A common view holds that humor and morality are antithetical: Moral flaws enhance amusement, and moral virtues detract. I reject both of these claims. If we distinguish between merely outrageous jokes and immoral jokes, the problems with the common view become apparent. What we find is that genuine morals flaws tend to inhibit amusement. Further, by looking at satire, we can see that moral virtues sometimes enhance amusement. The position I defend is called symmetric comic moralism. It is (...) widely regarded as patently absurd. I hope to correct this mistake. (shrink)

Humour is a source of moral concern because some jokes contain both elements of immorality and funniness. This raises the question of whether jokes can be funny despite moral flaws and, more generally, how immorality affects funniness. One answer to this question is comic moralism; the position that immorality negatively affects funniness. Berys Gaut has given a merited-response argument in defence of comic moralism, but Noël Carroll has criticised this argument. In this paper, I defend Gaut's (...) argument from Carroll's criticism. Specifically, I argue that benign appraisal is a necessary condition for amusement, which is a commonly proposed claim across many disciplines. (shrink)

According to comic moralism, moral flaws make comic works less funny or not funny at all. In contrast, comic immoralism is the view that moral flaws make comic works funnier. In this article, I argue for a moderate version of comic immoralism. I claim that, sometimes, comic works are funny partly in virtue of their moral flaws. I argue for this claim—and artistic immoralism more generally—by identifying artistically valuable moral flaws in relevant actions (...) undertaken in the creation of those works. Underlying this argument is the idea that such generative actions are partly constitutive of a work's identity, and, therefore, they may affect the ethical value of an artwork either positively or negatively, and they are the proper objects of ethical appraisal. (shrink)

Comic moralism holds that some moral properties impact negatively on the funniness of certain items that possess them. Strong versions of the doctrine deem the impact to be devastating: the possession of such a property by one of these items ensures the item is not funny. Weak versions deem the impact merely damaging: any funniness one of the items possesses is diminished, but not destroyed, by its possession of the property. Various species of comic moralism hold, (...) respectively, various moral properties to impact negatively on funniness. For example, one species holds as much of the property “manifests attitudes that are morally wrong,” but other species hold as much of different moral properties. Comic moralism, or a species of it, can be unrestricted, or restricted, depending on whether it pertains to all the items that possess the negatively impacting moral property or properties, or to just a subset of these items. (shrink)

This article explores several views on the relation of humour, especially tendentious humour, to morality, including comic amoralism, comic ethicism, comic immoralism, and moderate comic moralism. The essay concludes by defending moderate comic moralism.

Jokes are sometimes morally objectionable, and sometimes they are not. What’s the relationship between a joke’s being morally objectionable and its being funny? Philosophers’ answers to this question run the gamut. In this paper I present a new argument for the view that the negative moral value of a joke can affect its comedic value both positively and negatively.

I argue that genuine moral flaws never enhance amusement, but they sometimes detract.I argue against comic immoralism--the position that moral flaws can make attempts at humor more amusing.Two common errors have made immoralism look attractive.First, immoralists have confused outrageous content with genuine moral flaws.Second, immoralists have failed to see that it is not sufficient to show that a morally flawed joke is amusing; they need to show that a joke can be more amusing because of the fact that it (...) is morally flawed.I argue that the immoralist lacks a plausible account of how this could be the case.I reject immoralism and argue for comic moralism—the position that moral flaws can make attempts at humor less amusing. (shrink)

. Usually the ethics of humor revolves around the content of humor. After giving a synopsis and exposing some shortcomings of the recent controversies, this paper takes into account additional aspects and proposes a change of perspective from token to type level and deploys tools of the philosophy of language to tackle the question whether a joke as a type can be considered morally flawed irrespective of its tokens. After exploring possible ways one can think of to furnish evidence for (...) the opposite position, two novel lines of argumentation based on counterfactual conditionals and speech act theory are provided to show that these ways aren’t viable and that joke as types are ethically neutral. Moreover, the presented approach increases the resolution of the debate and provides a framework to capture other hitherto neglected questions of the philosophy of humor as well. (shrink)

