In this article I discuss a particular aspect of the Dutch reception of the ideas of René Descartes, namely the use of his Traité de l’homme by Henricus Regius. I analyze the use that Regius made of the theory of the movement of muscles, passions, hunger, and more generally of the neurophysiology expounded by Descartes in his book (not printed until 1662–1664). In my analysis, I reconstruct the internal evolution of Regius’s neurophysiology, I illustrate its sources (...) beyond Descartes (i.e., Jean Fernel and Santorio Santorio), and I show that he was certainly acquainted with some of its contents as early as 1641 (when he used it with the mediation of Descartes), before relying on it—as variously discussed in secondary literature—in his Fundamenta physices (1646), when he appropriated from it without Descartes’s authorization. (shrink)

Reshaping the neo-Aristotelian doctrines about the human soul was Descartes’s most spectacular enterprise, which gave birth to some of the sharpest debates in the Republic of Letters. Neverthe- less, it was certainly Descartes’s intention, as already expressed in the Discours de la méthode, to show that his new metaphysics could be supplemented with experimental research in the field of medicine and the conservation of life. It is no surprise then that several natural philosophers and doctors, such as Henricus (...) class='Hi'>Regius from Utrecht, who had studied in Padua with William Harvey, rallied in support, in order to gain a more substantial theoretical basis for their research. Taking as his ground some general metaphysical assumptions, such as the existence of God, the immortality of the soul, and perhaps the separability of the pure understanding, Regius intended to secure a new philosophy of man, which was able to reflect his medical interests and complement his account of human nature. This is the story that is now gaining currency, and it is surely accurate, at least in part. Desmond Clarke has recently defended the same view1, based on the remarkable studies of the Utrecht scholars Theo Verbeek and Erik-Jan Bos. Here I would like to challenge some aspects of this view and ask how Regius, who was perceived as the philosopher most closely associated with Descartes, became a betrayer of his mentor. (shrink)

The second chapter is devoted to the analysis of the first introduction of and quarrels over Cartesianism at the University of Utrecht, as determined by the teaching of a Cartesian natural philosophy and physiology by Henricus Regius. First, it is shown how his teaching gave rise to the querelle d’Utrecht (1641), in which two main issues were debated: the rejection of substantial forms, and the characterisation of man as ens per accidens. During the quarrel, questions were raised about (...) the consistency of the new philosophy with theology and – insofar as it raised the problem of the individuation of bodies and species by substantial forms – of the unity of man. Secondly, it is shown how Regius’s peculiar approach to natural philosophy (and physiology) led him to quarrel with Descartes himself in 1645–1648, with regard to two main questions: the nature of mind, and the method of natural philosophy, which Regius interprets in both cases from an empirical standpoint, as he maintains that the nature of mind may consist in matter (according to medical evidence), and that all knowledge has a sensory origin. Accordingly, he paved the way for ‘radical’ interpretations of Descartes which rejected his metaphysics, but also for an approach to a natural philosophy more open to the use of experience. In this chapter, I scrutinise the reasons behind Regius’s approach to physics and metaphysics by paying attention, on the one hand, to his quarrel with Descartes, and on the other to the sources of his methodology, which he largely borrows from medical authors. In conclusion, I show that Cartesianism, in the hands of Regius, might serve as the basis for medicine but could not yet become a full-fledged alternative to Aristotelianism. (shrink)

René Descartes’ mechanization of living activities lays bare a glaring lacuna that concerns vegetative functions, such as nutrition, generation, and growth: his cardiovascular framework affects any exhaustive explanation of these activities. When he mentions a mechanical vegetative power in his 1641 correspondence with Henricus Regius, this definition is unspecified, although it may be correlated to a few posthumous bio-medical notes. Descartes’ mechanization of the vegetative soul remains puzzling. Early Cartesian scholars were thus obliged to fill this lacuna to (...) produce a more exhaustive physiology. In this chapter, after reconstructing Descartes’ own position in L’Homme and in his manuscripts, I explore the positions of Regius, Louis de La Forge, and Florent Schuyl, who dealt with Descartes’ medical texts and physiological doctrine through various perspectives. Yet, while building a mechanization of vegetation upon Descartes’ philosophy, their interpretations of a mechanical vegetative power uncover shortcomings, weaknesses, and failures. (shrink)

How did the relations between philosophy and science evolve during the 17th and the 18th century? This book analyzes this issue by considering the history of Cartesianism in Dutch universities, as well as its legacy in the 18th century. It takes into account the ways in which the disciplines of logic and metaphysics became functional to the justification and reflection on the conceptual premises and the methods of natural philosophy, changing their traditional roles as art of reasoning and as science (...) of being. This transformation took place as a result of two factors. First, logic and metaphysics were used to grant the status of indubitable knowledge of natural philosophy. Second, the debates internal to Cartesianism, as well as the emergence of alternative philosophical world-views progressively deprived such disciplines of their foundational function, and they started to become forms of reflection over given scientific practices, either Cartesian, experimental, or Newtonian. (shrink)

