ABSTRACT Spinoza has often been cited as a classic example of the philosophical category of ‘rationalism’; and there is indeed much about his philosophy that can seem to warrant that classification. This essay will argue that it is nonetheless a simplification, which can cloud some of the most important and interesting insights that can be gained from reading Spinoza now. Although it is true that his treatment of human knowledge emphasized the exercise of reason, his crucial—and frequently misunderstood—concept of ratio (...) was much richer and more nuanced than the common understanding of ‘rationalism’ can capture. The essay seeks to clarify Spinoza’s version of human reason, elaborating its interconnections with imagination and emotion; and its positioning within the totality of Nature. It draws on comparisons with Pascal—and on consideration of Flaubert’s responses to Spinoza’s works—to illuminate what is distinctive in Spinoza’s account of human reason. What emerges, it is argued, is important—not only for contemporary philosophy, but more broadly for the understanding of conceptual aspects of current issues associated with the status of human beings within the natural world. (shrink)

In the Preface to Part Four of the Ethics, Spinoza offers the reader an exemplar of human nature. However, Spinoza does not conceive of human nature as a universal in which each human being participates, simply by virtue of being human. Rather, each human being is conceived as singular. Thriving individual lives assume thriving communities composed of (somewhat) like-minded and (somewhat) like-embodied individuals. The model, or exemplar, then, may be considered to play the role of an enabling fiction in his (...) educational and moral philosophy. The approach taken here is to explore Spinoza’s notions of singularity, similarity, and exemplarity in relation to the distinctive human capacity to educate the senses and the passions and to cultivate reason, and thereby to flourish. The final section of the paper reads the education of Victor Frankenstein’s ‘monster’ through the lens of Spinoza’s philosophy of affect. (shrink)

Some critics have claimed that Spinoza's philosophy has nothing to offer aesthetics. I argue that within his conception of an ars vivendi one can discern a nascent theory of art. I bring the figure of the prophet in relation to that of the artist and, alongside a consideration of Spinoza's views on goodness and beauty, show that the special talent of the artist should be understood in terms of the entirely natural expression of the conatus.