1. In the Essay, Locke’s most controversial claim, which he slipped into Book IV almost as an aside, was that matter might think (Locke1975:IV.iii.6;540-1).i Either because he was genuinely pious, which he was, or because he was clever, which he also was, he tied the denial that matter might think to the claim that God’s powers are limited, thus, attempting to disarm his critics. It did not work. Stillingfleet and others were outraged. If matter can think, then for explanatory purposes (...) the immaterial soul might be dispensable. But throughout the eighteenth century explanatory purposes were at the top of the agenda. And what had always made the soul so handy for proving immortality - that it is non-composite, static, and inaccessible to empirical examination - is also what made it so useless for investigating human nature. By contrast, consciousness is multifaceted, dynamic, and open to empirical investigation. Early in the century a Clarke might take the high road and resist descent into the merely probable and contingent. But when it came to investigating persons, the emerging science of human nature was the only game in town. One either played it or took oneself out of the action. (shrink)

In the decades following the British victory at the Battle of Plassey (1757), officials of the East India Company transmitted new knowledge of Indian religious texts and traditions to European read...

The theme of this book is the crisis of the early modern state in eighteenth-century Britain. The revolt of the North American colonies and the simultaneous demand for wider religious toleration at home challenged the principles of sovereignty and obligation that underpinned arguments about the character of the state. These were expressed in terms of the 'common good', 'necessity', and 'community' - concepts that came to the fore in early modern European political thought and which gave expression to (...) the problem of defining legitimate authority in a period of increasing consciousness of state power. The Americans and their British supporters argued that individuals ought to determine the common good of the community. A new theory of representation and freedom of thought defines the cutting edge of this revolutionary redefinition of the basic relationship between individual and community. (shrink)

This collection of texts on the Sublime provides the historical context for the foundation and discussion of one of the most important aesthetic debates of the Enlightenment. The significance of the Sublime in the eighteenth century ranged across a number of fields - literary criticism, empirical psychology, political economy, connoisseurship, landscape design and aesthetics, painting and the fine arts, and moral philosophy - and has continued to animate aesthetic and theoretical debates to this day. However, the unavailability of (...) many of the crucial texts of the founding tradition has resulted in a conception of the Sublime often limited to the definitions of its most famous theorist Edmund Burke. Andrew Ashfield and Peter de Bolla's anthology, which includes an introduction and notes to each entry, offers students and scholars ready access to a much deeper and more complex tradition of writings on the Sublime, many of them never before printed in modern editions. (shrink)

"Recent years have seen a growing interest among scholars of 18th-century German philosophy in the period between Wolff and Kant. This book challenges traditional interpretations of this period that focus largely on post-Leibnizian rationalism and, accordingly, on a depreciation of the contribution of the senses to knowledge about the world and the self. It addresses the divergent ways in which eighteenth-century German philosophers reconceived the notion and role of experience in their efforts to identify, defend, and contest (...) the contribution of foundational a priori principles and empirical data to the various branches of metaphysics, the natural sciences, and emerging disciplines such as psychology and aesthetics. The chapters are organized according to the four major schools that defined the various phases of German Enlightenment philosophy: Wolff and Wolffianism, Eclecticism and Populärphilosophie, the Berlin Academy, and Kant. Each chapter is devoted to one or more philosophers, several of whom are seriously under investigated or even unknown outside small circles of specialists. By framing the period in terms of the notion of experience, this book presents a more nuanced understanding of the German reception of British and French ideas and theories, dismisses the prevailing view that German philosophy was largely isolated from European debates, introduces a number of relatively unknown, but highly relevant philosophers and developments to non-specialized scholars, and contributes to a better understanding of the richness and complexity of the German Enlightenment"--. (shrink)