This article considers the effectiveness of queer environmental ethics in the Anthropocene, a word increasingly used to describe the anthropogenic destruction of ecosystems that marks our current geological era. Taking as my subject the contemporary ecosexuality movement popularised by performance artists Annie Sprinkle and her co-collaborator and partner Elizabeth Stephens, I explore the ethics behind ecosexuals’ encounters with the natural environment. Stephens and Sprinkle's performances, captured in their documentary Goodbye Gauley Mountain: An Ecosexual Love Story (2013), make clear ecosexuality's concurrent (...) urgency and playfulness, which is embodied in a theatrical environmental sensibility that I call eco-camp. Eco-camp is a mode of florid performance, spectacle and ostentatious sex-positivity that champions new forms of relationality between humans and other earthly inhabitants. Drawing from diverse theoretical perspectives, including Mikhail Bakhtin's (1968) carnivalesque, Chris Cuomo's (1998) ethics of flourishing and Cynthia Willett's (Willett et al., 2012; Willett, 2014) theorisation of feminist humour, I argue that ecosexuality's campy ecological ethics provide an alternative to the didacticism and moralism that characterise much contemporary environmentalism. In the spirit of carnival, the tragi-comic and, at times, parodic tone of ecosexuality generates an affective dissonance that spurs us to feel the full effects of our discordance with nature. (shrink)

lecture 1. The world of the Greco-Roman moralists -- lecture 2. How empire changed philosophy -- lecture 3. The great schools and their battles -- lecture 4. Dominant themes and metaphors -- lecture 5. The ideal philosopher, a composite portrait -- lecture 6. The charlatan, philosophy betrayed -- lecture 7. Philosophy satirized, the comic Lucian -- lecture 8. Cicero, the philosopher as politician -- lecture 9. Seneca, philosopher as court advisor -- lecture 10. Good Roman advice, Cicero and Seneca (...) -- lecture 11. Musonius Rufus, the Roman Socrates -- lecture 12. Dio Chrysostom, the wandering rhetorician -- lecture 13. Dio Chrysostom, preaching peace and piety -- lecture 14. Epictetus, philosopher as school teacher -- lecture 15. Epictetus, the stoic path to virtue -- lecture 16. Epictetus, the messenger of Zeus -- lecture 17. Marcus Aurelius, meditations of the king -- lecture 18. Jews thinking like Greeks -- lecture 19. Philo, Judaism as Greek philosophy -- lecture 20. Plutarch, biography as moral instruction -- lecture 21. Plutarch and philosophical religion -- lecture 22. Plutarch on virtue and educating children -- lecture 23. Plutarch, envy, anger, and talking too much -- lecture 24. The missing page in philosophy's story. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The View from GadshillFrancis SparshottII once had a furious confrontation with that learned and passionate scholar, the late Milton C. Nahm. He had been giving a paper that involved Falstaff—I forget how, but it included the familiar appeal to the fat knight as the comic spirit of untrammelled life, so that the newly crowned Hal’s final repudiation—“I know thee not, old man”—chills the audience as a denial of (...) humanity in favor of impersonal administration. But I told Nahm that I could not see Falstaff that way. As a boy, if I cycled home from Gravesend to Rochester I had to pass over the North Downs at Gadshill. And it is at Gadshill, when we first meet him, that Falstaff’s gang is planning to waylay a band of innocent travelers. I could never take kindly to a man who made a living mugging and rolling people like me. Nahm was contemptuous of my incompetence to deal with literature: I was prevented from appreciating the portrait of the comic monster, appalling but breathtaking, by my inhibited and inhibiting moralism. But I insisted that I saw no reason why one should abandon one’s identity or one’s morality while one was watching a play or reading a book.Nahm would have been right if I had been insensitive to Falstaff’s outrageousness, his unscrupulous energy and vivacity, his wit and candor. But I think my appreciation was sharpened rather than nullified by my awareness of the real menace Falstaff represents to people who happen not to be his pals. And I think Nahm’s enthusiasm blinded him to something else that Shakespeare wrote into the part. At that very first meeting, we find Falstaff trying to negotiate for himself a position of power or privilege when the young prince shall succeed to the throne. And it is just this negotiation that Falstaff is trying to resume [End Page 398] from the sidewalk at the end, when the new king brushes him off. Nahm did not notice this because it did not occur to him that Henry V was going to be a real king with real power over real people, just as it did not occur to him that Falstaff’s robbed and brutalized pilgrim victims would be real people suffering real injury and loss. If my personal angle, the potential victim’s view, had so usurped my vision that it blinded me to whatever else the playwright had made of his character and its situation, it would have made me a bad viewer of the play. But it might have added depth to my understanding and my criticism if it gave me an angle that other viewers and readers could imaginatively share. 1 Since each of us has some sort of angle on everything, sharing perspectives can always be valuable.III have been reminded of my encounter with Nahm by reading Edward W. Said’s Culture and Imperialism. 2 The book appears to start from the position that imperialism is the “determining political horizon of modern Western culture” (p. 60), imperialism being defined as the policy of establishing and maintaining an empire, and an empire as “a relationship... in which one state controls the effective political sovereignty of another political society” (p. 9). Because this is the determining horizon, the right way to think of any “Western” author is as an agent of imperialism, although of course this is most easily shown in the case of authors and works in which the imperial connection is explicit.If there is to be a uniform curriculum and canon for the teaching of English literature everywhere in the world, that canon obviously should not be based on works that assume the rightness and normality of an imperialism that defines most readers of that literature as racially and culturally inferior; such a canon is itself a tacit agent of an offensive and gratuitous imperialism. This much seems clear. But Said’s book then moves off into a hackneyed recitation of the evils that the West (or the north, or the developed world 3 ) inflicts on a world of passive victims, followed by a denunciation of the... (shrink)

