En defensa del “argumento maestro” de Berkeley

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Berkley’s so-called “master argument”—through which he proves his principle esse est percipi—has been submitted to mixed criticisms by various commentators. Some defend its validity from the perspective of their own interpretations, while some claim that the argument is fallacious due to several obj...

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Detalles Bibliográficos
Autor: Prado Velásquez, Alvaro Antonio
Formato: artículo
Fecha de Publicación:2023
Institución:Pontificia Universidad Católica del Perú
Repositorio:PUCP-Institucional
Lenguaje:español
OAI Identifier:oai:repositorio.pucp.edu.pe:20.500.14657/196454
Enlace del recurso:https://revistas.pucp.edu.pe/index.php/arete/article/view/27923/25920
https://doi.org/10.18800/arete.202302.008
Nivel de acceso:acceso abierto
Materia:Berkeley
Master argument
Idea
Perception
Intentionality
Argumento maestro
Percepción
Intencionalidad
https://purl.org/pe-repo/ocde/ford#6.03.01
Descripción
Sumario:Berkley’s so-called “master argument”—through which he proves his principle esse est percipi—has been submitted to mixed criticisms by various commentators. Some defend its validity from the perspective of their own interpretations, while some claim that the argument is fallacious due to several objections. This article defends the master argument against three objections raised by Russell, Pitcher and Tipton. These could be respectively characterized as “the objection of the confusion of the perceptive act with the perceived object”, “the objection of the confusion of the concept of the object with the object itself”, and “the objection of the solipsism of the present”. I present my own reading of the master argument in order to avoid misunderstandings and claim that the correct understanding of this argument requires considering the following issues: the clarification of the Berkeleyan concepts of idea and perception; the explication of the intentionality of perception, understood as its intentional direction towards intentional objects (ideas); and the distinction between two levels of intentional direction of mediated experience (of an idea through another one)—that is, a level directed towards the concept or mental representation as its immediate intentional object, and another level directed towards the represented object as its mediated intentional object.
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