The question of Spinozist determinism and necessitarianism have been extensively studied by commentators, while the relationship between the notions of divine will and free will still requires elaborate studies. Our article seeks to contribute to such research, by clarifying the analyses of these questions by authors that Spinoza has confronted: Maimonides, as well as other Jewish philosophers, and Leibniz who criticized Spinozist determinism. We will study the consequences of these analyses on two examples that Spinoza gave to refute free will, (...) namely the dream and the situation of Buridan's ass. -/- Résumé: La question du déterminisme spinoziste et du nécessitarisme a été largement étu-diée par les commentateurs, tandis que la relation entre les notions de volonté divine et de libre arbitre nécessite encore des études plus élaborées. Notre article cherche à contribuer à ces recherches, en clarifiant les analyses de ces questions par des auteurs auxquels Spinoza s’est confronté : Maïmonide, ainsi que d’autres philosophes juifs, et Leibniz qui a lui-même critiqué le déterminisme spinoziste. Nous étudierons les conséquences de ces analyses sur deux exemples que Spinoza a donnés pour réfuter le libre arbitre, à savoir le rêve et la situa-tion de l’âne de Buridan. (shrink)

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

Instead of reading Spinoza's account of the imagination in an anthropocentric way, as dependent on the traditional doctrine of human faculties, the author considers it as a consequence of his physics and cosmology. Knowledge by signs, as Spinoza calls imagination, has to be rooted in his theory of marks and images, and concerns all beings (human and non human) that are capable of marking and being marked by other bodies in the infinite semiosis of nature.

A radical crítica à linguagem efetuada por Spinoza, que insiste em seu necessário potencial falsificador, parece equipará-lo aos seus contemporâneos. Mais do que isso, parece introduzir um problema insolúvel para a possibilidade de comunicação unívoca da verdade – incluindo a expressão dA radical crítica à linguagem efetuada por Spinoza, que insisteem seu necessário potencial falsificador, parece equipará-lo aos seus contemporâneos. Mais do que isso, parece introduzir um problema insolúvel para a possibilidade de comunicação unívoca da verdade — incluindo a expressão (...) de sua própria filosofia. Neste artigo, procuro refletir sobre esta crítica e propor uma alternativa ao caráter imaginativo das palavras, apostando na distinção entre linguagem e método. Esta propostainterpretativa permitirá reclassificar a posição spinozista e manter sua originalidade frente às demais concepções de seu período histórico.e sua própria filosofia. Neste artigo, procuro refletir sobre esta crítica e propor uma alternativa ao caráter imaginativo das palavras, apostando na distinção entre linguagem e método. Esta proposta interpretativa permitirá reclassificar a posição spinozista e manter sua originalidade frente às demais concepções de seu período histórico. (shrink)

Imagination is characterized by Spinoza as the first kind of knowledge, and, as such, imagination is a mode of thought. However, in a further mapping of the concept in the Ethics, we see that it is an activity that involves both the mind and the extended body. The standard and idealist interpretation of imagination does not account for its corporeal or extended dimension, leaving aside an important aspect of the activity. Based on the thesis of causal independency of attributes, I (...) will argue against the traditional interpretation and demonstrate that there is an imagination of the body in Spinoza. (shrink)

O presente artigo examina o modo como Leibniz figurou as relações entre o pensa- mento filosófico e o pensamento místico, recorrendo para isso ao contraste entre suas teses e as de Spinoza. Trata-se de mostrar que a transcendência do fundamento da racionalidade levará Leibniz, de forma à primeira vista surpreendente, a uma valorização da totalidade do campo imanente da experiência humana como fonte de conhecimento. O erro do spinozis- mo, segundo Leibniz, consiste justamente em, ao tornar imanente o fundamento, perder (...) de vista a especificidade cognitiva e ética da experiência. (shrink)

Does Spinoza present philosophy as the preserve of an elite, while condemning the uneducated to a false though palliative form of ‘true religion’? Some commentators have thought so, but this contribution aims to show that they are mistaken. The form of religious life that Spinoza recommends creates the political and epistemological conditions for a gradual transition to philosophical understanding, so that true religion and philosophy are in practice inseparable.

En este artículo desafío la aseveración sostenida por Peden y Brandt de que la filosofía de Spinoza es esencialmente incompatible con ciertas posiciones fundamentales de la fenomenología. Contra eso, sostengo que lo que Spinoza llama la imaginación se asemeja a la percepción en la fenomenología de Merleau-Ponty. Se justifica esa tesis a partir de una lectura semiótico-hermenéutica de la teoría de la imaginación spinozista, la cual permite ver ciertas semejanzas entre las epistemologías de percepción entre estos respectivos filósofos. A la (...) vez, al destacar las convergencias entre Spinoza y Merleau-Ponty, se ponen de relieve las divergencias entre el cartesianismo y la fenomenología, y surge la posibilidad de una lectura novedosa de la fenomenología desde una perspectiva spinozista. (shrink)

O artigo discute as noções de imagem e imaginação na Ética de Espinosa. A análise iniciará elencando passagens nas quais Espinosa se refere às imagens como afecções do corpo e às imaginações como afecções da mente. Em um segundo momento, o texto se encaminhará para EII P17 cor., a partir do qual será analisada a geração das imagens. Nesse momento, será posto em evidência o fato de que é o movimento — e não o vestígio — aquilo que constitui a (...) essência das imagens. Na sequência, analisar-se-á a geração das imaginações na mente e serão tecidos alguns comentários sobre a memória em Espinosa. Por fim, convém destacar que o artigo limita-se à Ética por essa obra trazer alterações significativas na maneira como Espinosa pensa o assunto em relação aos seus textos de juventude. (shrink)

A tese de que o conceito espinosista de ideia de afecção, introduzido na Ética, expressa o sentido mais preciso do que seja, para o autor, o conceito de ideia da imaginação. Este texto pretende problematizar essa leitura, procurando fornecer subsídios para a hipótese de que ela não é nem inequivocamente corroborada pelo texto da Ética, nem exigida pela doutrina aí apresentada. -/- It is widely accepted by scholars that Spinoza’s concept of idea of affection, introduced in the Ethics, states his (...) notion of the idea of imagination. In this paper I address this reading, claiming that it is not either unequivocally corroborated by the text of the Ethics, or required by the doctrine developed there. (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)