This chapter focuses on one of the common fallacies in Western philosophy: the moralistic fallacy. The moralistic fallacy occurs when one concludes that something is a particular way because it should or ought to be that way. Alternatively, this fallacy occurs when one concludes that something cannot be a particular way because it should not or ought not be that way. The moralistic fallacy is often described as the reverse of the is/ought fallacy, wherein one reasons fallaciously that because things (...) are a particular way, they ought to be that way. Variations of the moralistic fallacy occur whenever any normative claim is used to justify a factual claim about the world, and so the pattern of fallacious reason central to the moralistic fallacy can also be found in legal reasoning, prudential reasoning, or reasoning regarding proper etiquette, aesthetics, humor, or appropriate emotional responses. (shrink)

An adequate account of the nature of genre and of the criteria for genre membership is essential to understanding the nature of the various categories into which comics can be classified. Because they fail adequately to distinguish genre categories from other ways of categorizing works, including categorizations according to medium or according to style, previous accounts of genre fail to illuminate the nature of comics categories. I argue that genres are sets of conventions that have developed as means of addressing (...) particular interpretative and/or evaluative concerns, and have a history of co‐instantiation within a community, such that a work’s belonging to some genre generates interpretative and evaluative expectations among the members of that community. Genres are distinct from styles in consisting of conventions, and are distinct from media both in consisting of conventions and in generating interpretative and evaluative expectations. (shrink)

Comics have great potential to depict an almost infinite range of themes, questions and lives. But what about their ability to express and interpret philosophical concepts? How can we differentiate between the representation of theoretical concepts in and of themselves, and the impact of comics techniques on the legacy of philosophers, their lives and their thought? This book explores the historical and artistic value of representing lives through the medium of bande dessinée (BD), French-language comics. The text analyses three biographical (...) BDs dedicated to the lives of Jean-Paul Sartre, Simone de Beauvoir and Albert Camus as well as a selection of print and online comics that extend the legacy of these philosophers and their historical movement. The work is the first to analyse biographical BD through the lens of Existentialism, offering a new theory of reading biographical comics. The research not only contributes a novel approach to comics but also an enhanced understanding of Existentialism and the Existentialists, including their enduring contemporary relevance. (shrink)

Comic Relief: A Comprehensive Philosophy of Humor develops an inclusive theory that integrates psychological, aesthetic, and ethical issues relating to humor Offers an enlightening and accessible foray into the serious business of humor Reveals how standard theories of humor fail to explain its true nature and actually support traditional prejudices against humor as being antisocial, irrational, and foolish Argues that humor’s benefits overlap significantly with those of philosophy Includes a foreword by Robert Mankoff, Cartoon Editor of The New Yorker.

