Idea, Concept and Symbol in Hegel and Gadamer

Abstract

The robust and encompassing nature of Hegel’s absolute idealism is both compelling and problematic. This paper explores Hans-Georg Gadamer’s critical appraisal of the Hegelian legacy through the prism of aesthetics and, in doing so, raises general questions about the status and scope of philosophical conceptualization, and, thereby, about the relationship between philosophy and art – or between Concept and symbol. Through an examination of Gadamer’s articulation of the symbol and other aspects of his aesthetics, an approach is elaborated that strives to be more open, imaginative, fluid, and humble than traditional Hegelian viewpoints. However, given that Gadamer was also strongly influenced by Hegel, it is also considered how Gadamer’s critique and development of Hegel’s thought may provide an important opening towards engaging Hegel’s thought in a contemporary context. This influence and divergence is considered in relation to Gadamer’s conception of the symbol and Hegel’s notions of the Concept and the Idea, offering indications of how Hegel’s approach may be defended as well as discussing to what extent his thought can possibly enhance Gadamer’s perspectives. The ultimate goal is to point towards a synthesis between our two thinkers, suggesting in the process that aesthetics and philosophy should be seen as complimentary, and in this respect, so too should the symbol and the Idea. References

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