This chapter reflects on the readings and uses of Virgil in British imperial contexts during the eighteenth and nineteenth centuries. The British interest in Virgil heightened during the middle of the eighteenth century, when Britain was establishing its Second Empire. In the age of Elizabeth I and Shakespeare, Virgil was often deployed by writers in different imperial situations. Writers such as Edward Gibbon turned to Virgil not because of a desire to promote monarchical imperialism (...) but with the aim of evaluating the mechanism of the empire, to explore its limits and contradictions, and to question its durability. In Victoria’s reign, when the empire in India seemed to several Britons to be long lasting, many prominent figures highlighted the providential and prophetic interpretations of Virgil, and speculated about an empire that was divinely ordained and infinite. Among these prominent personages were Tennyson, Auden, Bryce, and so on. These themes of British Empire within the context of Virgil’s writings are examined from the time of Gibbon to the Victorians, in order to describe the interweaving relationships and patterns that link Virgil and the history of the empire. (shrink)

Psychology considered as a natural science began as Aristotelian "physics" or "natural philosophy" of the soul. C. Wolff placed psychology under metaphysics, coordinate with cosmology. Scottish thinkers placed it within moral philosophy, but distinguished its "physical" laws from properly moral laws (for guiding conduct). Several Germans sought to establish an autonomous empirical psychology as a branch of natural science. British and French visual theorists developed mathematically precise theories of size and distance perception; they created instruments to test these theories (...) and to measure visual phenomena such as the duration of visual impressions. These investigators typically were dualists who included mental phenomena within nature. (shrink)

This article contributes to the historiography of scientific objectivity as well as to the broader attempt to historicize basic epistemic categories by examining the case of empirical psychology in eighteenth-century Germany. From the time when the philosopher Christian Wolff first presented empirical psychology in the late 1720s until Kantian philosophers elaborated on the topic towards the end of the century, the discourse hinged on discussions of how to obtain scientific knowledge of the soul. Whereas the work of (...) Wolff and his followers reflected established epistemic techniques for accomplishing this, from the early 1770s philosophers highlighted a new category of difficulties connected to the development of a systematic method of psychological self-observations. These difficulties, I argue, both complement and complicate the picture of how the subject became an obstacle to knowledge first in the mid-nineteenth century. (shrink)

The description for this book, Eighteenth-Century British Logic and Rhetoric, will be forthcoming.

18th-century British aesthetics addressed itself to a variety of questions: What is taste? What is beauty? Is there is a standard of taste and of beauty? What is the relation between the beauty of nature and that of artistic representation? What is the relation between one fine art and another? How ought the fine arts be ranked one against another? What is the nature of the sublime and ought it be ranked with the beautiful? What is the nature (...) of genius and what is its relation to taste? -/- Although none of these questions was peripheral to 18th-century British aesthetics, not all were equally central. The question on which the others tended to turn was the question concerning the nature of taste. But this question was not simply how best generally to define taste. Everyone seems to have been in at least rough agreement with Joseph Addison’s early definition of taste as “that faculty of soul, which discerns the beauties of an author with pleasure, and the imperfections with dislike” (Addison and Steele 1879, no. 409). But agreeing with Addison meant agreeing only to use “taste” to refer to that faculty and to acknowledge that such discerning has something of the phenomenology of sensation. The central question was how to think of taste so defined. Is taste a higher, cognitive faculty, akin perhaps to reason, with objects of a primarily intellectual nature? Or is it a lower, bodily faculty, more akin to the five bodily senses, and with objects of a primarily material nature? The major theories that arose in response to this question can be grouped into three main lineages: (a) internal-sense theories, of which the theories of Shaftesbury (1711), Hutcheson (1725), Hume (1739–40, 1751, and 1757) and Reid (1785) are representative; (b) imagination theories, of which theories of Addison (1712) and Burke (1757/59) are representative; and (c) association theories, of which the theories of Gerard (1757) and Alison (1790) are representative. (shrink)

This essay takes on two tasks. First it updates the standard list of eighteenth-century British reviews of Hume's writings by providing references to additional reviews which do not appear in the Hume literature. To Jessop's list of eighteen British reviews, thirteen new reviews are listed for first edition publications of Hume's writings and eight new reviews are listed for eighteenth-century abridgments and collections containing Hume's writings. Second, this essay presents a history of the early (...) British review journals and a discussion of the scholarly merits of the Hume reviews. (shrink)

Containing twenty-two essays, including Dabney Townsend's essay on the development of eighteenth century aesthetics to make the history of aesthetics accessible to both students and specialists alike.