This book examines the contributions of seventeenth- and eighteenth-century French women philosophers and intellectuals to moralist writing. Moralist writing, a distinctively French genre, draws on philosophical and literary traditions extending back to classical antiquity. Closely connected to salon culture and influenced by Augustinianism, it engages social and political questions, epistemology, moral psychology, and virtue ethics. The first half of the book analyzes women’s use of moralist forms such as the essay, maxim, and “character” or portrait to explore classical topics: self-knowledge (...) and knowledge of the self, the ethics and obligations of friendship, the relation of the passions to happiness. The second half focuses on topics that relate directly to women’s lifeworld: the critique of the institution of marriage, the status of older women, and the question of women’s nature and capabilities. Each chapter traces the evolution of women’s moralist thought from the late seventeenth century to the Enlightenment and the decades immediately following the French Revolution, a period of tremendous change in the horizon of possibilities for women as public figures and intellectuals. (shrink)

1. Hobbes-Gay.--2. Hume-Bentham and Index.

Philosophers often call emotions appropriate or inappropriate. What is meant by such talk? In one sense, explicated in this paper, to call an emotion appropriate is to say that the emotion is fitting: it accurately presents its object as having certain evaluative features. For instance, envy might be thought appropriate when one's rival has something good which one lacks. But someone might grant that a circumstance has these features, yet deny that envy is appropriate, on the grounds that it is (...) wrong to be envious. These two senses of `appropriate' have much less in common than philosophers have supposed. Indeed, the distinction between propriety and correctness is crucial to understanding the distinctive role of the emotions in ethics. We argue here that an emotion can be fitting despite being wrong to feel, and that various philosophical arguments are guilty of a systematic error which we term the moralistic fallacy. (shrink)

This chapter contains sections titled: Introduction Desiderata for an Account of Genre Existing Accounts of Genre An Account of Genre Conclusion Notes References.

Philosophers often call emotions appropriate or inappropriate. What is meant by such talk? In one sense, explicated in this paper, to call an emotion appropriate is to say that the emotion is fitting: it accurately presents its object as having certain evaluative features. For instance, envy might be thought appropriate when one’s rival has something good which one lacks. But someone might grant that a circumstance has these features, yet deny that envy is appropriate, on the grounds that it is (...) wrong to be envious. These two senses of ‘appropriate’ have much less in common than philosophers have supposed. Indeed, the distinction between propriety and correctness is crucial to understanding the distinctive role of the emotions in ethics. We argue here that an emotion can be fitting despite being wrong to feel, and that various philosophical arguments are guilty of a systematic error which we term the moralistic fallacy. (shrink)

Not all comics are art. What about the comics that are art? What sort of art are they? In particular, are comics a form of literature? For a variety of reasons it is tempting to think that at least some comics are literature. Nevertheless, many theorists reject the ‘comics as literature’ view. And although some reasons for resisting that view are misguided, I shall argue that there are other good reasons for being hesitant about treating comics as a form of (...) literature. This leaves us at an impasse with respect to the classification of comics. I suggest that the way out of the impasse is to recognize that comics are a hybrid art form. (shrink)

This chapter contains sections titled: McCloud's Definition Pictures and Comics Panels, Panels Everywhere Seeing‐in and Closure Pictureless Comics? Wordless Prints, Unprinted Words Spaces Between Words The Air of Non‐Pictures A Continuum of Cases Comic Books and Ideal Books Notes References.

This is a slightly revised text of Jeffrie G. Murphy’s Presidential Address delivered to the American Philosophical Association, Pacific Division, in March 2006. In the essay the author reconsiders two positions he had previously defended—the liberal attack on legal moralism and robust versions of the retributive theory of punishment—and now finds these positions much more vulnerable to legitimate attack than he had previously realized. In the first part of the essay, he argues that the use of Mill’s liberal harm (...) principle against legal moralism cannot be cabined in such a way as to leave intact other positions that many liberals want to defend—in particular, certain fundamental constitutional rights and character retributivism in criminal sentencing. In the second part of the essay, he expresses serious doubts—some inspired by Nietzsche—about the versions of character retributivism that he had once enthusiastically defended and now describes himself as no more than a reluctant retributivist. (shrink)

