scholarly journals “You Would Not Seek Me If You Had Not Found Me”—Another Pascalian Response to the Problem of Divine Hiddenness

2021 ◽  
Vol 69 (3) ◽  
pp. 163-214
Author(s):  
Jean-Baptiste Guillon
Keyword(s):  
Blaise Pascal ◽  
First Person ◽  
True Story ◽  
Divine Hiddenness ◽  
New Interpretation

One version of the Problem of Divine Hiddenness is about people who are looking for God and are distressed about not finding him. Having in mind such distressed God-seekers, Blaise Pascal imagined Jesus telling them the following: “Take comfort; you would not seek me if you had not found me.” This is what I call the Pascalian Conditional of Hiddenness (PCH). In the first part of this paper, I argue that the PCH leads to a new interpretation of Pascal’s own response to the problem, significantly different from Hick’s or Schellenberg’s interpretations of Pascal. In short: for any person who is distressed about not finding God, and who (for this reason) seriously considers the Argument from Hiddenness, the PCH would show that their own distress constitutes evidence that God is in fact not hidden to them (because this desire for God has been instigated in them by God himself). In the second part of the paper, I set aside the exegetical question and try to develop this original strategy as a contemporary response to one version of the Problem of Divine Hiddenness, which I call the “first-person problem.” I argue that the PCH strategy offers a plausibly actual story to respond to the first-person problem. As a result, even if we need to complement the PCH strategy with other more traditional strategies (in order to respond to other versions of the problem), the PCH strategy should plausibly be part of the complete true story about Divine Hiddenness.

The Solitary Sphere in the Age of Virgil

2021 ◽  
Author(s):  
Aaron J. Kachuck
Keyword(s):  
Political Education ◽  
First Person ◽  
Tripartite Model ◽  
Latin Literature ◽  
The Public ◽  
Roman Literature ◽  
Roman Culture ◽  
New Interpretation ◽  
The Individual ◽  
Late Works

The Solitary Sphere in the Age of Virgil uses an enriched tripartite model of Roman culture—touching not only the public and the private, but also the solitary—in order to present a new interpretation of Latin literature and of the historical causes of this third sphere’s relative invisibility in scholarship. By connecting Cosmos and Imperium to the Individual, the solitary sphere was not so much a way of avoiding politics as a political education in itself. As reimagined by literature in this age, this sphere was an essential space for the formation of the new Roman citizen of the Augustan revolution, and was behind many of the notable features of the literary revolution of Virgil’s age: the expansion of the possibilities of the book of poetry, the birth of the literary cursus, new coordinations of cosmology and politics within strictly organized schemes, the attraction of first-person genres, and the subjective style. Through close readings of Cicero’s late works and the oeuvres of Virgil, Horace, and Propertius and the works of other authors in the age of Virgil, The Solitary Sphere thus presents a radical reinterpretation of classical Roman literature, and contributes to the study of premodern culture more generally, especially for traditions that have taken antiquity as too fixed a point in their own literary, religious, and cultural histories.

God and First Person in Berkeley

Philosophy ◽  
2007 ◽  
Vol 82 (1) ◽  
pp. 87-114 ◽  
Author(s):  
George Botterill
Keyword(s):  
First Person ◽  
Existence Of God ◽  
Shared Reality ◽  
Freedom Of Movement ◽  
New Interpretation ◽  
The Way

Berkeley claims idealism provides a novel argument for the existence of God. But familiar interpretations of his argument fail to support the conclusion that there is a single omnipotent spirit. A satisfying reconstruction should explain the way Berkeley moves between first person singular and plural, as well as providing a powerful argument, once idealism is accepted. The new interpretation offered here represents the argument as an inference to the best explanation of a shared reality. Consequently, his use of the first person must be taken as ‘exemplary’ rather than ‘Cartesian’. This explains the freedom of movement in the text between singular and plural. However, it also reveals Berkeley as side-stepping sceptical doubt.

scholarly journals SISTER OF THE TYPE: THE FEMINIST COLLECTIVE IN GRANT ALLEN'S THE TYPE-WRITER GIRL

2012 ◽  
Vol 40 (1) ◽  
pp. 229-244
Author(s):  
S. Brooke Cameron
Keyword(s):  
Point Of View ◽  
Real Problem ◽  
First Person ◽  
Men And Women ◽  
The Real ◽  
True Story ◽  
Short Novel ◽  
The World ◽  
The Subject ◽  
Narrative Subject

