Narratiivsuse roll Hegeli filosoofilises süsteemis: üks täiendus "dialektilise" meetodi mittemetafüüsilise tõlgendamise juurde

Artikkel lahtub Hegeli filosoofilise susteemi mittemetafuusilisest tolgendusest ja keskendub uhele aspektile Hegeli dialektilise meetodi juures, mille iseloomustamiseks oleks autori arvates koige adekvaatsem kasutada narratiivi moistet. Artikli tees on kokkuvotlikult jargmine: Hegeli arvates ei ole filosoofiline tode valjendatav uhe lause voi propositsiooniga, vaid (1) see nouab tervet vaidete jada, kusjuures (2) moistete maaratlused selles vaidete jadas peavad suutma teiseneda --- nii nagu kirjandusliku jutustuse kaigus voivad teiseneda tegelaste iseloom ja arusaamine asjadest (eriti ilmne on see Bildungsroman 'ile omase narratiivi puhul). Lisaks neile kahele omadusele on narratiivile iseloomulik talle omaste struktuurielementide (algus, keskpaik ja lopp) abil loodud (3) terviklikkus, mis voimaldab tal anda edasi sellist motet, mis ei sisaldu uheski narratiivi moodustavas lauses uksikult voetuna.  Need kolm omadust voimaldavad Hegeli "dialektilisele" meetodile narratiiviteooria vahenditega uut valgust heita ja spekulatiivse toe loomust paremini moista. The paper discusses the nature of Hegel's dialectical method and criticizes its wide-spread interpretation according to the thesis-antithesis-synthesis formula.  It is argued that there is no evidence of triadic structures in Hegel's works.  Rather, the elements (usually defined as "moments", "formations" ( Gestalten ) or "determinations" ( Bestimmungen )) that make up the body of Hegel's texts, are organized as "series" ( Reihen ) that form circles, in which, as Hegel maintains, the last element leads us back to the first.  If synthesis means creating something new by using the initial elements then it is problematic whether anything becomes synthesized in Hegel texts.  The paper argues against interpreting the every third element of the series (the moment of Becoming being the most obvious candidate in the Science of Logic ) or the end-points of the series (such as the final moment of absolute knowledge in the Phenomenology of Spirit ) as synthetic unities.  Instead, the paper proposes that Hegel's speculative method uses the form of narrative for creating a vessel that is able to express the "speculative truth" which is "fluid" ( flussig ) and which requires a "plastic" ( plastische ) form of presentation.  Narrative can accomplish what a singular proposition and a deductive system cannot, because (1) it consists of a series of claims (2) that is able to express the movement of what is said in each claim, and (3) because its ending creates a point at which the story as a whole obtains a meaning that is not expressed in any particular sentence constituting the story.