Most mass-art comics (e.g., “superhero” comics) are collectively produced, that is, different people are responsible for different production elements. As such, the more disparate comic production roles we begin to regard as significantly or uniquely contributory, the more difficult questions of comic authorship become, and the more we view various distinct production roles as potentially constitutive is the more we must view comic authorship as potentially collective authorship. Given the general unreliability of intuitions with respect to collective (...) authorship (coupled with our general unfamiliarity with the medium), we must look to find a principle of comic authorship out of which authorship questions can be settled for comics simpliciter. Furthermore, any such principle found must also be capable of grounding a principled distinction between collective production and collective authorship; should this distinction be absent, any proper manner of framing the central descriptive and evaluative questions for comics must likewise be absent. Quite obviously we need a theory of comic authorship. To this end, I suggest how we should proceed and exactly what such a theory should look like. (shrink)

Philosophers often call emotions appropriate or inappropriate. What is meant by such talk? In one sense, explicated in this paper, to call an emotion appropriate is to say that the emotion is fitting: it accurately presents its object as having certain evaluative features. For instance, envy might be thought appropriate when one’s rival has something good which one lacks. But someone might grant that a circumstance has these features, yet deny that envy is appropriate, on the grounds that it is (...) wrong to be envious. These two senses of ‘appropriate’ have much less in common than philosophers have supposed. Indeed, the distinction between propriety and correctness is crucial to understanding the distinctive role of the emotions in ethics. We argue here that an emotion can be fitting despite being wrong to feel, and that various philosophical arguments are guilty of a systematic error which we term the moralistic fallacy. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

This imaginative and unusual book explores the moral sensibilities and cultural assumptions that were at the heart of political debate in Victorian and early twentieth-century Britain. It focuses on the role of intellectuals as public moralists and suggests ways in which their more formal political theory rested upon habits of response and evaluation that were deeply embedded in wider social attitudes and aesthetic judgments. Collini examines the characteristic idioms and strategies of argument employed in periodical and polemical writing, and reconstructs (...) the sense of identity and of relation to an audience exhibited by social critics from John Stuart Mill and Matthew Arnold to J.M. Keynes and F.R. Leavis. (shrink)

This chapter contains sections titled: Notes References.

This book brings together three distinct research programs in moral psychology - Moral Foundations Theory, Cognitive Adaptations for Social Exchange and the Linguistic Analogy in Moral Psychology - and shows that they can be combined to create a unified cognitive science of moral intuition. The book assumes evolution has furnished the human mind with two types of judgement: intuitive and deliberative. Focusing on moral intuitions (understood as moral judgments that were not arrived at via a process of conscious deliberation), the (...) book explores the origins of these intuitions, examines how they are produced, and explains why the moral intuitions of different humans differ. Providing a unique synthesis of three separate established fields, this book presents a new research program that will further our understanding of the various different intuitive moral judgements at the heart of some of the moral tensions within human society. (shrink)

Comics comprise a hybrid art form descended from printmaking and mostly made using print technologies. But comics are an art form in their own right and do not belong to the art form of printmaking. We explore some features art comics and fine art prints do and do not have in common. Although most fine art prints and comics are multiple artworks, it is not obvious whether the multiple instances of comics and prints are artworks in their own right. The (...) comparison of comics and fine art prints provides a promising test for assessing how hybrid art forms develop more generally, and for assessing how they differ from closely related nonhybrid cousins. (shrink)

In this rejoinder to Erman and Möller’s reply to our “Political Norms and Moral Values” we clarify the sense in which there can be specifically political values, and expound the practice-dependent notion of legitimacy adopted by our preferred version of political realism.

A widely accepted view in the philosophy of humour is that immoral jokes, like racist, sexist or homophobic jokes, can nevertheless be funny. What remains controversial is whether the moral flaws in these jokes can sometimes increase their humour. Moderate comic immoralism claims that it is possible, in at least some cases, for moral flaws to increase the humour of jokes. Critics of moderate comic immoralism deny that this ever occurs. They recognise that some jokes are both funny (...) and immoral, yet they claim that it is always something other than the moral flaws of jokes that contribute to their humour. In a series of recent papers, Aaron Smuts has pressed this objection to moderate comic immoralism. I argue that Smuts' attempt to narrow the range of cases in which humour can be attributed to immoral features is not sufficient to demonstrate that moderate comic immoralism is false. Specifically, I claim that Smuts cannot rule out a case for moderate comic immoralism grounded in the possibility that humour is normatively relative while the ethical status of jokes is not. (shrink)

