Paul Klee, Comedy (1921).
The recent history of philosophy has been marked by a series of non-events. From Francis Fukuyama’s declaration of the end of history to Benjamin Bratton’s recent comments on the ‘revenge of the real,’ the tenor of philosophical fashion has turned from the revelation of new modes of thinking to the delimitation of thought within the rapidly shrinking space of possibilities of the present moment. Time, we are told, is running out, and all notions of human history are being jettisoned to make way for the great cancelation of history itself. In a pithy remark on the coming apocalypse, Bruno Latour summons Hegel’s Geist to stand once more for the sum of humanity’s endeavours, when he writes that “the breath of Spirit is now overcome, surpassed, aufgeheben, intoxicated by carbon dioxide!”
Meanwhile, the apparent death of Spirit is mirrored by the emergence of an unorthodox Hegel, whose writing is no longer understood as the marker of a supremely rational, teleological, and humanist moment in philosophy. Instead, as Spirit chokes on greenhouse gases, the return to Hegel’s Phenomenology of Spirit now reveals an altogether more sombre picture: a fragmented narrative, an anxious absolute, and an aimless movement through the graveyard of Spirit’s precursors. As Gillian Rose once remarked, contemporary philosophy supplanted Hegel’s comedy with a mourning-play without transcendence or resolution—but now this melancholy extends even to recent readings of Hegel himself. To take seriously the loudly proclaimed death of Spirit—as this paper intends to do—it will be necessary to run through these re-evaluations of Spirit, to understand the ramifications of Spirit’s confrontation with its own demise. Continue reading “Dead Ends: The Undoing of Hegel’s Comedy”