This article reconstructs the biography of a little-known Italian priest, Francesco Bellisomi (1663–1741), in order to trace the intellectual and political dimensions of religious reformism in early eighteenth-century Europe. Its primary objective is to demonstrate the causal relationships between three trends: firstly, pietistic spiritual reform influenced by mystical theology; secondly, ecumenical dialogue among Protestants and between Protestants, Catholics and Orthodox Christians; and thirdly, the political articulation of the non-confessional state. By following a persecuted Bellisomi from Pavia to Rome, (...) and then on to Venice, Vienna, Halle, Berlin and London, it depicts the strands connecting the political, intellectual and religious environment on the Italian Peninsula, within the Holy Roman Empire and in the British Isles. From the latter seventeenth century, the equation of confessionalism – the alliance of a confessionalising church and a centralising state – was being undermined across Europe. One factor in this process was enthusiasm for a supra-confessional ecclesia universalis, the nature of which was highly contested. Bellisomi’s life offers a unique window onto this networked and inter-confessional intellectual culture. (shrink)

This chapter describes various aspects of the impact on philosophy of Newton’s Principia. It shows how Newton’s achievement dramatically influenced debates over the way subsequent philosophers conceived of their activity, and thus prepared the way for an institutional and methodological split between philosophy and science. These large-scale themes are illustrated by attention to a number of detailed debates over the nature and importance of Newton’s legacy: debates concerning gravity and matter theory, the status of Newton’s “laws of motion”, the role (...) of final causes in natural philosophy, and the interpretation of Newton’s “rules for the study of natural philosophy”. Important contributors to these debates included Hume, Colin Maclaurin, Priestley, and Reid. The chapter also includes discussion of how eighteenth-century philosophers understood Newton’s place in the history of science. (shrink)

This volume re-examines traditional interpretations of the rise of modern aesthetics in eighteenth-century Britain and Germany. It provides a new account that connects aesthetic experience with morality, science, and political society. In doing so, the book challenges longstanding teleological narratives that emphasize disinterestedness and the separation of aesthetics from moral, cognitive, and political interests. The chapters are divided into three thematic parts. The chapters in Part I demonstrate the heteronomy of eighteenth-century British aesthetics. They chart (...) the evolution of aesthetic concepts and discuss the ethical and political significance of the aesthetic theories of several key figures, namely the third Earl of Shaftesbury, David Hume, and Adam Smith. Part II explores the ways in which eighteenth-century German thinkers examine aesthetic experience and moral concerns and relate to the work of their British counterparts. The chapters here cover the work of Kant, Moses Mendelssohn, Alexander Gottlieb Baumgarten, and Madame de Staël. Finally, Part III explores the interrelation of science, aesthetics, and a new model of society in the work of Goethe, Johann Wilhelm Ritter, Friedrich Hölderlin, and William Hazlitt, among others. This volume develops unique discussions of the rise of aesthetic autonomy in the eighteenth century. In bringing together well-known scholars working on British and German eighteenth-century aesthetics, philosophy, and literature, it will appeal to scholars and advanced students in a range of disciplines who are interested in this topic. (shrink)

