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)

Although the literature on Nietzsche is now voluminous one area where there has surprisingly been very little research concerns Nietzsche on the passions. This essay aims to correct this neglect. My focus is on illuminating Nietzsche on the passions in relation to his primary teaching on self-cultivation. To illuminate his position, I focus attention on examining his relation to Stoic teaching on the passions. If for Nietzsche the Christian mind-set involves a disturbing pathological excess of feeling, the Stoic way of (...) living results for him in a petrified of life devoid of movement and growth. After a consideration of his relation to Stoic teaching I then examine his relation to Spinoza on the emotions or affects. Whilst I acknowledge the affinities between the two thinkers and their criticisms of Stoic teaching, I maintain that it is an error to seek to construe Nietzsche and Spinoza as having an identical teaching on the passions. In the final section of the essay, I provide an appreciation of Nietzsche’s recommendation that instead of demonising the passions in the manner of the Christian psyche and its legacy, or extirpating our passions as recommended by the Stoics, we need to learn how to transform them into joys or delights. (shrink)

Spinoza's philosophy radically changed the framework of Western thought in the seventeenth century and deeply influenced its further development. Drawing on different traditions of thought, he created a system of philosophy which challenged the views of his contemporary readers in almost every domain. From his metaphysics to his epistemology, from his account of morals to his political theory, from his method of interpreting Scripture to the method of exposition that he employed in his main work - namely, the Ethics Demonstrated (...) in Geometrical Order (1677) - there is not a single aspect of Spinoza's philosophy which has not been thoroughly examined and discussed. Yet, Spinoza's theses and arguments continue to influence philosophical debates. Spinoza's substance monism, his identification of God with nature, his strict necessitarianism, his unique account of the mind-body relationship and of human affects, and his passionate defense of religious freedom and freedom of thought are still a source of inspiration for many thinkers and the focus of several studies, not necessarily related to the limited domain of the history of philosophy. (shrink)

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

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)