourse has deeply problematized the possibility of absolute existence. Hegel’s Foundation Free Metaphysics demonstrates that by reading Hegel’s Doctrine of the Concept in his Science of Logic as a form of Absolute Dialetheism, Hegel’s logic of the concept can account for the possibility of absolute existence. Through a close examination of Hegel’s concept of self-referential universality in his Science of Logic, Moss demonstrates how Hegel’s concept of singularity is designed to solve a host of metaphysical and epistemic paradoxes central to this problematic. He illustrates how Hegel’s revolutionary account of universality, particularity, and singularity offers solutions to six problems that have plagued the history of Western philosophy: the problem of nihilism, the problem of instantiation, the problem of the missing difference, the problem of absolute empiricism, the problem of onto-theology, and the third man regress. Moss shows that Hegel’s affirmation and development of a revised ontological argument for God’s existence is designed to establish the necessity of absolute existence. By adopting a metaphysical reading of Richard Dien Winfield’s foundation free epistemology, Moss critically engages dominant readings and contemporary debates in Hegel scholarship. Hegel’s Foundation Free Metaphysics will appeal to scholars interested in Hegel, German Idealism, 19th- and 20th-century European philosophy, metaphysics, epistemology, and contemporary European thought.