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

This paper proposes that being able to feel self-pity is important to be resilient against injustices because it enables self-transformation. The suggestion for this reassessment of self-pity as a crucial self-conscious emotion for a more humanistic world aims to be an example of how philosophical reflection can be insightful for emotion research. The first part of the paper outlines a general introduction of philosophy of emotions and a description of how Hume’s analysis of pride changed its meaning and pertinently linked (...) it to human agency. The second part of the paper is devoted to self-pity and aims to offer a modified interpretation of its experience, ultimately suggesting that it is a way to cultivate resistance and endure injustices in the world. It begins by putting forward the generally accepted take on self-pity and then suggests that dismissing self-pity may increase its duration, and ultimately work as a type of denial of the world’s injustices. After describing how self-pity can be seen as a tour de force where the self is in a relationship of pity with itself, it further elaborates how self-pity may be taken as a type of calibration similar to how sleep works for the functioning organism. This makes it possible to interpret self-pity as a way to resiliently resist injustices while not dismissing them and keeping up the struggle to make the world a better place. Finally, the concluding remarks point out some consequences for the education of emotions and possible future research directions to be explored. Analogously to the undeniable way by which Hume changed the meaning of the emotion of pride, the conclusion hopes that a new way to understand self-pity is available. The overall goal is to amplify the already existing psychological descriptions showing the complementary role of philosophical research for the development of emotion research in general. (shrink)

In “Of Personal Identity”, Hume attempts to understand why we ordinarily believe in persistent selves. He proposes that this ontological commitment depends on illusions and fictions: the imagination tricks us into supposing that an unchanging core self remains static through the flux and change of experience. Recent work in cognitive science provides a good deal of support for Hume’s hypothesis that common beliefs about the self are founded on psychological biases rather than rational insight or evidence. We naturally believe in (...) personal persistence, according to this emerging research, because we are prone to categorize the world in terms of hidden essences and structure our lives in terms of whole life stories. (shrink)

In this paper I argue for a novel interpretation of Shepherd’s notion of selfhood. In distinction to Deborah Boyle’s interpretation, I contend that Shepherd differentiates between the mind and the self. The latter, for Shepherd, is an effect arising from causal interactions between mind and body – specifically those interactions that give rise to our present stream of consciousness, our memories, and that can unite these two. Thus, the body plays a constitutive role in the formation of the self. The (...) upshot of this interpretation is that it can dissolve the problem of individuating mind that Boyle identifies. Briefly, the problem consists in Shepherd seemingly individuating minds in terms of their associated bodies and bodies in terms of the minds they are united with. My interpretation, however, allows to see that Shepherd neither wants nor needs to individuate the mind in isolation of the body and to read the passages, in which the problem seems to arise, as being about what makes living beings individual – with mind and body both playing a crucial role in this context. (shrink)

Hume’s theory of personal identity is developed in response to Locke’s account of personal identity. Yet it is striking that Hume does not emphasize Locke’s distinction between persons and human beings. It seems even more striking that Hume’s account of the self in Books 2 and 3 of the Treatise has less scope for distinguishing persons from human beings than his account in Book 1. This is puzzling, because Locke originally introduced the distinction in order to answer questions of moral (...) accountability and Hume’s discussion of the self in Book 2 provides the foundation of his moral theory in Book 3. In response to the puzzle I show that Locke and Hume hold different moral and religious views and these differences are important to explain why their theories of personal identity differ. (shrink)

In this essay, I offer a vindication of pride. I start by presenting the Christian condemnation of pride as the cardinal sin. I subsequently examine Mandeville’s line of argument whereby pride is beneficial to society, although remaining a vice for the individual. Finally, I focus on, and endorse, the analysis of pride formulated by Hume, for whom pride qualifies instead as a virtue. This is because pride not only contributes to making society flourish but also stabilizes the virtuous agent by (...) creating a virtuous circle between our desire for self-appraisal and our aspiration to act morally. I conclude by underscoring the (virtuous) connection between pride and modesty, concomitantly arguing that humility should be discarded as vicious. (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)