In the first half of Part 5 of the Ethics, Spinoza presents his directions for mitigating the passions through reason. He touts his account of the power of reason over the passions as ground-breaking and unique, while positioning himself squarely within the traditional debate of akrasia, or weakness of will. Spinoza claims he is the first to identify the affects through their characteristic effects, and demonstrate the way these effects can be countered by the mind’s activity. It follows that Spinoza’s (...) claim for originality can be explained in (at least) two ways: first, passions themselves have been misunderstood, and second, previous philosophers have misunderstood the relationship between reason and the passions. In the first part of this paper, I place Spinoza’s discussion of the passions and reason’s power over them in a historical context. Next, I present Spinoza’s definition of the affects, and his directions for ‘destroying’ the passions. In the third section I point to the differences between my interpretation and that of recent commentators. Finally, I discuss the way in which Spinoza’s directions for mitigating the passions serve as the psychological basis for his moral theory. (shrink)

Collection of papers presented at the First Budapest Seminar in Early Modern Philosophy.

In the Ethics Spinoza defines certain traditional virtues such as humility and repentance as species of sadness and denies that they are virtues. He nonetheless holds that they can turn out to be useful as a means towards virtue—in fact, the greatest virtue of blessedness—in the life of someone who is not guided by reason. In this paper, I examine Spinoza’s relatively overlooked claim regarding the usefulness of sad passions as a means towards blessedness. In taking up Spinoza’s treatment of (...) humility as my case study, I show that there is a tension between this claim and his other explicit commitments in the Ethics. More specifically, after considering his views regarding the consequences of humility—including, most notably, its susceptibility to envy—and conditions of achieving blessedness, I show that humility cannot effectively be said to bring about cooperation and push “weak-minded” people in the right direction so that, in the end, they may be free and enjoy blessedness. I conclude by suggesting that if we must rely on passions as a means towards virtue in the Spinozistic universe, we must rely not on debilitating sad passions such as humility, but on joy-based social passions such as love. -/- . (shrink)

In this paper I examine the question whether Spinoza can account for the necessity of death. I argue that he cannot because within his ethical intellectualist system the subject cannot understand the cause of her death, since by understanding it renders it harmless. Then, I argue that Spinoza could not solve this difficulties because of deeper commitments of his system. At the end I draw a historical parallel to the problem from medieval philosophy.

In this dissertation I examine Hume’s secular re-definition and re-evaluation of the traditional Christian understanding of pride and humility as part of his project to establish a fully secular account of ethics and to undermine what he thought to be the harmful aspects of religious morality. Christians traditionally have seen humility, understood as receptivity to God, to be crucial for individual and social flourishing, and pride as the root of individual and social disorder. By contrast, Hume, who conceives of pride (...) and humility immanently in terms of our self-appraisals, sees pride as a key virtue that serves as the ultimate source of moral motivation and deems humility a ‘monkish virtue’ (i.e., a vice). Hume, moreover, sees religious appeals to a transcendent moral source to be a threat to individual flourishing in that they encourage the formation of what he calls ‘artificial lives’ (of which the monkish virtues are an expression) as well as a threat to social concord, insofar as they foster unnecessary religious factions, intolerance, and theologically sanctioned violence. In part to combat this, Hume promotes a wholly secular ethic rooted in common life. I uncover the real points of agreement and disagreement that underlie Hume and traditional Christian conceptions of pride and humility in order to articulate what is essentially at issue between these contrasting perspectives and, ultimately, to identify some of what is gained or lost in Hume’s secularization of ethics. I, thus, explore the reasons that Hume rejects Christian morality and seeks to replace it with a secular one. I then assess whether Hume’s secular perspective has sufficient resources for addressing the biased judgments and rivalries that can arise precisely because of what Hume sees as our natural desire for the ‘passion of pride’ (i.e., for a positive sense of ourselves before others). I conclude both that Hume identifies genuine dangers in attempting to go beyond the human and also that there are genuine dangers in Hume’s attempt to close the window to a transcendent moral source. I, therefore, contend that any adequate view of human flourishing must take account of both these dangers. (shrink)