Christian Smith has described the religious attitudes of American youth and many adults as Moralistic Therapeutic Deism. In this formulation the word “therapeutic” does much work, and is meant to indicate that the goal of life is to be happy, to which end religion is instrumental. Martha Nussbaum has argued that Hellenistic schools of philosophy were therapeutic and instrumental in much the same way, and that this is a possible mode of philosophy even today. Appealing to the historical investigations of (...) Pierre Hadot and Giovanni Reale, this paper shows that Neoplatonism was an even more successful form of therapeutic philosophy, a fact which Augustine recognized and to which he responded in his therapeutic masterpiece Confessions, through his depiction of his mother as a sage. This suggests that Catholicism can be powerful when presented therapeutically, which might be a more appropriate mode for evangelism in our therapeutic age. (shrink)

According to immoralists, some artworks are better aesthetically in virtue of their immorality. A. W. Eaton recently offered a novel defence of this view, seeking to overcome shortcomings in previous accounts, thereby occasioning a reconsideration of immoralism. Yet, as I argue in this paper, Eaton’s attempt is unsuccessful, insofar as it consists partly of inadequately supported claims, and partly—and more interestingly, albeit paradoxically––of covert moralist assumptions that are, eo ipso, incompatible with immoralism. I then turn to a parallel debate in (...) ethics concerning the possibility of admirable immorality, suggesting that a consideration of the state of that debate further supports my argument against immoralism. I close by suggesting some strategies by which immoralists may offer a rejoinder, although I note that their prospects are rather dim, not least because available defences of immoralism and similar positions all seem to share the same flawed pattern. (shrink)

Dietrich Bonhoeffer's thinking about ethics and Christianity is a fascinating attempt to combine different, and often conflicting, strands in the Christian intellectual tradition. In this article, I outline his thinking, analyse the advantages and disadvantages in his approach, and relate it to developments in contemporary philosophy. His critique of an excessive stress upon principles and abstraction in opposition to a concern for concrete circumstances is, I argue, best seen as a necessary critique of what I call moralism rather than (...) morality. It is also related to recent philosophical theories of particularism and the debates about ‘emergency ethics’ in current philosophy. On the negative side, Bonhoeffer has a tendency to treat non-Christian ethics as necessarily relativist and at times is excessively influenced by the elements in Christian theological tradition that are hostile to the natural and to non-Christian philosophy. In addition, his invocation of ‘the Divine mandates’ seems to have undesirable implications for some genuine values in liberal democratic theory and practice. (shrink)

This article sets out some of the key features of a realist critique of liberal moralism, identifying descriptive inadequacy and normative irrelevance as the two fundamental lines of criticism. It then sketches an outline of a political theory of modus vivendi as an alternative, realist approach to political theory. On this account a modus vivendi should be understood as any political settlement that involves the preservation of peace and security and is generally acceptable to those who are party to (...) it. In conclusion, some problems with this conception of modus vivendi and with a realist political theory more generally are discussed. In particular, the question is raised of whether a realist political theory should be understood as an alternative to liberal moralism or only a better way of doing basically the same kind of thing. (shrink)

abstract In this paper moralism is defined as the illicit use of moral considerations. Three different varieties of moralism are then discussed — moral absolutism, excessive standards and demandingness, and presenting non‐moral considerations as moral ones. Both individuals and theories can be regarded as moralistic in some of these senses. Indeed, some critics of consequentialism have regarded that theory as moralistic. The author then describes the problems associated with each sense of ‘moralism’ and how casuistry evolved to (...) try to deal with some of these problems. The author also defends consequentialism against one charge of moralism [1]. (shrink)

Introduction: De la morale dans la littérature.--François Rabelais.--Michel de Montaigne.--Pierre Charron.--Étienne de la Boëtie.--Jean Bodin.--Michel de l'Hôpital.--Dix-septième siècle: considérations préliminaires.--La Rochefoucauld.--La Bruyère.--Récapitulation: moralistes ascétiques, période intermédiaire.--Saint-Evremond.--Pierre Bayle.--De la spontanéité de l'esprit humain en matière de philosophie.--La volonté cherchant sa loi.