In 1739 Hume bequeathed a bold view of the self to the philosophical community that would prove highly influential, but equally controversial. His bundle theory of the self elicited substantial opposition soon after its appearance in the Treatise of Human Nature. Yet Hume makes it clear to his readers that his views on the self rest on respectable foundations: namely, the views of the highly regarded Irish philosopher, George Berkeley. As the author of the Treatise sees it, his account of (...) the self draws on Berkeley’s conception of language, especially his views on singular terms. But Hume, as impressed as he is with Berkeley’s account of language, deems it necessary to defend this view against possible criticism. In the process Hume modifies Berkeley’s views. My paper is a critical investigation of Hume’s defense of Berkeley on language and an attempt to highlight the extent to which Hume departs from the views of his Irish colleague. -/- . (shrink)

The full-text of this article is not available in ORA, but you may be able to access the article via the publisher copy link on this record page.

La relación entre ideas e imágenes en sus distintas formulaciones filosóficas a lo largo de la modernidad es uno de los elementos clave para la definición de unas y otras, tanto en la teoría epistemológica como en la estética. Este artículo se centra en el estudio de la teoría de las ideas abstractas de Hume, basada en su concepción de las ideas como imágenes. Investigo así sus raíces en la obra de Berkeley, para analizar seguidamente la pretensión humeana de presentar (...) una teoría por completo nominalista. Aquí, el concepto de semejanza, central para la definición de una imagen visual, se revelará como uno de los núcleo de su teoría. The relation between ideas and images, in their different philosophical formulations since the Enlightenment, is one of the key elements of their definitions both in Epistemology as well as in Aesthetics. This paper concentrates on Hume's theory of abstract ideas, based on his conception of ideas as images. I investigate first the roots of his theory in the works of Berkeley, to analyse further Hume's contention that his theory is completely nominalist. Here the idea of similarity, essential for the definition of a visual image, will show itself as the core of his theory. (shrink)