5.1 The reception of Hume's views ‘Of suicide’ was received with the same degree of public hostility as his essay on immortality. Here is what an anonymous reviewer of the 1777 posthumous edition of both essays had to say in the Monthly Review (1784, vol. 70, pp. 427–8): Were a drunken libertine to throw out such nauseous stuff in the presence of his Bacchanalian companions, there might be some excuse for him; but were any man to advan 4.1 Why was our immortality an issue? When reading about Hume's death you may have been puzzled as to why people became so worked up about Hume's attitude. The question of what, if anything, happens after death is something most of us are at least curious about, just as most of us are curious to know what we will be doing in a few years’ time. But curiosity cannot explain the venom evident in the condemnations of Hume. The reason for the hostility can be approached by considering the opera Don Giovanni. The opera i 7.1 The Enlightenment, the French Revolution, Britain and Europe Je suis tombé par terre, C'est la faute à Voltaire; Le nez dans le ruisseau, C'est la faute à Rousseau [I've tumbled to the ground thanks to Voltaire; With my nose in the brook, thanks to Rousseau] So ran a ditty popular after the Revolution, which blamed it on Voltaire and Rousseau. 6 The Thermidorian Settlement and the end of the Revolution In Thermidor (July) 1794 there was a further political coup, this time engineered by deputies in the Convention who felt that Jacobin fanaticism, mob violence and bloodshed had got wildly out of hand and feared for their own lives. They succeeded in outmanoeuvring Robespierre, who was arrested and (after a botched suicide attempt) guillotined together with over 100 other Jacobins. The Thermidorians then put a stop to show trials and bloodletting. They also called in the army to put dow 5.3 The Marseillaise During the Revolutionary Wars, as Robespierre insisted, ‘republican enthusiasm must be exalted by all means possible’. The Jacobins encouraged a revolutionary solidarity and patriotism, expressed in the slogan ‘Liberty, Equality, Fraternity’. The Marseillaise began as the ‘battle-hymn of the army of the Rhine’, composed by Rouget de Lisle in April 1792 immediately after France declared war on Francis of Austria. It acquired its name when a battalion of volunteers from Marse 3.2 Popular violence and the Revolution The deputies were concerned to protect property and maintain order (as the 1790 decree on the abolition of nobility suggests) in the face of a growing breakdown of public order; and their attitude to the masses – to what the demagogic journalist Jean-Paul Marat (1744–93) called le petit peuple (the little people), the millions of propertyless, distressed, violent and unpredictable ‘fellow citizens’ – was one of growing apprehension. The people traditionally rioted when bread 2.3 Fall of the Bastille, 14 July 1789 In a similar mood of aggrieved self-righteousness and revolutionary exultation came the fall of the Bastille, the medieval fortress and prison of Paris, on 14 July 1789. A catastrophic harvest in 1788 had provoked food riots in Paris and elsewhere. Louis XVI, alarmed both by this unrest and by the unexpected belligerence of the Third Estate, called troops into Paris to maintain order. It was feared that he also aimed to suppress the National Assembly, which rallied its supporters. The Parisia 1.8 Conflict and tension The management of a site such as Aberdulais Falls by its very nature highlights conflicting interests and tensions. Some relate to problems caused by the decision-making process itself, which can be slow and has to accommodate a range of interests of the various client bodies. For example, when a new information centre was to be built on the site, the client bodies involved in making decisions about its overall appearance, form and fabric were: the National Trust Planning Committee, the Acknowledgements The material acknowledged below is Proprietary (not subject to Creative Commons licensing) and used under licence. See terms and conditions. Grateful acknowledgement is made to the following: Figure 1 Bodleian Library; Figure 2 Keele University, Turner Collection; Figure 7 Deutsches Museum, Munich. The material acknowledged below is contained in The History of Mathematics – A Reader (1987) J Fauvel and 2.5 Is the author dead? When Roland Barthes (1915–80) wrote ‘The Death of the Author’ (first published 1968, reprinted