scholarly journals Reading Hume on the passions

2021 ◽  
Vol 1 (34) ◽  
pp. 73-94
Author(s):  
Gabriel Watts
Keyword(s):  
Human Nature ◽  
Reception History ◽  
Good Sense ◽  
History Of ◽  
Philosophical Importance

This paper provides a reception history of Book Two of the Treatise-Of the passions-as well as an attempt to reconcile Hume's ambitions to systematicity in Book Two with the distracted and distracting nature of the text. We currently have, I think, a good sense of the philosophical importance of Book Two within Hume's science of human nature. Yet we have not made much progress on understanding Book Two on its own terms, and especially why Book Two so often seems on the verge of falling into an explanatory heap. I aim to rectify this situation by giving a reading of Book Two that makes sense of the philosophical importance of Hume's system of the passions, yet also explains why he encounters so many difficulties in setting out his system; such that he is often forced to stretch his explanations to the very edge of the credible. I contend that Hume's system of the passions is best viewed as an unstable explanatory compound, one that progressively dissolves as Hume's explanatory intentions become increasingly ambitious.

Human Nature

2020 ◽  
pp. 3-71
Author(s):  
Laurie M. Johnson
Keyword(s):  
Civil War ◽  
International Relations ◽  
Human Nature ◽  
Brute Force ◽  
Peloponnesian War ◽  
Human Beings ◽  
Good Sense ◽  
History Of

This chapter discusses Thucydides' and Hobbes's ideas of human nature, which are often said to be very similar. International relations theorists are just as much prone to this mistake as others, referring to Thucydides, as they do to Hobbes, as a “realist.” Hobbes's view is close to the view of the famous “Athenian thesis” repeated throughout Thucydides' History of the Peloponnesian War. That thesis is similar in many ways to the realist thesis, claiming that human beings are universally selfish and always motivated by fear, honor, and interest. Since they are compelled by their passions, they are not to be blamed for their actions, and, as Thucydides' character Diodotus points out, they can be controlled only through superior power and brute force. However, the chapter argues that, in contradiction to the Athenian thesis, Thucydides' overall treatment of human nature proves that it is not so uniform and that passions do not force people to act. Individuals are responsible for their actions, capable of reason, and therefore guilty when they allow their passions to overcome their good sense. In Thucydides' view, political problems cannot be permanently solved, because there are elements in human nature that cannot be manipulated. While Thucydides depicts the bloodthirsty violence of civil war as well as genocidal international warfare as products of the extreme pressures of war, Hobbes sees them as events that take place whenever there is no power strong enough to prevent them.

The Modernities of H. Lawrence Freeman

2019 ◽  
Vol 72 (3) ◽  
pp. 719-779
Author(s):  
David Gutkin
Keyword(s):  
Nineteenth Century ◽  
New York ◽  
Reception History ◽  
Black Press ◽  
Late Nineteenth Century ◽  
Starting Point ◽  
History Of ◽  
Late Nineteenth ◽  
White Press ◽  
Grand Opera

H. Lawrence Freeman's “Negro Jazz Grand Opera,” Voodoo, was premiered in 1928 in Manhattan's Broadway district. Its reception bespoke competing, racially charged values that underpinned the idea of the “modern” in the 1920s. The white press critiqued the opera for its allegedly anxiety-ridden indebtedness to nineteenth-century European conventions, while the black press hailed it as the pathbreaking work of a “pioneer composer.” Taking the reception history of Voodoo as a starting point, this article shows how Freeman's lifelong project, the creation of what he would call “Negro Grand Opera,” mediated between disparate and sometimes apparently irreconcilable figurations of the modern that spanned the late nineteenth century through the interwar years: Wagnerism, uplift ideology, primitivism, and popular music (including, but not limited to, jazz). I focus on Freeman's inheritance of a worldview that could be called progressivist, evolutionist, or, to borrow a term from Wilson Moses, civilizationist. I then trace the complex relationship between this mode of imagining modernity and subsequent versions of modernism that Freeman engaged with during the first decades of the twentieth century. Through readings of Freeman's aesthetic manifestos and his stylistically syncretic musical corpus I show how ideas about race inflected the process by which the qualitatively modern slips out of joint with temporal modernity. The most substantial musical analysis examines leitmotivic transformations that play out across Freeman's jazz opera American Romance (1924–29): lions become subways; Mississippi becomes New York; and jazz, like modernity itself, keeps metamorphosing. A concluding section considers a broader set of questions concerning the historiography of modernism and modernity.