In this paper, I join the so-called voluntarism debate on Descartes’s theory of will and judgment, arguing for an indirect doxastic voluntarism reading of Descartes, as opposed to a classic, or direct doxastic voluntarism. More specifically, I examine the question whether Descartes thinks the will can have a direct and full control over one’s suspension of judgment. Descartes was a doxastic voluntarist, maintaining that the will has some kind of control over one’s doxastic states, such as belief and doubt. According (...) to a long-held reading, the control that the will has over doxastic states in Descartes’s theory is direct; the doxastic states are affected by the mere act of will. This reading is called direct doxastic voluntarism (DDV), or direct voluntarism (DV) for short, and it states that we are capable of assenting, rejecting and suspending a judgment based only on our will to do so. Thus, these actions would be utterly and merely volitional. DV can be divided into two further positions, direct positive voluntarism (+DV) and direct negative voluntarism (-DV). Direct positive voluntarism deals with the act of forming judgments, maintaining that one can accept or deny a proposition wilfully and either merely believe or not believe something voluntarily. Direct negative voluntarism deals with the suspension of judgment, maintaining that it can likewise be accomplished by a simple act of will. However, I support an alternate account of Descartes’s voluntarism, which is called indirect doxastic voluntarism (IDV), or indirect voluntarism (IV) for short. By this account, the will is capable of affecting a doxastic state indirectly by making one concentrate on essential tasks for forming that state, such as gathering up and paying attention to strong reasons and evidence. IV is also possible to divide into indirect positive voluntarism (+IV) and indirect negative voluntarism (-IV). Per indirect positive voluntarism the will needs to pay attention to reasons for accepting or denying some proposition. Likewise, by indirect negative voluntarism, in order to suspend judgment the will needs to direct this attention to the reasons for doubt. By attending to these reasons, the will also comes face-to-face with its own freedom. This feeling of freedom can be described as affectivity of the reasons for belief (assent) and doubt (suspension). (shrink)

Spinoza rarely refers to art. However, there are extensive resources for a Spinozist aesthetics in his discussion of health in the Ethics and of social affects in his political works. There have been recently been a few essays linking Spinoza and art, but this essay additionally fuses Spinoza’s politics to an affective aesthetics. Spinoza’s statements that art makes us healthier (Ethics 4p54Sch; Emendation section 17) form the foundation of an aesthetics. In Spinoza’s definition, “health” is caused by external objects that (...) maintain our power to act in a variety of ways. Humans need such objects because our complex bodies constantly lose or consume many parts necessary to our overall functioning. Notably, Spinoza defines humans’ bodies through this complexity (2p13Sch), so health as maintenance of complexity is a distinctly human endeavor. Further, while art is not the only healthy activity, I argue that art is a particularly potent cure, which explains Spinoza’s otherwise opaque comment that music can cure melancholy (by which he meant a near-total inability to act, akin to death). Rather than only causing frivolous pleasures, art may be as essential to human flourishing as are other human beings in general; other people are “most useful” because of the variety of actions they make possible (4p35Cor & Sch1). Art’s production of a dizzying variety of affects is likewise most useful for health. -/- Having established how art in general affects the individual, I then explain the role of artists in shaping social groups. Artists use vivid and highly charged affective techniques, as do political sovereigns and religious prophets (TTP chapters 1-2 & 15-16). However, sovereigns and prophets are concerned exclusively with “morality,” defined by Spinoza as the use of affects (primarily based on fear and hope) to produce “obedience” in the generic multitude or people at large. An artist, however, rarely causes affects in the whole nation, affecting instead only a smaller niche or “sub-genre” of people. The affects produced in this group are also not identical to those used by sovereigns, since artists do not primarily deploy sad affects of hope and fear but instead use a wide variety of joyful affects. Further, in Spinoza’s analysis of ceremonies (TTP chapter 5), we see how small groups exposed to repeated ceremonies or social practices eventually develop new strengths which they lacked before. Repeated exposure to shared aesthetic “ceremonies” (e.g., live music performances) of the same sub-genre will over time create the capacity of new powers in the sub-genre of people, which distinguishes them from the masses. Spinoza says sovereigns forge a “second nature” for the generic people through affects; we can then affirm that smaller groups exposed to a distinct sub-genre of art can acquire a new “third nature” which will contain unique powers extending beyond healthy maintenance of their existing bodies. That is, art in general is necessary to flourish and remain whole (maintaining health), but it can also occasionally expand what one is to unforeseen heights (through specific artistic sub-genres). (shrink)