Switch to: Citations

Add references

You must login to add references.
  1. Spinoza's counter-aesthetics.Warren Montag - 2020 - Intellectual History Review 30 (3):411-427.
    Download  
     
    Export citation  
     
    Bookmark   3 citations  
  • The greatest deception: fiction, falsity and manifestation in Spinoza’s Metaphysical Thoughts.Joe Hughes - 2020 - Intellectual History Review 30 (3):363-385.
    ABSTRACT“The first meaning of true and false”, writes Spinoza in a neglected passage of the Metaphysical Thoughts, “seems to have had its origin in stories”. Ideas are true when they “show” us things as they are; they are false when they do not, when they are fictional. In this essay, I argue that what appears at first sight to be a simple assertion of a correspondence theory of truth in fact opens onto broad historical transformations in the nature of meaning (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  • Spinoza on art and the cultivation of a disposition toward joyful living.Anthony Uhlmann & Moira Gatens - 2020 - Intellectual History Review 30 (3):429-445.
    Any engagement with Spinoza's views on art is bound to mention his account of the rightful pleasures that the wise man takes in things that appeal to the imagination and delight his senses: beautif...
    Download  
     
    Export citation  
     
    Bookmark   2 citations  
  • A Spinozist Aesthetics of Affect and Its Political Implications.Christopher Davidson - 2017 - In Gábor Boros, Judit Szalai & Oliver Toth (eds.), The Concept of Affectivity in Early Modern Philosophy. Budapest, Hungary: Eötvös Loránd University Press. pp. 185-206.
    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 (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  • Collective Imaginings: Spinoza, Past and Present.Moira Gatens & Genevieve Lloyd - 2001 - Philosophical Quarterly 51 (203):257-258.
    Download  
     
    Export citation  
     
    Bookmark   79 citations  
  • Mark Sacks Lecture 2013: Spinoza on Goodness and Beauty and the Prophet and the Artist.Moira Gatens - 2015 - European Journal of Philosophy 23 (1):1-16.
    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.
    Download  
     
    Export citation  
     
    Bookmark   11 citations  
  • "Adulescens luxu perditus". Classici latini nell'opera di Spinoza.O. Proietti - 1985 - Rivista di Filosofia Neo-Scolastica 77:210.
    Download  
     
    Export citation  
     
    Bookmark   5 citations  
  • Compelling Fictions: Spinoza and George Eliot on Imagination and Belief.Moira Gatens - 2012 - European Journal of Philosophy 20 (1):74-90.
    Spinoza took it to be an important psychological fact that belief cannot be compelled. At the same time, he was well aware of the compelling power that religious and political fictions can have on the formation of our beliefs. I argue that Spinoza allows that there are ‘good’ and ‘bad’ fictions. His complex account of the imagination and fiction, and their disabling or enabling roles in gaining knowledge of Nature, is a site of disagreement among commentators. The novels of George (...)
    Download  
     
    Export citation  
     
    Bookmark   14 citations  
  • (1 other version)Spinoza and Scholastic Philosophy.Emanuele Costa - 2021 - In Yitzhak Y. Melamed (ed.), A Companion to Spinoza. Hoboken, NJ: Wiley. pp. 47–55.
    Spinoza's writing style has been judged, by various commentators, alternatively as excessively dry or lavishly rich, depending on the precise text that these scholars had in mind when making such judgments. This chapter offers an overview of a selected list of Scholastic debates intersecting the CM. It highlights how Spinoza consciously intervenes in them, showing a certain awareness of the intricacies of Scholastic discourse. Spinoza opens the CM with a discussion of the term “being,” claiming that “being is badly divided (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  • Spinozan Meditations on Life and Death.Julie R. Klein - 2021 - In Susan James (ed.), Life and Death in Early Modern Philosophy. Oxford: Oxford University Press. pp. 125-156.
    In Ethics 4, Spinoza argues that “A free man thinks of nothing less than of death, and his wisdom is a meditation on life, not on death” (E4p67). Spinoza’s argument for this claim depends on his view of imagination, reason, and scientia intuitiva and on his notion of conatus. I explicate Spinoza’s view of life in terms of power (potentia) and show that Spinozan death amounts to reconfiguration rather than absolute annihilation. I then show that E4p67 reflects Spinoza’s well-known account (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  • Spinoza, radical enlightenment, and the general reform of the arts in the later Dutch Golden Age: the aims of Nil Volentibus Arduum.Jonathan Israel - 2020 - Intellectual History Review 30 (3):387-409.
    The Amsterdam theater society Nil Volentibus Arduum, which was founded in 1669 and remained active for some years, was not just a circle meeting regularly to discuss theater theory and practice, but was devoted to discussion of all the arts as well as language theory in relation to society. As far as the Amsterdam theater was concerned, its main purpose was to try to raise the level and provide more of a moral and socially improving direction to the stage. Arguably, (...)
    Download  
     
    Export citation  
     
    Bookmark   3 citations