[Richard Glauser] Shaftesbury's theory of aesthetic experience is based on his conception of a natural disposition to apprehend beauty, a real 'form' of things. I examine the implications of the disposition's naturalness. I argue that the disposition is not an extra faculty or a sixth sense, and attempt to situate Shaftesbury's position on this issue between those of Locke and Hutcheson. I argue that the natural disposition is to be perfected in many different ways in order to be exercised (...) in the perception of the different degrees of beauty within Shaftesbury's hierarchy. This leads to the conclusion that the exercise of the disposition depends, from case to case, on many different cognitive and affective conditions, that are realised by the collaborative functionings of our ordinary faculties. Essential to Shaftesbury's conception of aesthetic experience is a disinterested, contemplative love, that causes (or contains) what we may call a 'disinterested pleasure', but also an interested pleasure. I argue that, within any given aesthetic experience, the role of the disinterested pleasure is secondary to that of the disinterested love. However, an important function of the disinterested pleasure is that, in combination with the interested pleasure, it leads one to aspire to pass from the aesthetic experience of lower degrees of beauty to the experience of higher ones in the hierarchy. /// [Anthony Savile] (1) If Shaftesbury is to be seen as the doyen of modern aesthetics, his most valuable legacy to us may not so much be his viewing aesthetic response as a sui generis disinterested delight as his insistence on its turning 'wholly on [experience of] what is exterior and foreign to ourselves'. Not that we cannot experience ourselves, or what is our own, as a source of such admiration. Rather our responses, favourable or no, are improperly grounded in any essentially reflexive, or first-personal, ways of taking what engages us. The suggestion is tested against the case of Narcissus. (2) Glauser interestingly emphasizes Shaftesbury's neo-Platonic conception of a hierarchy of aesthetic experience that culminates in the joyful contemplation of God. That hierarchy must be something that is less unitary and systematic than Shaftesbury himself had supposed, even when his emphasis on the tie between aesthetic pleasure and contemplative experience is allowed to extend beyond perception and to encompass episodes of thought itself. (shrink)

RésuméLocke a apporté des changements significatifs à plusieurs points de sa psychologie morale au fil des cinq premières editions de l'Essay.Je ferai valoir qu'en acceptant une certaine liberté de la volonté (willing) dans sa correspondance avec van Limborch (1702) et en concédant une certaine «liberté eu égard à la volonté» dans la cinquième édition de l'Essay(1706), Locke ne comprometpas la cohérence de sa position définitive, contenue dans la cinquième édition, ces libertés étant distinctes du genre de libre arbitre qu'il rejette (...) à maintes reprises. Je tenterai de souligner la continuité de la pensée de Locke sur la liberté humaine en faisant appel à sa théorie de la liberté de pensée, qui n'a cessé d'évoluer dés la première édition. (shrink)

Dans l'Essai pour une nouvelle théorie de la vision (1709) Berkeley critique un usage illégitime de l'optique géométrique dans l'explication de la perception des qualités spatiales. Toutefois, dans la Théorie de la vision défendue et expliquée (1733), il assigne à l'optique géométrique un rôle théorique positif, à côté de sa propre théorie de la vision. Nous défendons la thèse suivant laquelle une image rétinienne, chez Berkeley, est une configuration de corpuscules en mouvement, tangibles de droit. Cette lecture corrobore l'interprétation d'une (...) forme de corpuscularisme dans le système immatérialiste. In An Essay towards a New Theory of Vision (1709) Berkeley objects to an illegitimate use of geometrical optics in the explanation of our perception of spatial qualities. However, in The Theory of Vision, Vindicated and Explained (1733), he grants geometrical optics a positive theoretical role alongside his own philosophical theory of vision. I defend the claim that a retinal image, for Berkeley, is a configuration of moving corpuscles that are tangible in principle. This reading corroborates the interpretation according to which Berkeley accommodates a form of corpuscularism within his immaterialism. (shrink)

(1) Alors que Hume distingue plusieurs sortes de propositions, nous expliquons pourquoi il se focalise sur l’inférence causale lorsqu’il examine la nature de la croyance. (2) Après avoir considéré les réponses qu’il écarte concernant la nature de la croyance, nous étudions sa solution. (3) Nous dégageons les implications de sa position, dirigée entre autres contre la théorie cartésienne du jugement. (4) Une interprétation du rôle asymétrique de la croyance par rapport aux passions et à l’action est proposée. (5) La position (...) de Hume au sujet de la nature de la croyance, pensons-nous, rencontre une difficulté : elle est peu apte à rendre compte de la nature de la croyance existentielle négative. (shrink)

