Blaise Pascal is highly regarded as a religious moralist, but he has rarely been given his due as an ethical theorist. The goal of this article is to assemble Pascal's scattered thoughts on moral judgment and moral wrongdoing into an explicit, coherent account that can serve as the basis for further scholarly reflection on his ethics. On my reading, Pascal affirms an axiological, social-intuitionist account of moral judgment and moral wrongdoing. He argues that a moral judgment is an immediate, intuitive (...) perception of moral value that we willfully disregard in favor of the attractive, though self-deceptive, deliverances of our socially constructed imaginations. We can deceive ourselves so easily because our capacity to evaluate goods is broken, a dark legacy of the fall. In the article's concluding section, I briefly compare Pascal to contemporary ethicists and suggest directions for future research. (shrink)

This essay rejects two common views of Pascal: (a) that he holds only temporal and contingent standards of justice to be available to human beings and (b) that he is indifferent to all but eternal standards of justice. Against these reductive misunderstandings, I provide a detailed reconstruction of Pascal's political thought, drawn from the Pensées and other texts. I show that Pascal develops an account of two distinct and hierarchized orders of justice: a temporal order and an eternal order. Pascal (...) recognizes the integrity of the temporal order of justice, as expressed in local, particular custom and the historical development of positive law and, at the same time, holds that the axiological and ontological condition of this temporal order is an eternal order, a horizon beyond history which serves to ground it. Pascal's politics, rather than a tragic pessimism or a passion for the absolute, is simply a limited specification of his moral and metaphysical realism. (shrink)

O artigo procura avaliar a consolidação e os desdobramentos da função heurística e simbólica ocupada pelo Ungeheuer [o monstro ou o monstruoso] na filosofia kantiana, tendo em vista a emergência do horizonte da racionalidade moderna. Uma reconfiguração dessas imagens do Monstro e da Monstruosidade parece ter lugar no momento mesmo em que a filosofia moderna procurou pensar sua identidade e seus limites. O pensamento de Kant, que ocupa - de fato ou de direito - um lugar central nessa ruptura, apresentaria (...) de modo exemplar, embora não evidente, o percurso dessa transformação. This work intends to evaluate the origins and developments of the symbolic and heuristic function at stake in the term Ungeheuer [the monster or the monstrous] within Kant's philosophy, regarding the rising horizon of modern rationality. A reconfiguration of the Monster and Monstrous imagery seems to take place right at the moment when modern philosophy had to reflect upon its own identity and limits. Kant's thought, that occupies - de jure or de facto - a central place within this rupture could exemplarily, but not obviously, show the path of such transformation. (shrink)

This version has been superseded by the one published in Spring, 2014.

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)