For Pascal, how are human beings related, or how do they relate themselves, to the summum bonum in this life? In what sense do they share in it, and how do they come to share in it? These are questions that emerge in many ways in Pascal’s writing, significantly in his concept of repos. To answer these questions, especially by elucidating what repos is for human beings in this life, I would like to begin with Graeme Hunter’s “Motion and Rest (...) in the Pensées”. Hunter’s account of Pascal is important because his purpose is to specifically address how certain aspects of modernity affect how Pascal understood repos. Hunter is certainly correct when he argues that for Pascal, repos is an orderly, directed seeking of truth—what Hunter designates as “search.” However, Hunter’s account of Pascal’s repos falls short of completion, because he neglects a crucial part of Pascal’s articulation of repos: his emphasis on the role of God’s grace in searching. By neglecting Pascal’s emphasis on grace, Hunter inadvertently depicts Pascal as reducing repos to motion, rather than envisioning them together in dialectical unity. I argue that for Pascal, it is correct to say that someone who is anxiously searching has indeed “already found,” but this cannot be solely due to human efforts: rather, it because the whole enterprise is entirely infused by grace. (shrink)

The following is a reflection on the possibility of teaching by example, and especially as the idea of teaching by example is developed in the work of Jean-Jacques Rousseau. My thesis is that Rousseau created a literary version of himself in his writings as an embodiment of his philosophy, rather in the same way and with the same purpose that Plato created a version of Socrates. This figure of Rousseau—a sort of philosophical portrait of the man of nature—is represented as (...) an example for us to follow. This would appear to have been dangerous and destabilizing work, given the mental distress that it caused Rousseau in striving to live up to his fictional self. Rousseau's own ideas on the nature of teaching by example are presented in a discussion of the section in ‘Emile’ which Rousseau takes from an incident in his own life—the story of his meeting with a young Savoyard priest who befriended him and influenced him through the power of his example. (shrink)

As a way of thinking through the bleakness of the political present through which we are all too precipitously moving, this essay attempts to demonstrate the interconnections between three concepts: politics, law and religion. By way of a detailed reading of Rousseau, I try to show how any conception of legitimate politics and law requires a conception of religion at its base and as its basis. In my view, this is highly problematic and in the conclusion an argument is presented (...) for a politics of the supreme fiction, which attempts to show how poetry might take the place of religion. (shrink)

This paper explores the contextual value of solitude in learning; in so doing, it attempts to suggest an alternative method of instruction that is based on aesthetics as the reciprocal relationship between emotions and intellect, and between action and contemplation. Such an aesthetic education or method seeks to guide the student towards the attainment of her own life: to perfect, as much as possible, her human qualities in what she does by paying attention to the things of Beauty. The method (...) that the essay uses is both historical and interdisciplinary: it draws from theology, philosophy, the sciences and visual art; and, it is guided by an explanatory perspective that is constructive. (shrink)

John Fischer has recently argued that the value of acting freely is the value of self-expression. Drawing on David Velleman’s earlier work, Fischer holds that the value of a life is a narrative value and free will is valuable insofar as it allows us to shape the narrative structure of our lives. This account rests on Fischer’s distinction between regulative control and guidance control. While we lack the former kind of control, on Fischer’s view, the latter is all that is (...) needed for self-expression. I first develop Fischer’s narrative account, focusing on his reliance on temporal loops as giving us control over the value of our lives. Second, I argue that the narrative account grants us greater power over the past than Fischer would allow: since narrative allows not only for changes in how we feel about episodes in our past but what those episodes in fact were, it allows for a kind of retroactive self-constitution. Finally, I suggest that this modification of the narrative view opens the possibility of a conception of freedom far stronger than guidance control. It does not give us the libertarian control over whether to choose A or B in the present, but it does provide a measure of control over the sort of person an agent has been, and thus whether she is the sort of person who will choose A or B in the future. (shrink)