It is unquestionably one of the last objections Descartes might have expected, that if ideas exist, external objects are unknowable. How indeed could he have foreseen such an objection? Did he not seek to establish through his metaphysics, in the Meditations, the certainty of the existence of bodies, as well as the reality of the scientific knowledge we claim to have of them? And this procedure had necessarily to presuppose the existence of ideas: first, in order to demonstrate the existence (...) of God, then, to demonstrate the existence of bodies and to establish the reality of our knowledge of those objects. Hence Descartes could not have imagined the above-mentioned objection. And to my knowledge he does not envisge it at any moment in his writings. In the general form in which I have stated it it would have astonished Spinoza, Arnauld, Malebranche and Leibniz as well. And it did not fail to surprise Locke. The objection was formulated in 1697 by John Sergeant in his work: Solid Philosophy Asserted. In this paper I wish to present that objection. (shrink)

The so called ‘Prose Edda’ or ‘Snorra Edda’, usually dated to the third decade of the 13th century, contains after a short prologue two substantial sections dealing mainly with mythography and poetics and a long concluding skaldic poem. In the extant medieval manuscripts from around 1300 and the beginning of the 14th century, additional material like genealogies, grammatical treatises, etc. is included. The present paper focuses on one of the earliest of these manuscripts, codex DG 11 4to, University Library Uppsala, (...) and analyses some central features of the specific way in which it presents different narrative layers. For the first time, this analysis combines a study of textual and visual aspects of the manuscript, and special attention is given to two of the many illustrations in this codex. Together with later scribal notes, the drawings contribute heavily to the process of framing, which is one of the main features of the ‘Prose Edda’. This process of creating potentially endless narrative and visual frames is part of the text‘s ambition to establish a distance to the traditional pagan myths and to facilitate new fictional possibilities. (shrink)

Although several passages in Berkeley are related to the question whether two or more finite substances can simultaneously perceive numerically identical sensible ideas, it is only in TDHP (247–8) that he addresses the question explicitly and in some detail. Yet, Berkeley’s less than straightforward reply is notoriously difficult to pin down. Some commentators take Berkeley to be endorsing a clear‐cut positive reply, whereas others have him giving an emphatically negative one; others hold that for Berkeley there is no fact of (...) the matter that determines an answer one way or the other. I argue that all three readings find some justification at one point or another in the passage, and all hold a kernel of truth. Yet, none of them can be taken unrestrictedly because Philonous’s considered position is disjunctive: either there is no problem at all, or, if there is one (thus warranting a negative reply to the public status of sensible ideas), it makes equally against ‘materialism’ and immaterialism. I argue that the passage can be given an overall interpretation that explains why Berkeley is entitled to hold that there is some truth in each direction. I propose answers to the questions (a) why Berkeley thinks there may nevertheless be a problem after all, and (b) if so, why he can yet legitimately feel entitled to let it rest, that is, why he remains confident, within the philosophical context of his day, that his philosophy does not lead to solipsism. (shrink)

A letter to The Times of London, May 9, 1992 protesting the Cambridge University proposal to award an honorary degree to M. Jacques Derrida.

Textes de philosophes français et britanniques issus du colloque tenu à l'Université de Nantes en 1998. Ils sont consacrés à la philosophie analytique de la religion et abordent des sujets tels que la nature et la justification des croyances religieuses, la question du mal, celles des preuves de l'existence de Dieu, de la théodicée, du langage religieux, du miracle, de la prière, etc.

[Richard Glauser] Shaftesbury's theory of aesthetic experience is based on his conception of a natural disposition to apprehend beauty, a real 'form' of things. I examine the implications of the disposition's naturalness. I argue that the disposition is not an extra faculty or a sixth sense, and attempt to situate Shaftesbury's position on this issue between those of Locke and Hutcheson. I argue that the natural disposition is to be perfected in many different ways in order to be exercised (...) in the perception of the different degrees of beauty within Shaftesbury's hierarchy. This leads to the conclusion that the exercise of the disposition depends, from case to case, on many different cognitive and affective conditions, that are realised by the collaborative functionings of our ordinary faculties. Essential to Shaftesbury's conception of aesthetic experience is a disinterested, contemplative love, that causes (or contains) what we may call a 'disinterested pleasure', but also an interested pleasure. I argue that, within any given aesthetic experience, the role of the disinterested pleasure is secondary to that of the disinterested love. However, an important function of the disinterested pleasure is that, in combination with the interested pleasure, it leads one to aspire to pass from the aesthetic experience of lower degrees of beauty to the experience of higher ones in the hierarchy. /// [Anthony Savile] (1) If Shaftesbury is to be seen as the doyen of modern aesthetics, his most valuable legacy to us may not so much be his viewing aesthetic response as a sui generis disinterested delight as his insistence on its turning 'wholly on [experience of] what is exterior and foreign to ourselves'. Not that we cannot experience ourselves, or what is our own, as a source of such admiration. Rather our responses, favourable or no, are improperly grounded in any essentially reflexive, or first-personal, ways of taking what engages us. The suggestion is tested against the case of Narcissus. (2) Glauser interestingly emphasizes Shaftesbury's neo-Platonic conception of a hierarchy of aesthetic experience that culminates in the joyful contemplation of God. That hierarchy must be something that is less unitary and systematic than Shaftesbury himself had supposed, even when his emphasis on the tie between aesthetic pleasure and contemplative experience is allowed to extend beyond perception and to encompass episodes of thought itself. (shrink)

