Julie Walsh

When we consider early modern philosophers who engage with sceptical arguments, Nicolas Malebranche is not usually among the first names to come to mind. But, while Malebranche does not spend much time with this topic, the way in which he responds to it when he does is nevertheless valuable. This is because his response underlines the central role of a particular principle in his system: the utter dependence of all created things on God. In this paper, I argue that the end of Malebranche’s engagement with scepticism in general is to show that it is a position, like atheism, that is only possible if one has a disordered imagination. And, importantly, one feature of a disordered imagination is the questioning or denial of what Malebranche takes to be a foundational principle of human knowledge: that we, and all other finite things, utterly depend on God for everything.

among nicolas malebranche’s most influential contributions to philosophy are his defense of occasionalism, his highly original theodicy, and his philosophical method elaborated in greatest detail in his magnum opus De la Recherche de la vérité. In his account of occasionalism, Malebranche argues that finite things have no causal power and that God is the only true causal agent. Malebranche’s theodicy—his attempt to reconcile the existence of evil in the world with the existence of an all-good and all-powerful God—is most thoroughly developed in Traité de la nature et de la grâce. Malebranche’s theodicy revolves around a..

Richard Watson’s Descartes’s Ballet engages three main questions uncommon to traditional Cartesian scholarship: Did Descartes script La Naissance de la Paix, the ballet performed in honor of Queen Christina’s twenty-third birthday in December 1649? Did Descartes have a political philosophy? Did Descartes read the French dramatist Pierre Corneille? Watson answers no, yes, and yes.By emphasizing the complete lack of evidence that Descartes wrote La Naissance de la Paix, Watson disarms the suggestion made by Adrien Baillet, Descartes’s seventeenth-century biographer, that Descartes authored the ballet. Watson further suggests that only someone who was immersed in the subtleties of political culture in the Swedish court and was in Christina’s confidence could have written it. And Descartes, he argues, could not have met this description. Had it been written by Descartes, the ballet could have provided a foundation on which to build an interpretation of Cartesian political philosophy. Without it, explicit textual support for the construction of Descartes’s political philosophy is nonexistent. Undaunted by the lack of texts, Watson nevertheless constructs one based largely on the