Grant Allen's short novelThe Type-Writer Girl (1897) opens with a problem. In the first lines we are introduced to our narrator who, we are promptly told, is unemployed: “I was twenty-two and without employment. I would not say by this that I was without occupation. In the world in which we live, set with daisies and kingfishers and undeciphered faces of men and women, I doubt I could be at a loss for something to occupy me” (23; ch. 1). As the second half of this quotation suggests, our narrator is confident that this problem of employment is quite easy to solve, for all around is a world teeming with life, and as we learn by the start of the next paragraph, our narrator does indeed have an occupation, something to fill his/her time. Our narrator is a storyteller: “I cannot choose but wonder who each is, and why he is here. For one after another I invent a story. It may not be the true story, but at least it amuses me” (23; ch. 1). So the real problem, beyond the question of employment, emerges as a question of narrative subject. Who is this narrator, the subject of this first-person story? We do not even know if our narrator is male or female. It is as if he/she is lost amidst that sea of “undeciphered faces of men and women.” Connected to this problem of subject is also the question of form. The first-person point of view would suggest an autobiographical narrative. Yet any expectations of an autobiographical account are immediately undermined in chapter two when we learn that our narrator is named “Juliet Appleton.” This narrative subject does not match the novel's signed author, “Olive Pratt Rayner.” So we are again left with questions: what kind of narrative is this, who is the real subject of this story, what is the form of this narrative, and does our narrator find employment?

First Person on the Last Page: Choosing How to Walk the Path

ASHA Leader ◽  
2014 ◽  
Vol 19 (1) ◽  
pp. 72-72
Author(s):  
Kelli Jeffries Owens
Keyword(s):  
First Person

First-Person Experiments in Thinking

2018 ◽  
Vol 23 (3) ◽  
pp. 189-205 ◽  
Author(s):  
Renatus Ziegler ◽  
Ulrich Weger
Keyword(s):  
Physiological Parameters ◽  
The Self ◽  
First Person ◽  
Psychological Phenomena ◽  
Third Person ◽  
Current Article ◽  
Thinking Process ◽  
Mental Contents

Abstract. In psychology, thinking is typically studied in terms of a range of behavioral or physiological parameters, focusing, for instance, on the mental contents or the neuronal correlates of the thinking process proper. In the current article, by contrast, we seek to complement this approach with an exploration into the experiential or inner dimensions of thinking. These are subtle and elusive and hence easily escape a mode of inquiry that focuses on externally measurable outcomes. We illustrate how a sufficiently trained introspective approach can become a radar for facets of thinking that have found hardly any recognition in the literature so far. We consider this an important complement to third-person research because these introspective observations not only allow for new insights into the nature of thinking proper but also cast other psychological phenomena in a new light, for instance, attention and the self. We outline and discuss our findings and also present a roadmap for the reader interested in studying these phenomena in detail.

Effects of Light-Hearted and Serious Entertainment on Enjoyment of the First and Third Person

2016 ◽  
Vol 28 (1) ◽  
pp. 42-48 ◽  
Author(s):  
Matthias Hofer
Keyword(s):  
Young People ◽  
Media Consumption ◽  
First Person ◽  
Online Experiment ◽  
Entertainment Media ◽  
Third Person Effect ◽  
The Third ◽  
Third Person ◽  
Perceived Enjoyment ◽  
The Third Person

Abstract. This was a study on the perceived enjoyment of different movie genres. In an online experiment, 176 students were randomly divided into two groups (n = 88) and asked to estimate how much they, their closest friends, and young people in general enjoyed either serious or light-hearted movies. These self–other differences in perceived enjoyment of serious or light-hearted movies were also assessed as a function of differing individual motivations underlying entertainment media consumption. The results showed a clear third-person effect for light-hearted movies and a first-person effect for serious movies. The third-person effect for light-hearted movies was moderated by level of hedonic motivation, as participants with high hedonic motivations did not perceive their own and others’ enjoyment of light-hearted films differently. However, eudaimonic motivations did not moderate first-person perceptions in the case of serious films.

Sign in / Sign up

Export Citation Format

Share Document