in Barthes 1977), he did not mean that, like Wimsatt and Beardsley, the author had been, or should always have been, absent in the interpretation of art works. Instead his position is a historicised one: while once it might have been acceptable to refer to the author in the interpretation of an art work, now, in a post-modern world, it is not. Michel Foucault (1926–84) responded to Barthes ( 2.1 ‘Every painter paints himself’? Art history methods of biography or ‘Life’ writing attempt to link an artist to his art. Why do we need to know about an artist's life to know about his art in the first place? Why might Helen Langdon want to explain Caravaggio the man and not just his world or his art? Behind this questions lies a problem central to art history. Do we need to know about artists to know about their art? Martin Kemp gives the link between an artist and his art a historical comple 1.3 Artists' ‘Lives’ Helen Langdon's subtitle ‘A Life’ points to a very particular combination of literary and artistic sources in her biography. Catherine M. Soussloff suggests that the literary genre of artists' ‘Lives’ has led to the artist and his work being ‘inextricably entwined’ in a way that does not happen in the ‘Lives’ of poets or prose writers (Soussloff, 1990, p. 154). Although she overstates the case, as recent biographies of novelists, musicians, etc. demonstrate, artworks ca 1.2 The myth of the artist Consider Howard Hibbard's analysis of Caravaggio's The Martyrdom of St Matthew in the Contarelli chapel (Langdon Plate 19 – see the Web Gallery of Art at http://www.wga.hu/frames-e.html?/html/c/caravagg/04/index.html) from his monograph, Caravaggio (1983). Hibbard identifies the figure at the rear to the left of the semi-naked executioner as the artist's self-portrait: ‘a bearded, saturnine villain who is none other than Caravaggio himself’. Discography Details of the recordings of Schubert's lieder provided in this unit are as follows: 'Heidenrölein' Irmgard Seefreid, Hermann von Nordberg (rec 1947), TESTAMENT SBT 1026 'Wanderers Nachtlied' Hans Hotter, Gerald Moore (rec 1949), EMI CDH5 65196-2 'Gretchen am Spinnrade' 1 Schubert: introduction This unit focuses on a selection of short poems in German that were set to music by Franz Schubert (1797–1828) for a single voice with piano, a genre known as ‘Lieder’ (the German for ‘songs’). These are miniatures, but in Schubert's hands they become miniatures of an exceptionally concentrated kind. Their characteristic distillation of the emotional essence of a poem illustrates Romanticism at its most intimate. Schubert's Lieder, once they became widely known, influenced succeedin References 3.5 New light on compatibilist versus incompatibilist debate Strawson has attempted to throw new light on the compatibilist versus incompatibilist debate by showing that there are certain ‘reactive attitudes’ that are a necessary part of the framework of anything that is recognizably the life of a person. His argument has centred on the claim that is it ‘useless’ to question these attitudes. He argues this by showing the role they have in our lives, and arguing that they are part of the ‘framework’ of life. We could put the point as follows 3.4 Strawson: Section VI There is only one more section left in the paper. Here, as we would expect, Strawson returns to the way in which he set out the problem (in II:4) and makes good his promise to ‘[give] the optimist something more to say’. Introduction This unit asks what it is to be a person. You will see that there are several philosophical questions around the nature of personhood. Here we explore what it is that defines the concept. As you work through the unit, you will notice that this area of enquiry has developed its own semi-technical vocabulary. The plural of ‘person’ is, in this area of enquiry, ‘persons’ rather than ‘people’. It is easy to see the reason for this. The question ‘What are people?’ is potentially c Acknowledgements This unit was written by Dr Inga Mantle
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(Quoted in Hugo, n.d., pp.204–5; trans. Lentin)
Author(s):
Ayer, A.J., 1954. ‘Freedom and necessity’, in Watson 1982, 15–23.
Butterfield, J., 1998. ‘Determinism’, in Craig 1998.
Craig, E., 1998. Routledge Encyclopedia of Philosophy, London and New York: Routledge.
Chisholm, R.M., 1964. ‘Human freedom and the self’, in Watson 1982, 24–35.
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