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Hegel's Phenomenology of Spirit has attracted much attention recently from philosophers, but none of the existing English-language books on the text addresses one of the most difficult questions the book raises: Why does the Phenomenology make such rich and provocative use of literary works and genres? Allen Speight's bold contribution to the debate on the work of Hegel argues that behind Hegel's extraordinary appeal to literature in the Phenomenology lies a philosophical project concerned with understanding human agency in the modern world. It shows that Hegel looked to three literary genres - tragedy, comedy, and the Romantic novel - as offering privileged access to three moments of human agency: retrospectivity, theatricality, and forgiveness. Taking full account of the authors whom Hegel himself refers to (Sophocles, Diderot, Schlegel, Jacobi), Allen Speight has written a book with a broad appeal to both philosophers and literary theorists.

Hegel, Georg W.F. --- Literature --- Agent (Philosophy) --- Littérature --- Agent (Philosophie) --- Philosophy --- History --- Philosophie --- Histoire --- Hegel, Georg Wilhelm Friedrich, --- Agent (Philosophy). --- Hegel, Georg Wilhelm Friedrich. --- Literature. --- Philosophy & Religion --- Philosophy. --- Littérature --- Agency (Philosophy) --- Agents --- Person (Philosophy) --- Literature and philosophy --- Philosophy and literature --- Theory --- Act (Philosophy) --- History. --- Arts and Humanities --- Literature - Philosophy --- Hegel, Georg Wilhelm Friedrich, - 1770-1831 - Phänomenologie des Geistes

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Ancient Greek expressed the agents of passive verbs by a variety of means, and this work explores the language's development of prepositions which marked the agents of passive verbs. After an initial look at the pragmatics of agent constructions, it turns to this central question: under what conditions is the agent expressed by a construction other than hupo with the genitive? The book traces the development of these expressions from Homer through classical prose and drama, paying attention to the semantic, syntactic, and metrical conditions that favoured the use of one preposition over another. It concludes with a study of the decline of hupo as an agent marker in the first millennium AD. Although the focus is on developments in Greek, translation of the examples should render it accessible to linguists studying changes in prepositional systems generally.

Agent (Philosophy) --- Greek language --- Passive voice. --- Prepositions. --- Verb. --- Agent (Philosophy). --- Prepositions --- Passive voice --- Verb --- Grec (langue) --- Prépositions --- Voix passive --- Verbes --- Grec (Langue) --- Agent (Philosophie) --- Prépositions --- Passif --- Verbe --- Agency (Philosophy) --- Agents --- Person (Philosophy) --- Act (Philosophy) --- Philosophy --- Classical languages --- Indo-European languages --- Classical philology --- Greek philology --- Prépositions. --- Voix passive. --- Verbes. --- Arts and Humanities --- History --- Greek language - Prepositions --- Greek language - Passive voice --- Greek language - Verb --- Prépositions.