My aim is to point out the way in which the theories of passions are the roots from which the rising modern subject develops. This is particularly clear in drama and in politics: both audience and people are stimulated by scenic actions and by government promises or deeds. Conflicting affects relating to outward display or to the heart cause an increase or a lowering of virtue in the subject. I consider Descartes and Spinoza, and the members of the Nil volentibus arduum society – Spinoza’s friends like Lodewijk Meyer and Johannes Bouwmeester. Unlike Descartes, the latter examine the use of the passions at both an artistic and political level. This brings out their homology based on the identity of the processes that engender the passions on the stage and in society. On one side, a passion can be dispelled only by a stronger passion; on the other, this determines a prevalence of appearance over reality. Creating illusions is the secret of both the theater and of government. The issue for the philosopher is that these illusions should lead to virtue and what the truth of virtue is.
Audience and people between illusion and virtue. The passions on stage from Descartes to Spinoza
Roberto Bordoli
2020
Abstract
My aim is to point out the way in which the theories of passions are the roots from which the rising modern subject develops. This is particularly clear in drama and in politics: both audience and people are stimulated by scenic actions and by government promises or deeds. Conflicting affects relating to outward display or to the heart cause an increase or a lowering of virtue in the subject. I consider Descartes and Spinoza, and the members of the Nil volentibus arduum society – Spinoza’s friends like Lodewijk Meyer and Johannes Bouwmeester. Unlike Descartes, the latter examine the use of the passions at both an artistic and political level. This brings out their homology based on the identity of the processes that engender the passions on the stage and in society. On one side, a passion can be dispelled only by a stronger passion; on the other, this determines a prevalence of appearance over reality. Creating illusions is the secret of both the theater and of government. The issue for the philosopher is that these illusions should lead to virtue and what the truth of virtue is.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