This is a comprehensive reference source on 18th-century authors writing in the English language about philosophical ideas and issues. It features authors taken from 1689 through to the mid-19th century, the period beginning with John Locke and ending with Dugald Stewart. The word philosophical is used in a wide, 18th-century sense. Therefore, the Dictionary includes epistemology, ethics, aesthetics, education, politics, rhetoric, science, medicine, biology, geology, chemistry and theology.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Dictionary of Eighteenth-Century British PhilosophersHeiner F. KlemmeJohn W. Yolton, John Valdimir Price, John Stephens, general editors. The Dictionary of Eighteenth-Century British Philosophers. Vols. 1, 2. Bristol: Thoemmes Press, 1999. Pp. xxiii + 1,013. Cloth, $550.00.Good dictionaries are like good maps of a city: they indicate the main and minor quarters, give you an impression of its internal developments, and they indicate (...) to where its highways eventually lead. In philosophy, comprehensive subject dictionaries have a long history, and they do seem to experience a revival these days. To be sure, the lives and works of the leading figures of the history of ideas are generally well explored and documented. We even know which French dishes Hume liked to cook or which types of wine Kant preferred. But the lives and works of lesser known philosophers and men of letters still seem to be more or less neglected. The Dictionary of Eighteenth-Century British Philosophers fills this gap for the period and the subject it covers. It comprises entries on almost six hundred persons as well as a number of entries on anonymous works. The work of close to a hundred scholars from several countries, it is unique in its attempt to bring together in two extensive volumes all minor and major British philosophers of the period between John Locke and Dugald Stewart. Since "British" is to be understood in a broad sense meaning authors who lived under British rule, it also includes Americans writing before 1776, Irish philosophers (like George Berkeley) and the French thinker Pierre Desmaizeaux, who lived and worked for a long period in Britain. Nor is the Dictionary restricted to philosophers in today's sense of the word, comprising entries on people who made in one way or the other a contribution to the history of ideas, even if their contributions are of marginal importance. Besides historians, poets, translators, mathematicians and physicists, dissenting ministers and physicians are well represented.In almost all cases, the selection makes sense. The boundaries between philosophy and, say, natural sciences were not as nicely drawn in the eighteenth century as they are today. But there are a few entries where one might wonder whether the subject's work had any specific philosophical importance or influence at all, as for example: Charles Burnet, author of a history of music; John Ellicott, who wrote on Electricity, and Thomas Innes, who published in 1729 a book on "Ancient Inhabitants on the Northern Parts of Britain or Scotland." One might also wonder if Gaelic scholar Beg Eolach Moidhach would appreciate being remembered today as a British philosopher.The length of the entries varies from several lines to up to seven pages. Generally, each entry gives the details of the life and work of the person covered, provides a bibliography of his or her main works, references to "other relevant works," and a section of "further reading." While the larger entries are naturally devoted to the better known figures, most of the authors dealt with in the minor sections cannot complain either. In many cases, information about the life and work of these minor authors is scarce and the entries are useful for this reason alone. But unfortunately, there are also cases in which essential references to "classical" biographical accounts are not listed in the bibliography, like Williams Smellie´s account of James Gregory or George Skene Keith´s biography of John Campbell.The entries on Lord Kames and George Turnbull lay, as far as their length is [End Page 282] concerned, somewhere in the middle between the shorter and longer contributions. They nevertheless are highly informative, densely argued, and are good reading. Knud Haakonssen sees in Kames "perhaps the most complete 'Enlightenment man' among the eighteenth-century Scottish thinkers´" because he covers like no other author "the whole spectrum of human knowledge and its applicability to his society" (503). The most philosophical work of Kames is his Essays on the Principles of Morality and Natural Religion (1751). According to Haakonssen, it is important because in it Kames "turns the previous moral-sense criticism of moral scepticism into a refutation of general epistemological scepticism" (504). By arguing that our... (shrink)

Taste and Experience in Eighteenth Century Aesthetics acknowledges theories of taste, beauty, the fine arts, genius, expression, the sublime and the picturesque in their own right, distinct from later theories of an exclusively aesthetic kind of experience. By drawing on a wealth of thinkers, including several marginalised philosophers, Dabney Townsend presents a novel reading of the century to challenge our understanding of art and move towards a unique way of thinking about aesthetics. Speaking of a proto-aesthetic, Townsend (...) surveys theories of taste and beauty arising from the empiricist shift in philosophy. A proto-aesthetic was shaped by the philosophers who followed Locke and accepted that theories of taste and beauty must be products of experience alone. Francis Hutcheson, David Hume, Alexander Gerard and Thomas Reid were among the most important advocates, joined by others who re-thought traditional topics. Featuring chapters tracing its philosophical principles, issues raised by the subjectivity of the empiricist approach and the more academic proto-aesthetic formed toward the end of the century, Townsend argues that Lockean empiricism laid the foundations for what we now call aesthetics. (shrink)

