Sympathy is a powerful principle in human nature, which can change our passions, sentiments and ways of thinking. For the 18th century Scottish philosopher David Hume, sympathy is a working mechanism accountable for a wide range of communication: the ways of interacting with the others’ affections, emotions, sentiments, inclinations, ways of thinking and even opinions. The present paper intends to find a systematic reading of Hume’s Treatise of Human Nature from the point of view of what the mechanism of sympathetic (...) communication implies in terms of strengthening our action of understanding, of being sensitive to, and vicariously experiencing the feelings, thoughts, and experience of others. Hume’s description of the sympathetic mechanism appears to suggest that sympathetic passions come upon us purely by natural means in a passive manner, without the active use of any of our faculties. Consequently, scholarly attention is drawn to the mechanistic character of the sympathetic process; its automatic nature is emphasized to such an extent that some experts even find it to be completely void of any reflective process. The current study investigates to what extent the sympathetic process can actively be modified and in what manner sympathetic feelings can be generated as described in Hume’s system of emotions. The paper identifies at which points the otherwise mechanically and passively operating process of sympathetic feelings is open to be modified by actively altering or strengthening certain skeletal points of the mechanism. I argue that the alterations can be initiated by the person who receives the sympathetic feelings and also by the person whose passions are transmitted, moreover even by a third party. In a seemingly mechanic model, there is room for altering or at least amplifying one’s sympathetic feelings. (shrink)

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

(2013). Hume's Theory of Pity and Malice. British Journal for the History of Philosophy: Vol. 21, No. 2, pp. 324-344. doi: 10.1080/09608788.2012.692664.

This paper is concerned with the question of how affect, or feeling, moves through and ultimately shapes the Humean mental landscape, with particular focus on the question of how this constantly changing geography of feeling results in the kind of enduring dispositions and tendencies necessary for the existence of character, an essential component of Hume’s moral philosophy. Section 1 looks at the concept of ‘attending emotion’ and outlines two important principles of mind Hume introduces in Book II of the Treatise: (...) the Principle of Attending Emotion, and the Principle of Affective Conversion. Section 2 explores the origin of enduring tendency and disposition by considering the calm and violent passions in conjunction with these principles. The paper concludes with some preliminary suggestions of how, on this picture, an individual might come to take an active hand in shaping her own character. (shrink)

Hume’s Dissertation on the Passions stands to Book 2 of his Treatise as the first and second Enquiries stand to Books 1 and 3 respectively. However, while the two Enquiries are evidently substantial reworkings of their Treatise ancestors, containing much that is different and new, the Dissertation appears to consist merely of superficially adapted excerpts from Treatise Book 2. I argue that this first impression is mistaken, by showing how Hume’s view of the indirect passions is modified in the later (...) work. In the Treatise, he views them as simple impressions; in the Dissertation, they are complex perceptions, part impression and part idea. I argue, furthermore, that Hume’s account of the origin of the indirect passions only works on this later view, and suggest that this is why he changed his mind. The Dissertation, I conclude, is an improvement on its Treatise forerunner, and not merely a précis of it. (shrink)

Dans son Enquête sur l’entendement humain, Hume démontre que la religion ne possède aucune autorité épistémique et ne devrait donc pas dicter les principes de la morale. Pourtant, il constate qu’elle semble effectivement exercer une influence sur les actions humaines et possède donc une autorité morale. L’ Enquête sur les principes de la morale consiste à présenter l’origine séculaire de la morale et donc le fait que la religion n’y joue aucun rôle. En même temps, Hume emploie des métaphores et (...) analogies religieuses lorsqu’il parle de l’autorité morale des institutions sociales. Le présent article tente de déterminer la position de Hume par rapport à l’autorité morale de la religion en clarifiant sa théorie du devoir moral et en interprétant le sens de son vocabulaire religieux dans le cadre de sa philosophie antireligieuse. (shrink)

The dissertation traces the development of what I call “the problem of partiality” through the work of certain key figures in the British Moralist tradition: John Locke, Catharine Trotter Cockburn, Anthony Ashley Cooper (the Third Earl of Shaftesbury), Francis Hutcheson, John Gay, David Hume, Joseph Butler, and Adam Smith. On the one hand, we are committed to impartiality as a constitutive norm of moral judgment and conduct. On the other hand, we are committed to the idea that it is permissible, (...) or even obligatory, to expend disproportionate resources promoting the good of our loved ones over the good of strangers. However, these two commitments conflict with one another. This problem challenges us to provide an account of the scope and limits of reasonable partiality that does justice to both commitments. I argue that confronting this tension is a central project of early modern ethics. I offer a rereading of the British Moralist tradition, centered on debates about partiality, and thereby shift discussion of the tradition away from concerns about meta-ethics and moral epistemology, to issues of practical ethics. The topic of partiality remains central in contemporary ethics, as is evident in ongoing debates about the place of empathy in moral judgment, and the role of love in shaping our moral commitments. Though the aim of the dissertation is not to settle questions about the scope and limits of reasonable partiality, the focus here remains fixed on how the concept of partiality was problematized in our ethical thought, and how it informs our discussions in normative ethics and moral psychology. Alongside building a bridge between early modern scholarship and recent work in ethics, the dissertation casts light on two understudied figures in the British Moralist tradition – Cockburn and Gay – who contributed greatly to debates about partiality. By examining their contributions, I reconsider their place in the history of modern ethics and therefore provide a more contextualized account of philosophical thought in the period. (shrink)

In the conclusion to the first book of the Treatise, Hume's skeptical reflections have plunged him into melancholy. He then proceeds through a complex series of stages, resulting in renewed interest in philosophy. Interpreters have struggled to explain the connection between the stages. I argue that Hume's repeated invocation of the four humors of ancient and medieval medicine explains the succession, and sheds a new light on the significance of skepticism. The humoral context not only reveals that Hume conceives of (...) skepticism primarily as a temperament, not a philosophical view or system. It also resolves a puzzle about how Hume can view skepticism as both an illness and a cure. The skeptical temperament can, depending on its degree of predominance, either contribute to or upset the balance of temperaments required for proper mental functioning. (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)

Meu objetivo neste artigo é defender que podem ser atribuídos sentidos distintos para os termos “vontade” e “volição” na filosofia de Hume. Ao contrário das interpretações tradicionais, sustento que Hume não identifica vontade e volição. Inicialmente, apresento argumentos de Hobbes e Locke contra a concepção escolástica sobre a produção de ações voluntárias e defendo que Hume associa-se a esses dois filósofos. A seguir, apresento os argumentos da interpretação tradicional que identifica vontade e volição na filosofia humeana e também algumas objeções (...) feitas a tais argumentos. Por fim, em oposição à interpretação tradicional, defendo que Hume acredita que a vontade pode ser compreendida como a faculdade pela qual produzimos ações voluntárias e que volições são paixões motivacionais em exercício. As paixões motivacionais que produzem ações são volições, que é a percepção pela qual produzimos ações voluntárias. (shrink)