Divination and Human Nature

2016 ◽  
Author(s):  
Peter T. Struck
Keyword(s):  
Human Nature ◽  
Classical Antiquity ◽  
History Of ◽  
The Rich ◽  
New Perspective ◽  
Observable Fact

This book casts a new perspective on the rich tradition of ancient divination—the reading of divine signs in oracles, omens, and dreams. Popular attitudes during classical antiquity saw these readings as signs from the gods while modern scholars have treated such beliefs as primitive superstitions. The book reveals instead that such phenomena provoked an entirely different accounting from the ancient philosophers. These philosophers produced subtle studies into what was an odd but observable fact—that humans could sometimes have uncanny insights—and their work signifies an early chapter in the cognitive history of intuition. Examining the writings of Plato, Aristotle, the Stoics, and the Neoplatonists, the book demonstrates that they all observed how, setting aside the charlatans and swindlers, some people had premonitions defying the typical bounds of rationality. Given the wide differences among these ancient thinkers, the book notes that they converged on seeing this surplus insight as an artifact of human nature, projections produced under specific conditions by our physiology. For the philosophers, such unexplained insights invited a speculative search for an alternative and more naturalistic system of cognition. Recovering a lost piece of an ancient tradition, this book illustrates how philosophers of the classical era interpreted the phenomena of divination as a practice closer to intuition and instinct than magic.

Creatures of Cain

2018 ◽  
Author(s):  
Erika Lorraine Milam
Keyword(s):  
World War Ii ◽  
Human Nature ◽  
Race And Gender ◽  
Late Night ◽  
Hollywood Films ◽  
Political Debates ◽  
American Science ◽  
Human Exceptionalism ◽  
History Of ◽  
And Gender

After World War II, the question of how to define a universal human nature took on new urgency. This book charts the rise and precipitous fall in Cold War America of a theory that attributed man's evolutionary success to his unique capacity for murder. The book reveals how the scientists who advanced this “killer ape” theory capitalized on an expanding postwar market in intellectual paperbacks and widespread faith in the power of science to solve humanity's problems, even to answer the most fundamental questions of human identity. The killer ape theory spread quickly from colloquial science publications to late-night television, classrooms, political debates, and Hollywood films. Behind the scenes, however, scientists were sharply divided, their disagreements centering squarely on questions of race and gender. Then, in the 1970s, the theory unraveled altogether when primatologists discovered that chimpanzees also kill members of their own species. While the discovery brought an end to definitions of human exceptionalism delineated by violence, the book shows how some evolutionists began to argue for a shared chimpanzee–human history of aggression even as other scientists discredited such theories as sloppy popularizations. A wide-ranging account of a compelling episode in American science, the book argues that the legacy of the killer ape persists today in the conviction that science can resolve the essential dilemmas of human nature.

John among the Apocalypses

2020 ◽  
Author(s):  
Benjamin E. Reynolds
Keyword(s):  
Gospel Of John ◽  
Central Place ◽  
Reception History ◽  
Genre Theory ◽  
Synoptic Gospels ◽  
Book Of Revelation ◽  
Distinctive Features ◽  
History Of ◽  
Definition Of ◽  
And Function

The central place of revelation in the Gospel of John and the Gospel’s revelatory telling of the life of Jesus are distinctive features of John when compared with the Synoptic Gospels; yet, when John is compared among the apocalypses, these same features indicate John’s striking affinity with the genre of apocalypse. By paying attention to modern genre theory and making an extensive comparison with the standard definition of “apocalypse,” the Gospel of John reflects similarities with Jewish apocalypses in form, content, and function. Even though the Gospel of John reflects similarities with the genre of apocalypse, John is not an apocalypse, but in genre theory terms, John may be described as a gospel in kind and an apocalypse in mode. John’s narrative of Jesus’s life has been qualified and shaped by the genre of apocalypse, such that it may be called an “apocalyptic” gospel. Understanding the Fourth Gospel as “apocalyptic” Gospel provides an explanation for John’s appeal to Israel’s Scriptures and Mosaic authority. Possible historical reasons for the revelatory narration of Jesus’s life in the Gospel of John may be explained by the Gospel’s relationship with the book of Revelation and the history of reception concerning their writing. An examination of Byzantine iconographic traditions highlights how reception history may offer a possible explanation for reading John as “apocalyptic” Gospel.