The eighteenth century was a time of brilliant philosophical innovation in Britain. In Of Liberty and Necessity James A. Harris presents the first comprehensive account of the period's discussion of what remains a central problem of philosophy, the question of the freedom of the will. He offers new interpretations of contributions to the free will debate made by canonical figures such as Locke, Hume, Edwards, and Reid, and also discusses in detail the arguments of some less familiar writers. (...) Harris puts the eighteenth-century debate about the will and its freedom in the context of the period's concern with applying what Hume calls the "experimental method of reasoning" to the human mind. His book will be of substantial interest to historians of philosophy and anyone concerned with the free will problem. (shrink)

The ‘musca depicta’ trope is well known to art historians, with a history going back to Pliny. It flourished in the Renaissance, but in eighteenth-century England the meaning of the trope was altered greatly when employed in popular culture, both in live theatrical presentations (by George Alexander Stevens) and in published poetry (by James Robertson, comedian of York). Originally, the trope signalled the virtuosity of the painter, who was able to fool the eye by depicting flies so real (...) that the viewer attempted to shoo them off the picture. However, in the hands of Stevens and Robertson, that bit of theatre was turned on its head, as the supposed connoisseur engaged in a harsh criticism of a painting is startled when a fly that he thinks poorly depicted suddenly flies off the canvas, thereby rendering the connoisseur a satiric target. (shrink)

British writers of the eighteenth century such as Shaftesbury and Hutcheson are widely thought to have used the notion of disinterestedness to distinguish an aesthetic mode of perception from all other kinds. This historical view originates in the work of Jerome Stolnitz. Through a re-examination of the texts cited by Stolnitz, I argue that none of the writers in question possessed the notion of disinterestedness that has been used in later aesthetic theory, but only the ordinary, non-technical (...) concept, and that they did not use this notion to define a specifically aesthetic mode of perception or a specifically aesthetic mode of anything else. The nearest thing that they had to the Stolnitzian conception of “the aesthetic” was their conception of taste, which differs from the former in some essential respects. (shrink)

Introduction -- Stoic ethics and rhetoric -- Eighteenth-century common sense and sensus communis -- Taste and sensus communis -- Propriety, sympathy, and style fusing individual and social -- Victorian language theories and the decline of sensus communis.

Do people only act out of self-interest? Or is there a less pessimistic explanation for human behaviour? Maurer delves into early-Enlightenment debates on self-love from both famous and lesser known authors, including Lord Shaftesbury, Bernard Mandeville, Francis Hutcheson, Joseph Butler, Archibald Campbell, David Hume and Adam Smith.

The 18th-century emergence of aesthetics has been interpreted as a symptom of the entrance of a new image of man, individuality, a modern conception of subjectivity, a new mode of experience, as well as a new ideology or the modern concept of (fine) art into European consciousness. And even though these narratives all situate aesthetics within heteronomous contexts—from physiology and psychology to morality and politics, from social and economic history to belief and religion—one narrative came out as victorious, which (...) neglects the eighteenth-century interpenetration of various disciplines. It offers instead a teleological history of aesthetics which leads towards the concept of autonomy, aesthetic and/or artistic, as it takes shape, allegedly, in the aesthetics of Kant and then Romanticism. The new volume of the Routledge Studies in Eighteenth-Century Philosophy, entitled Beyond Autonomy in Eighteenth-Century British and German Aesthetics, joins the growing body of scholarship that re-examines the influential narratives of autonomy. (shrink)

