By Adriaan Th. Peperzak
There's a didactical in addition to a philosophical value to offering a remark at the Preface to Hegel's guide at the philosophy of correct. considering that the textual content brings us the idea of an exceptional and tough thinker in a non-rigorous, exoteric approach, it's compatible to the duty of introducing scholars to the realm of imagine- ing. it truly is, even though, too tough to do that with out being supplemented by means of a few rationalization. research and tricks for extra research are necessi- tated right here by way of either the interweaving of political and philosophical viewpoints and the philosophical presuppositions with which this Preface is complete. The philosophical significance of a observation on Hegel's textual content are available in part within the incessant citation of the Preface within the literature on Hegel's philosophy to justify very various and contra- dictory interpretations. so long as the experts don't agree in regards to the which means of the Preface to the Philosophy of correct, somebody attempting to clarify it can't keep away from the duty of constructing his or her personal contribu- tion to the philosophical debate about the nature and content material of Hegel's paintings.
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Extra resources for Philosophy and Politics: A Commentary on the Preface to Hegel's Philosophy of Right
In the case of the perception of the beautiful object, the imagination is no longer guided by a concept (such as that of an apple or a dog) in its eﬀort to achieve a synthesis of the manifold of sensible intuitions. The function of the imagination here could be described as the search of a concept while, in fact, no concept is actually available for a satisfactory subsumption of what is presented to the senses. As a consequence, the understanding has nothing to go on here—except itself. It is, so to say, left free to move in the logical space deﬁned by itself.
What we encounter in the present has signiﬁcance as obstacle or instrument to our objectives. In fact, we can see a close kinship between the beginning-middle-end structure of narrative and the means-end structure of action. In both cases “end” is not merely temporal but also teleological, and the same can be said for the related concepts of middle and means. The beginning of an action is the situation perceived by the agent, a divergence between what is the case and what is to be done. This divergence constitutes a problem or predicament, which is overcome or resolved by the achievement of the end.
The imagination is, roughly, the faculty enabling us to reduce the manifold of our perception of the world to the appropriate concept. Suppose we are looking at an apple. We shall then perceive something that is round and red, but this is not yet the perception of an apple. The imagination will then add to and subtract from these perceptions in a very complex mental process; it will, for example, add the side of the apple that we do not see, it will add its white ﬂesh and it juiciness, it also will eliminate irrelevant contingencies peculiar to this apple only—and only then will we recognize the perceived object as an apple.