Originally published in 1529, the Declamation on the Preeminence and Nobility of the Female Sex argues that women are more than equal to men in all things that really matter, including the public spheres from which they had long been excluded. Rather than directly refuting prevailing wisdom, Agrippa uses women's superiority as a rhetorical device and overturns the misogynistic interpretations of the female body in Greek medicine, in the Bible, in Roman and canon law, in theology and moral philosophy, and (...) in politics. He raised the question of why women were excluded and provided answers based not on sex but on social conditioning, education, and the prejudices of their more powerful oppressors. His declamation, disseminated through the printing press, illustrated the power of that new medium, soon to be used to generate a larger reformation of religion. (shrink)

Henricus Regius ou Henri LeRoy, outrora amigo e divulgador da filosofia de Descartes, agora escrevendo como adversário de seu antigo mestre, publica em Utrecht um panfleto anônimo sobre a natureza da mente humana. No intuito de evitar que as teses apresentadas por seu ex-discípulo fossem tomadas como suas, Descartes decide, então, refutar as opiniões defendidas no panfleto de Regius. É precisamente o texto produzido por Descartes nessa ocasião que é traduzido a seguir. Esse texto, aparentemente impresso sem (...) o consentimento de seu autor em dezembro de 1647, marca o ponto final da relação entre o filósofo francês e o professor de medicina. O texto latino aqui traduzido foi extraído da edição realizada por Charles Adam e Paul Tannery das Oeuvres complètes de Descartes, Paris, Vrin, tomo VIII, pp. 341-369. (shrink)

Artikelen over het grensgebied tussen psychologie, recht en moraal vanuit een rechtspsychologisch en behavioristisch uitgangspunt, waarbij de auteur zich onder meer baseert op het gedachtegoed van de Amerikaanse psycholoog Skinner.

Psychologische, rechtstheoretische en sociobiologische benadering van altruïstisch gedrag als grondslag van de menselijke samenleving.

Reasoning by analogy in chemical history: fallacies and guidelines. In chemistry (and natural science in general) reasoning in terms of analogy may be of great practical values as well as of theoretical significance. At the same time, however, the use of analogy is risky and the results are uncertain. In alchemy and iatrochemistry analogies between the living and the non-living nature have been carried too far. At the end of the 19th century an analogy was drawn between chemical phenomena and (...) the Darwinian theory of evolution. Another example of an overexaggerated analogy can be found in Lavoisier’s theory of acids, where oxygen was considered to be the general principle of acidity. Reasoning by analogy is mostly based on an inner conviction. It leads to provisional predictions in such cases where the required facts are not or incompletely at our disposal. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 60-63 [Access article in PDF] Response to Bennett Reimer, "Once More with Feeling: Reconciling Discrepant Accounts of Musical Affect" Constantijn Koopman University of Nijmegen and Royal Conservatory of the Hague, The Netherlands Bennett Reimer has pointed out the crucial distinction between intrinsic and extrinsic meaning or, in his terminology, between inherent and delineated meaning. He has eloquently described how feeling in music (...) can be both of the inherent type and of the delineated type and has argued that both types of meaning can coexist. There is no point in denying the validity of either of them; rather the challenge is to develop a view which allows us to combine both perspectives of musical meaning into a unified musical practice.As far as I am concerned, Reimer has succeeded in his reconciliatory approach. Therefore, rather than providing criticism, I would like further to elaborate on the subject. First, I shall examine the difference between the two types of meaning Reimer has illustrated in his examples: feeling as a part of inherent meaning and feeling as portrayed or represented. Then, I shall briefly discuss the problem of articulating these two types of meaning and its educational implications.When reflecting on inherent and delineated meaning, I find that the dichotomy [End Page 60] goes beyond the opposition between intrinsic and extrinsic. We are also dealing with different versions of the concept of meaning; different meanings of 'meaning' so to speak. In the case of feelings, actions, or objects portrayed in music we have a rather unproblematic use of the meaning concept-meaning as reference. Music functions as a meaning bearer that directs our attention to something beyond itself. Musical structure is used to represent something that exists independently of music. With Charles S. Peirce, we might say that it serves the function of an "icon." The iconic sign has a form which is similar to the thing it denotes.1 Similarity may have the form of direct resemblance but it may also may be based on analogy. I guess that both kinds of portrayal were present in the Chinese swamp battle piece. Battle sounds can easily be imitated by musical instruments and violent movement and feelings can be represented by analogous tonal movement.With inherent meaning, things are different. Feelings are not pointed to and represented by musical structure; instead they are experienced by the person who engages in music. This is in line, I suppose, with Reimer's exposition; not only does he say that feeling is contained and expressed in sounds but also that feeling is undergone by the performer and the listener. What precisely is the place of inherent feeling in music? Feelings are not contained in the sense that they require an act of decoding so that by interpreting the musical structure we can decipher its affective contents. Nor is it appropriate simply to declare that musical feelings are caused by musical perception. Such an explanation suggests that feelings are a secondary phenomenon in music, a sort of byproduct of musical cognition; first the music is conceived in a cognitive act, then feelings are released. But in fact feeling is much more directly and actively involved in musical experience; it is vital to the constitution of the musical object. For example, to appreciate the specific character and import of themes and motifs we have to sense their affective value. We realize the power of rhythms by feeling them in our body. Chords and chord progressions are perceived as subtle qualities of tension and release. Only by feeling the curve of tension and release can we appreciate how the work progresses-whether the music is moving forward or coming to closure, whether a climax is prepared or there is consolidation, whether a case of closure is partial or final. Likewise, the perception of contrasting musical episodes-like soft versus rough, supple versus stubborn, warm versus frigid-involves the participation of feeling. In short, the function of feeling contributes a major part to the constitution of the musical... (shrink)