Now reissued with substantial new material, The Seventh Sense is the definitive study of the aesthetic theory of the great eighteenth-century philosopher Frances Hutcheson, and its huge influence on British aesthetics. Peter Kivy's book is a seminal work on early modern aesthetics, and has been much in demand since going out of print some years ago; this new edition brings the book up to date with the addition of eight essays that Kivy has written on the subject (...) since 1976. (shrink)

Despite the fact that the High-Church Tory, Mary Astell, held political views diametrically opposed to the Whiggish Catharine Trotter Cockburn and Catharine Macaulay, it is here argued that their metaethical views were surprisingly similar. All were influenced by a blend of Christian universalism and Aristotelian eudaimonism, which accepted the existence of a law of nature, that we strive for happiness, and that happiness results from living in accord with our God-given nature. They differed with regard to epistemological issues; the means (...) by which we can know the law of nature, and with regard to the characterization of that nature; our telos. Traces of the ethical theories developed by these women can also be seen in the works of the philosophically informed novelists, Sarah Fielding, Jane Collier, Sarah Scott, and Hannah More. (shrink)

The Seventh Sense is the definitive study of the aesthetic theory of the great eighteenth-century philosopher Francis Hutcheson, arguably the founder of the modern discipline of aesthetics, and one of the most important figures of the Scottish Enlightenment. This new edition brings Peter Kivy's seminal work back into print, substantially expanded by the addition of seven essays, which deal primarily with Hutcheson's relation to other thinkers, and his influence on eighteenth- and early nineteenth-century aesthetics.Part I of (...) The Seventh Sense presents a detailed analysis of Hutcheson's aesthetic theory. Part II traces the considerable influence of Hutcheson's theory up to the early years of the nineteenth century. Part III is a new and substantial addition to the original work, collecting Peter Kivy's essays on this topic since the first edition appeared, which deal primarily with Hutcheson, David Hume, and Thomas Reid. Philosophers of art, historians of philosophy, and historians working on eighteenth-century European art and culture will find this new edition an invaluable resource. (shrink)

INTRODUCTIONThe contemporary debate over the moral status of animals reflects a mixture of traditions. Utilitarianism, which measures moral standing in terms of the ability to suffer, has been used to defend the widening-circle conception of morality. The difference between humans and other animals vis-à-vis moral standing diminishes in its light. Focusing on questions of agency, conscience, and reflective powers, the differences between humans and nonhumans seem greater. Darwinism has been invoked to bridge the gaps between the intellectual and moral capacities (...) of humans and those of other animals. This has led some to argue either that differences in agency, conscience, and the power to reflect are overrated or that they may not be absolute indicators of moral consideration.Debates over the moral status of nonhuman animals have had a long and stormy history. The considerations that drive the current debate – questions of the intellectual capacities of animals, questions about their moral sensibilities, and questions about their sensitive capacities – are ancient. Nonetheless, they first began to assume their modern form in the writings of the eighteenth-century British moral philosophers. Those individuals were struggling with the moral implications of discoveries in the natural sciences and an increasingly secularized approach to philosophical issues. Vivisection experiments and rudimentary anatomical studies not only showed that the bodies of animals were remarkably similar to the bodies of human beings but also showed that the brutes were capable of experiencing pain and suffering. (shrink)

This book affects a rapprochement between memory studies and eighteenth-century aesthetics with the aim of modifying received views on the role and fate of memory in the history of criticism. It argues that the philosophical problems characterizing conceptualizations of memory unsettle its opposition to the imagination and explain its relation to literary discourse. Moving from the Muses through Plato and Descartes to works by Pope, Addison, Gerard, and Kames, the book traces these problems through various "figures" representing notions (...) of memory and claims that eighteenth-century critical thought exploited a constructive sense of memory for accounts of the notion of the imagination. Komáromy thus argues for the persistence of the literary relevance of memory even in a poetics of the imagination, offering a new perspective on the changing relation of memory and imagination at a point in the history of criticism that has determined the critical assessment of these concepts. (shrink)