Este libro, por un lado, propone nuevas perspectivas y materiales de estudio sobre algunos de los temas, autores y textos clásicos de la filosofía moderna; por otro lado, invita a descubrir rarezas, temas, autores y textos poco conocidos o ignorados, que lleven a renovar el canon de la filosofía moderna. Realiza una revisión crítica de las categorías empirismo y del racionalismo modernos y dedica artículos a una serie de filósofas modernas con el fin de renovar el canon filosófico moderno.

Em maio de 1643, Elisabeth da Bohemia endereçou uma questão a Descartes que inaugurou uma Correspondência de seis anos, até a morte do filósofo. Ele dedica à Princesa o seu trabalho de maturidade metafísica (Princípios de Filosofia Primeira, 1644) e redige Paixões da Alma (1649) como um dos resultados do diálogo com a filósofa. O silenciamento dos últimos cem anos de historiografia sobre o legado de Elisabeth da Bohemia nesta troca epistolar causou distorções e, em alguns casos, lastreou o viés (...) como regra e como a história. Uma das consequências dessa distorção está na leitura de que a questão da filósofa consistiria em uma crítica ao dualismo substancial. Neste estudo busco oferecer uma interpretação da natureza da primeira questão, com o intuito de esclarecer o pensamento da filósofa e o seu papel no diálogo, de uma maneira compreensiva, sem subscrever o paradigma literário do solilóquio cartesiano, e seu viés na literatura filosófica. (shrink)

In May 1643 Elisabeth of Bohemia addressed a question to Descartes which inaugurated a six-year Correspondence, until his death. He dedicates his mature metaphysical work to the Princess (Principles of First Philosophy, 1644) and writes Passions of the Soul (1649) as one of the results of the dialogue with the philosopher of Bohemia. The silencing of the last hundred years of historiography on Elisabeth of Bohemia's legacy in this epistolary exchange caused distortions and, in some cases, underpinned the bias as (...) a rule and as the history. One of the consequences of this distortion is the interpretation according to which her first question would consist of a critique of substantial dualism. In this study I suggest an interpretation of the nature of the first question, in order to clarify the philosopher's thinking and her role in dialogue, in a comprehensive way, without subscribing to the literary paradigm of the Cartesian soliloquy, and its bias. (shrink)

In the _Meditations_ and related texts from the early 1640s, Descartes argues that the self can be correctly considered as either a mind or a human being, and that the self’s properties vary accordingly. For example, the self is simple considered as a mind, whereas the self is composite considered as a human being. Someone might object that it is unclear how merely considering the self in different ways blocks the conclusion that a single subject of predication—the self—is both simple (...) and composite, which is contradictory. In response to this objection, this paper develops a reading of Descartes’s various ways of considering the self. I argue that the best reading of Descartes’s qualified claims about the self, i.e., about the self _qua_ mind or the self qua human being, presupposes an account of the unqualified self, that is, of the self _simpliciter_. I argue that the self _simpliciter_ is not a mind, and that it is not a human being either. This result might suggest the pessimistic conclusion that Descartes’s view of the self is incoherent. To avoid this result, I introduce a new metaphysical account of the Cartesian self. On my view, the self is individuated by a unified mental life. The self is constituted by the beings that jointly produce this mental life, and derives its unity from it. (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)

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)

The definition of love given by Descartes in the Passions of the Soul has never stopped puzzling commentators. If the first Cartesian textbooks discreetly evoke or even fail to discuss Descartes’s account of love, Spinoza harshly criticizes it, pointing out that it is ‘on all hands admitted to be very obscure’. More recently several scholars have noticed the puzzling character of the articles of the Passions of the Soul on love and hate. In this paper, I would like to propose (...) a reassessment of the definition of love provided by the Passions of the Soul and the Letters to Elisabeth and Chanut. By tracing back Descartes’s scholastic sources, I will demonstrate how Descartes builds up his definition of love by displacing or subverting the meaning of several major elements of the thomistic vulgata on love. Hence, a significant part of the obscurity of the definition given by the Passions of the Soul possibly finds its ultimate rationale in this attempt to recover some traditional questions of the scholastic debate on love, while advancing new answers to them. (shrink)

Lo personal es político. Revisito la potente frase de Carol Hanish (1970) que sigue resonando en las luchas y discursos feministas desde que se hiciera pública a comienzos de 1970. Me permito reversionarla, con gran libertad, para marcar el pulso de este texto y contar, a partir de mi relación con la filosofía, cómo lo personal pasó a ser político en el interés por conocer las filósofas modernas e interpelar y rearmar el canon filosófico. Con ello, los y las invito (...) a reflexionar sobre la perspectiva de género en la historiografía filosófica, las formas de construcción del canon y sus repercusiones en la enseñanza de la filosofía. (shrink)

This article examines Elisabeth of Bohemia's account of the emotions. I argue that Elisabeth's objections against Descartes' ethics, which is often characterized as ‘Neo-Stoic’, show striking similarities to the arguments that the ancient Peripatetics made against classical Stoic approaches. Like the Peripatetics, she challenges the feasibility as well as the desirability of Descartes' ethical injunctions regarding emotional control. In particular, Elisabeth joins the Peripatetics in holding that certain external goods are essential for happiness and that the emotions are necessary for (...) motivating, guiding and correcting action. In aligning Elisabeth's thinking about the emotions with the Aristotelian tradition, I depart from various other interpretations, especially from those who see her position as a precursor of later feminist accounts, or as embodying a distinctively female perspective. (shrink)