[Richard Glauser] Shaftesbury's theory of aesthetic experience is based on his conception of a natural disposition to apprehend beauty, a real 'form' of things. I examine the implications of the disposition's naturalness. I argue that the disposition is not an extra faculty or a sixth sense, and attempt to situate Shaftesbury's position on this issue between those of Locke and Hutcheson. I argue that the natural disposition is to be perfected in many different ways in order to be exercised (...) in the perception of the different degrees of beauty within Shaftesbury's hierarchy. This leads to the conclusion that the exercise of the disposition depends, from case to case, on many different cognitive and affective conditions, that are realised by the collaborative functionings of our ordinary faculties. Essential to Shaftesbury's conception of aesthetic experience is a disinterested, contemplative love, that causes what we may call a 'disinterested pleasure', but also an interested pleasure. I argue that, within any given aesthetic experience, the role of the disinterested pleasure is secondary to that of the disinterested love. However, an important function of the disinterested pleasure is that, in combination with the interested pleasure, it leads one to aspire to pass from the aesthetic experience of lower degrees of beauty to the experience of higher ones in the hierarchy. /// [Anthony Savile] If Shaftesbury is to be seen as the doyen of modern aesthetics, his most valuable legacy to us may not so much be his viewing aesthetic response as a sui generis disinterested delight as his insistence on its turning 'wholly on [experience of] what is exterior and foreign to ourselves'. Not that we cannot experience ourselves, or what is our own, as a source of such admiration. Rather our responses, favourable or no, are improperly grounded in any essentially reflexive, or first-personal, ways of taking what engages us. The suggestion is tested against the case of Narcissus. Glauser interestingly emphasizes Shaftesbury's neo-Platonic conception of a hierarchy of aesthetic experience that culminates in the joyful contemplation of God. That hierarchy must be something that is less unitary and systematic than Shaftesbury himself had supposed, even when his emphasis on the tie between aesthetic pleasure and contemplative experience is allowed to extend beyond perception and to encompass episodes of thought itself. (shrink)

Richard Glauser mène dans cet ouvrage une enquête serrée sur le contexte philosophique dans lequel est née la philosophie de George Berkeley, cherchant contre quels sceptiques lutte précisément le jeune philosophe irlandais, en particulier dans les Principes de la connaissance humaine et les Trois Dialogues entre Hylas et Philonous qui leur font suite. La question se pose à la curiosité de l'historien des idées d'autant plus vivement que Berkeley est un philosophe avant tout argumentatif, qui préfère toujours exposer et (...) démontrer logiquement ses thèses, envisager les objections et les réfuter, ou encore en proposer une analyse serrée sous forme de dialogue. S'agissant des personnes, Berkeley se contente le plus souvent, de formules allusives ; il dit peu envers qui a il des dettes, et qui il attaque. (shrink)

Deux innovations caractérisent la philosophie de Berkeley : il met la perception au centre de sa théorie de l'être (esse est percipi out percipere) et il lie étroitement vision et langage, en affirmant que les idées de la vue constituent un " langage universel de l'Auteur de la nature ". Ces deux innovations continuent à nourrir la philosophie contemporaine, en particulier certains aspects de la philosophie analytique. C'est pourquoi, il est essentiel d'examiner à nouveaux frais les questions concernant l'hétérogénéité des (...) champs sensoriels, la nature de la suggestion, le rôle de l'imagination et celui de l'idée médiate dans la construction de l'objet. Le présent ouvrage vise donc à éclairer le tournant philosophique et sémantique instauré par Berkeley dans l'étude de la perception et de la vision. Une comparaison avec Locke met en valeur la spécificité des thèses du philosophe irlandais. Un examen précis des textes concernés permet de réévaluer la place et le rôle des thèses sur la vision dans l'économie générale de l'œuvre. Textes de Margaret Atherton, Bertil Belfrage, Geneviève Brykman, Richard Glauser, Philippe Hamou, Jean-Michel Vienne. (shrink)

Todd Ryan - Berkeley et Les Philosophes du XVIIe Siecle: Perception et Scepticisme - Journal of the History of Philosophy 40:3 Journal of the History of Philosophy 40.3 402-404 Book Review Berkeley et Les Philosophes du XVIIe Siècle: Perception et Scepticisme Richard Glauser. Berkeley et Les Philosophes du XVIIe Siècle: Perception et Scepticisme. Sprimont: Mardaga, 1999. Pp. 352. Paper, NP. One of the central criticisms Berkeley makes of his materialist opponents is that they are inevitably committed to skepticism concerning (...) both the existence and nature of physical objects. This accusation is all the more striking for its uncompromising universality. Berkeley maintains that by virtue of their distinguishing between sensible ideas and the sensible qualities they represent, all materialist philosophers of the seventeenth century are either.. (shrink)