Pride is a fundamental element in Hume's description of human nature. An important part of the secondary literature on Hume is devoted to this passion. However, no one, as far as I am aware, takes seriously the fact that pride often appears in pairs with vanity. In Book 2 of the Treatise, pride is defined as the passion one feels when society recognizes his connection to a ‘cause’, composed by a ‘subject’ and a (positive) ‘quality’. Conversely, no definition of vanity (...) is provided. Despite Hume's fluctuating vocabulary, I hold that a conceptual difference between pride and vanity exists. To support this claim, I analyse the common features of these two passions, showing that both pride and vanity (a) are indirect passions, (b) are self-regarding passions, and (c) have the same structure. Supported by textual evidence, I then claim that vanity is a desire of reputation, a desire to feel pride, when pride is not (yet) in place, because its cause is only imaginary and not real. Nonetheless, I underscore that, at times, ‘vanity’ means simply pride and call for greater attention on this ongoing oscillation. In conclusion, I explore the implications of this account of vanity for social interactions in Hume's philosophy, which illustrates its intrinsic ambivalence. (shrink)

The past two decades have seen an explosion of literature on Hume's views about mental representation and intentionality. This essay gives a roadmap of this literature, while arguing for two main interpretive claims. First, Hume aims to naturalize all forms of mental representation and intentionality, that is, to explain them in terms of properties and relations that are found throughout the natural world (not just in minds) and that are not, individually, peculiar to representational or intentional things. Second, Hume holds (...) that the passions are not representational but do have intentionality extrinsically. (shrink)

Hume views the passions as having both intentionality and qualitative character, which, in light of his Separability Principle, seemingly contradicts their simplicity. I reject the dominant solution to this puzzle of claiming that intentionality is an extrinsic property of the passions, arguing that a number of Hume’s claims regarding the intentionality of the passions (pride and humility in particular) provide reasons for thinking an intrinsic account of the intentionality of the passions to be required. Instead, I propose to resolve this (...) tension by appealing to Hume’s treatment of the ‘distinctions of reason’, as explained by Garrett (1997). (shrink)

For Jerry Fodor, Hume’sTreatise of Human Natureis “the foundational document of cognitive science” whose significance transcends mere historical interest: it is a source of theoretical inspiration in cognitive psychology. Here I am going to argue that those reading Hume along Fodor’s lines rely on a problematic, albeit inspiring, construction of Hume’s science of mind. My strategy in this paper is to contrast Fodor’s understanding of the Humean mind (consonant with the widely received view of Hume in both cognitive science and (...) much of Hume scholarship) with an alternative understanding that I propose. I thereby intend to show that the received view of Hume’s science of mind can be fruitfully revised while critically engaging with Fodor’s contemporary appropriation. Consequently, I use this occasion to put forward a rather unorthodox interpretation of Hume’s theory in dialogue with Fodor as my guide. (shrink)

Hume publicó Four Dissertations en 1757, una obra que incluía un extenso ensayo sobre Religión, una Disertación sobre las Pasiones y dos ensayos breves sobre Estética. Aunque la crítica ha solido interpretar el libro como un conjunto de ensayos independientes, recientemente John Immerwahr y Amyas Marivale han propuesto "The Unite Thesis", según la cual, Hume concibió la obra como un texto unitario, que tenía como eje principal las "pasiones". Siguiendo la posición de estos autores, el presente trabajo pretende comprobar cómo (...) una interpretación unitaria de Four Dissertations muestra el profundo espíritu de la ilustración presente en el pensamiento de David Hume. (shrink)