In the history of European ideas, Princess Elisabeth is conventionally viewed as little more than a curiosity, a clever but ultimately unimportant exiled princess who became the confidant, critic, and muse of a far more famous man, René Descartes. Contrary to this view, however, this article argues that Elisabeth made a significant contribution to the development of western philosophy in her own right. Drawing on her letters to Descartes, as well the diaries and correspondence of her associates and a range (...) of secondary sources, it demonstrates that an early understanding of the modern emotions akin to that which later found form in the work of the moral sentiment theorists can be found in Elisabeth’s thought. In particular, drawing on her understanding of the embodied mind, Elisabeth of Bohemia began to develop a hybrid understanding of the passions, identified a role for the emotions in the pursuit of virtue, and began to reconceive the relationship between reason and the emotions that had until then dominated seventeenth-century thought. (shrink)

ABSTRACT Focused upon Descartes’ writings and letters, this paper considers the exponentially-charged relationship between sadness, melancholy, doubt and philosophical inquiry. The first sections examine the relation between sadness in the Cartesian corpus and melancholy as a traditional pathological classification, with both set against a larger seventeenth century intellectual discourse. The letters exchanged between the Princess Elisabeth of Bohemia and the Palatine and Descartes between 1643 and 1649, that is, just prior to the death of the philosopher in 1650, reveal the (...) central paradigm of this particular relationship between sadness and melancholy. The call to use philosophy as a cure against sadness also enters consideration, with the theatrical, artificial nature of the philosophical cure presented as essential not only to Descartes’ relation to sadness, but also to philosophical method in general. The moral aspect of the establishment of mental habits and their emendation by philosophy hence yields central insights into the larger Cartesian project, here viewed as essentially premised upon a medical vocation. (shrink)

Trata-se de uma coletânea de cartas em que Descartes e Elisabeth discutem as implicações da doença da princesa.

It is commonly thought that before the introduction of quantum mechanics, determinism was a straightforward consequence of the laws of mechanics. However, around the nineteenth century, many physicists, for various reasons, did not regard determinism as a provable feature of physics. This is not to say that physicists in this period were not committed to determinism; there were some physicists who argued for fundamental indeterminism, but most were committed to determinism in some sense. However, for them, determinism was often not (...) a provable feature of physical theory, but rather an a priori principle or a methodological presupposition. Determinism was strongly connected with principles of causality and continuity and the principle of sufficient reason; this thesis examines the relevance of these principles in the history of physics. Moreover, the history of determinism in this period shows that there were essential changes in the relation between mathematics and physics: whereas in the eighteenth century, there were metaphysical arguments which lent support to differential calculus, by the early twentieth century the development of rigorous foundations of differential calculus led to concerns about its applicability in physics. The thesis consists of six papers. In the first paper, "On the origins and foundations of Laplacian determinism", I argue that Laplace, who is usually pointed out as the first major proponent of scientific determinism, did not derive his statement of determinism directly from the laws of mechanics; rather, his determinism has a background in eighteenth century Leibnizian metaphysics, and is ultimately based on the law of continuity and the principle of sufficient reason. These principles also provided a basis for the idea that one can find laws of nature in the form of differential equations which uniquely determine natural processes. In "The Norton dome and the nineteenth century foundations of determinism", I argue that an example of indeterminism in classical physics which has attracted attention in philosophy of physics in recent years, namely the Norton come, was already discussed during the nineteenth century. However, the significance which this type of indeterminism had back then is very different from the significance which the Norton dome currently has in philosophy of physics. This is explained by the fact that determinism was conceived of in an essentially different way: in particular, the nineteenth century authors who wrote about this type of indeterminism regarded determinism as an a priori principle rather than as a property of the equations of physics. In "Vital instability: life and free will in physics and physiology, 1860-1880", I show how Maxwell, Cournot, Stewart and Boussinesq used the possibility of unstable or indeterministic mechanical systems to argue that the will or a vital principle can intervene in organic processes without violating the laws of physics, so that a strictly dualist account of life and the mind is possible. Moreover, I show that their ideas can be understood as a reaction to the law of conservation of energy and to the way it was used in physiology to exclude vital and mental causes. In "The nineteenth century conflict between mechanism and irreversibility", I show that in the late nineteenth century, there was a widespread conflict between the aim of reducing physical processes to mechanics and the recognition that certain processes are irreversible. Whereas the so-called reversibility objection is known as an objection that was made to the kinetic theory of gases, it in fact appeared in a wide range of arguments, and was susceptible to very different interpretations. It was only when the project of reducing all of physics to mechanics lost favor, in the late nineteenth century, that the reversibility objection came to be used as an argument against mechanism and against the kinetic theory of gases. In "Continuity in nature and in mathematics: Boltzmann and Poincaré", I show that the development of rigorous foundations of differential calculus in the nineteenth century led to concerns about its applicability in physics: through this development, differential calculus was made independent of empirical and intuitive notions of continuity and was instead based on mathematical continuity conditions, and for Boltzmann and Poincaré, the applicability of differential calculus in physics depended on whether these continuity conditions could be given a foundation in intuition or experience. In the final paper, "Determinism around 1900", I briefly discuss the implications of the developments described in the previous two papers for the history of determinism in physics, through a discussion of determinism in Mach, Poincaré and Boltzmann. I show that neither of them regards determinism as a property of the laws of mechanics; rather, for them, determinism is a precondition for science, which can be verified to the extent that science is successful. (shrink)