An examination of the rise in prestige of the Bible as a literary and aesthetic model during the late eighteenth century.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 60-63 [Access article in PDF] Response to Bennett Reimer, "Once More with Feeling: Reconciling Discrepant Accounts of Musical Affect" Constantijn Koopman University of Nijmegen and Royal Conservatory of the Hague, The Netherlands Bennett Reimer has pointed out the crucial distinction between intrinsic and extrinsic meaning or, in his terminology, between inherent and delineated meaning. He has eloquently described how feeling in music (...) can be both of the inherent type and of the delineated type and has argued that both types of meaning can coexist. There is no point in denying the validity of either of them; rather the challenge is to develop a view which allows us to combine both perspectives of musical meaning into a unified musical practice.As far as I am concerned, Reimer has succeeded in his reconciliatory approach. Therefore, rather than providing criticism, I would like further to elaborate on the subject. First, I shall examine the difference between the two types of meaning Reimer has illustrated in his examples: feeling as a part of inherent meaning and feeling as portrayed or represented. Then, I shall briefly discuss the problem of articulating these two types of meaning and its educational implications.When reflecting on inherent and delineated meaning, I find that the dichotomy [End Page 60] goes beyond the opposition between intrinsic and extrinsic. We are also dealing with different versions of the concept of meaning; different meanings of 'meaning' so to speak. In the case of feelings, actions, or objects portrayed in music we have a rather unproblematic use of the meaning concept-meaning as reference. Music functions as a meaning bearer that directs our attention to something beyond itself. Musical structure is used to represent something that exists independently of music. With Charles S. Peirce, we might say that it serves the function of an "icon." The iconic sign has a form which is similar to the thing it denotes.1 Similarity may have the form of direct resemblance but it may also may be based on analogy. I guess that both kinds of portrayal were present in the Chinese swamp battle piece. Battle sounds can easily be imitated by musical instruments and violent movement and feelings can be represented by analogous tonal movement.With inherent meaning, things are different. Feelings are not pointed to and represented by musical structure; instead they are experienced by the person who engages in music. This is in line, I suppose, with Reimer's exposition; not only does he say that feeling is contained and expressed in sounds but also that feeling is undergone by the performer and the listener. What precisely is the place of inherent feeling in music? Feelings are not contained in the sense that they require an act of decoding so that by interpreting the musical structure we can decipher its affective contents. Nor is it appropriate simply to declare that musical feelings are caused by musical perception. Such an explanation suggests that feelings are a secondary phenomenon in music, a sort of byproduct of musical cognition; first the music is conceived in a cognitive act, then feelings are released. But in fact feeling is much more directly and actively involved in musical experience; it is vital to the constitution of the musical object. For example, to appreciate the specific character and import of themes and motifs we have to sense their affective value. We realize the power of rhythms by feeling them in our body. Chords and chord progressions are perceived as subtle qualities of tension and release. Only by feeling the curve of tension and release can we appreciate how the work progresses-whether the music is moving forward or coming to closure, whether a climax is prepared or there is consolidation, whether a case of closure is partial or final. Likewise, the perception of contrasting musical episodes-like soft versus rough, supple versus stubborn, warm versus frigid-involves the participation of feeling. In short, the function of feeling contributes a major part to the constitution of the musical... (shrink)

“As one would expect from the team of Brann, Kalkavage and Salem, their edition of Plato's _Meno_ is a fine one. The translation meets their stated goal of remaining 'as faithful as possible to the Greek, while using lively, colloquial English.' Their notes are consistently helpful and will be particularly useful to those readers willing to explore the nuances of Plato's extraordinary prose. Their introduction is clear and compact, and it highlights the most philosophically important themes of the dialogue. One (...) particularly useful feature of this edition is the manner in which it displays the diagrams Socrates draws in order to illustrate his famous 'square within a square.' Instead of relegating them to the notes, it integrates them into the text of the dialogue itself. Readers are able to follow along, and 'watch' Socrates actually construct them." _—David Roochnik, Boston University_. (shrink)

Commentaries on Aristotle's writings have been produced since the 2nd century AD. This edition contains Greek commentaries on his work from the 3rd to the 8th centuries AD by, among others, Alexander of Aphrodiensias, Themistios, Joh. Philoponus, Simplicius in Greek.