The Gospel as Manuscript

2020 ◽  
Author(s):  
Chris Keith
Keyword(s):  
Crucial Role ◽  
Literary Tradition ◽  
Reception History ◽  
Early History ◽  
First Century ◽  
Interdisciplinary Work ◽  
The Public ◽  
History Of ◽  
New Material ◽  
Material History

This book offers a new material history of the Jesus tradition. It shows that the introduction of manuscripts to the transmission of the Jesus tradition played an underappreciated but crucial role in the reception history of the tradition that eventuated. It focuses particularly on the competitive textualization of the Jesus tradition, whereby Gospel authors drew attention to the written nature of their tradition, sometimes in attempts to assert superiority to predecessors, and the public reading of the Jesus tradition. Both these processes reveal efforts on the part of early followers of Jesus to place the gospel-as-manuscript on display, whether in the literary tradition or in the assembly. Building upon interdisciplinary work on ancient book cultures, this book traces an early history of the gospel as artifact from the textualization of Mark in the first century until the eventual usage of liturgical reading as a marker of authoritative status in the second and third centuries and beyond. Overall, it reveals a vibrant period of the development of the Jesus tradition, wherein the material status of the tradition frequently played as important a role as the ideas about Jesus that it contained.

Narratology

2019 ◽  
Author(s):  
Genevieve Liveley
Keyword(s):  
Reader Response ◽  
Literary Theory ◽  
Chicago School ◽  
Reception History ◽  
First Century ◽  
Unreliable Narrator ◽  
Affect And Cognition ◽  
History Of ◽  
Ars Poetica

This book explores the extraordinary contribution that classical poetics has made to twentieth- and twenty-first-century theories of narrative. Its aim is not to argue that modern narratologies simply present ‘old wine in new wineskins’, but to identify the diachronic affinities shared between ancient and modern stories about storytelling, recognizing that modern narratologists bring particular expertise to bear upon ancient literary theory and offer valuable insights into the interpretation of some notoriously difficult texts. By interrogating ancient and modern narratologies through the mutually imbricating dynamics of their reception it aims to arrive at a better understanding of both. Each chapter selects a key moment in the history of narratology on which to focus, zooming in from an overview of significant phases to look at core theories and texts—from the Russian formalists, Chicago school neo-Aristotelians, through the prestructuralists, structuralists, and poststructuralists, to the latest unnatural and antimimetic narratologists. The reception history that thus unfolds offers some remarkable plot twists. It unmasks Plato as an unreliable narrator and theorist, and offers a rare glimpse of Aristotle putting narrative theory into practice in the role of storyteller in his work On Poets. In Horace’s Ars Poetica and in the works of ancient scholia critics and commentators it locates a rhetorically conceived poetics and a sophisticated reader-response-based narratology evincing a keen interest in audience affect and cognition—and anticipating the cognitive turn in narratology’s mot recent postclassical phase.

Reception History and the Interpretation of Revelation

2020 ◽  
pp. 375-393
Author(s):  
Ian Boxall
Keyword(s):  
Visual Art ◽  
Textual Criticism ◽  
Reception History ◽  
Biblical Text ◽  
Music Drama ◽  
History Of Interpretation ◽  
History Of ◽  
Biblical Texts

The chapter describes the discipline of reception history as the study of the ongoing use, interpretation, and impact of a biblical text. If the history of interpretation has often focused on the ways biblical texts are understood in commentaries and theological writings, reception history also considers how a book was received in spirituality and worship, in music, drama, literature, visual art, and textual criticism. Criteria for selecting and organizing materials useful for reception history are discussed, and there is a review of recent attempts to provide broad overviews of Revelation’s reception history, along with specific examples of the value of the discipline for interpreting Revelation.

The Opera and the Omnibus: Material Culture, Urbanism and Boieldieu's La dame blanche

2020 ◽  
Vol 32 (1) ◽  
pp. 90-114
Author(s):  
Nicole Vilkner
Keyword(s):  
Material Culture ◽  
Business Model ◽  
Public Transportation ◽  
Reception History ◽  
Transportation Systems ◽  
Mass Transportation ◽  
Musical Work ◽  
The World ◽  
History Of

AbstractIn the summer of 1828, the Entreprise générale des Dames Blanches launched a fleet of white omnibuses onto the streets of Paris. These public transportation vehicles were named and fashioned after Boieldieu's opéra comique La dame blanche (1825): their rear doors were decorated with scenes of Scotland, their flanks painted with gesturing opera characters, and their mechanical horns trumpeted fanfares through the streets. The omnibuses offered one of the first mass transportation systems in the world and were an innovation that transformed urban circulation. During their thirty years of circulation, the omnibuses also had a profound effect on the reception history of Boieldieu's opera. When the omnibuses improved the quality of working- and middle-class life, bourgeois Parisians applauded the vehicles’ egalitarian business model, and Boieldieu's opera became unexpectedly entwined in the populist rhetoric surrounding the omnibus. Viewing opera through the lens of the Dames Blanches, Parisians conflated the sounds of opera and street, as demonstrated by Charles Valentin Alkan's piano piece Les omnibus, Op. 2 (1829), which combines operatic idioms and horn calls. Through these examples and others, this study examines the complex ways that material culture affects the dissemination and reception of a musical work.

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