Book Description: First published in 1980, this contribution to political thought is a statement of the traditional conservative position. Roger Scruton challenges those who would regard themselves as conservatives, and also their opponents. Conservatism, he argues, has little in common with liberalism, and is only tenuously related to the market economy, to monetarism, to free enterprise or to capitalism. It involves neither hostility towards the state, nor the desire to limit the state's obligation towards the citizen. Its conceptions of (...) society, law and citizenship regard the individual not as the premise but as the conclusion of politics. At the same time it is fundamentally opposed to the ethic of social justice, to equality of station, opportunity, income and achievement, and to the attempt to bring major institutions of society such as schools and universities under government control. (shrink)

It seems odd to say that photography is not a mode of representation. For a photograph has in common with a painting the property by which the painting represents the world, the property of sharing, in some sense, the appearance of its subject. Indeed, it is sometimes thought that since a photograph more effectively shares the appearance of its subject than a typical painting, photography is a better mode of representation. Photography might even be thought of as having replaced painting (...) as a mode of visual representation. Painters have felt that if the aim of painting is really to reproduce the appearances of things, then painting must give way to whatever means are available to reproduce an appearance more accurately. It has therefore been said that painting aims to record the appearances of things only so as to capture the experience of observing them and that the accurate copying of appearances will normally be at variance with this aim. Here we have the seeds of expressionism and the origin of the view that painting is somehow purer when it is abstract and closer to its essence as an art. Roger Scruton is the author of Art and Imagination, The Aesthetics of Architecture, The Meaning of Conservatism, From Descartes to Wittgenstein, and The Politics of Culture and Other Essays. (shrink)

Wittgenstein's contribution to musical aesthetics is not often discussed, which is surprising, given his rare musicality and musical connections. His distinctive achievement is to have focused on the question of musical understanding, and to have connected this with two other philosophical problems: the nature of the first-person case, and the understanding of facial expressions. Wittgenstein's third-person approach to philosophical psychology leads him to emphasize the role of performance in the understanding of music, and also to introduce an ‘intransitive’ concept of (...) expression. At times Wittgenstein seems to be arguing for an entirely non-relational account of musical meaning; however, a proper analysis of the first-person case shows that his theory of musical understanding might allow that, at some level, you understand a piece of music only if you imaginatively grasp the state of mind expressed by it. (shrink)

Following his celebrated book The Aesthetics of Music, Scruton explores the fundamental elements that constitute a great piece of music.

There is a certain attitude which makes freedom the main business of political thought and civil liberty the aim of government. I shall use the word ‘liberalism’ to refer to this attitude, in the hope that established usage will condone my description. And I shall explore and criticize two aspects of liberal thought: first, the concept of freedom in which it is based; secondly, the attack upon what Mill called the ‘despotism of custom’. My conclusions will be tentative; but I (...) should like to suggest that, properly understood, freedom and custom may require each other. Moreover to describe them as opposites is to make it impossible to see how either could be valued by a rational being, or why any politician should concern himself with their support or propagation. (shrink)

My intention is to show that, starting from an empiricist philosophy of mind, it is possible to give a systematic account of aesthetic experience. I argue that empiricism involves a certain theory of meaning and truth; one problem is to show how this theory is compatible with the activity of aesthetic judgment. I investigate and reject two attempts to delimit the realm of the aesthetic: one in terms of the individuality of the aesthetic object, and the other in terms of (...) 'aesthetic properties'. I go on to argue that aesthetic descriptions must not be thought to ascribe properties to their objects, and I show how the suggestion that they are non-descriptive need not conflict with the empiricist view of meaning. The problem is then seen to lie with the analysis of the 'acceptance-conditions' of aesthetic descriptions. I counter certain idealist objections to this approach, and then present a theory of imagination, in terms of which the acceptance conditions of aesthetic judgments may be described. This theory attempts to explain how the element of thought in aesthetic appreciation may become inseparable from an experience of its object, and how the aesthetic emotions are both like and unlike their equivalents in life. The first part concludes with an analysis of the general conditions of aesthetic experience. I try to show that aesthetic experience can be described in terms of certain 'formal' properties, independently of its material object. In the second part I am concerned to show that this empiricist theory of aesthetics does not, like most empiricist theories, make nonsense of our appreciation of art. First, I attempt to show that 'understanding' art is not merely a cognitive process, but involves certain experiences that can be accounted for in terms of the previous theory. I then analyse the concepts of representation and expression, and in the course of this analysis I attempt to refute what I take to be the most serious rival analysis of our appreciation of art - the semantic theory. (shrink)

What is music, what is its value, and what does it mean? In this stimulating volume, Roger Scruton offers a comprehensive account of the nature and significance of music from the perspective of modern philosophy. The study begins with the metaphysics of sound. Scruton distinguishes sound from tone; analyzes rhythm, melody, and harmony; and explores the various dimensions of musical organization and musical meaning. Taking on various fashionable theories in the philosophy and theory of music, he presents a (...) compelling case for the moral significance of music, its place in our culture, and the need for taste and discrimination in performing and listening to it. Laying down principles for musical analysis and criticism, this bold work concludes with a theory of culture--and a devastating demolition of modern popular music. "A provocative new study."--The Guardian. (shrink)

This good-humoured book offers an antidote to the pretentious clap-trap that is written about wine today and a profound apology for the drink on which..

Music may be used to express emotion, to heighten a drama, to emphasize the meaning of a ceremony; but it is nevertheless an abstract art, with no power to represent the world. Representation, as I understand it, is a property that does not belong to music.

There is a real distinction between fantasy and imagination, which corresponds in part to Coleridge's distinction between fancy and imagination. Fantasy seeks substitute objects for a real emotion: it therefore involves the 'realization' of its object in a perfect simulacrum. Imagination seeks unreal objects for unreal emotions, and therefore is thwarted by the presentation of a simulacrum. At the same time, the motive of imagination is to understand what is real, and to respond with emotional alertness to it. The cinema (...) awakens and satisfies fantasy. But it has difficulty in giving full elaboration to an imaginative thought. Its principle is not reality but realization. (shrink)

I am reluctant to add to the many definitionsof modernity, or to encourage the belief that definitions matter. Nevertheless, a changecameintothe worldwhenpeoplebegantodefinethemselves as modern—as in some way 'apart from'their predecessors, standing to them in some new and self-conscious relationship. And this couldserve as a definitionof modernity:as the conditionin which people provide definitions of modernity. For there is a great differencebetween living in history—which, for rational beings, is unavoidable—andlivingaccordingtoan idea ofhistory, and of one's own place within it.

The argument is currently made that hunting seriously compromises the welfare of the hunted animal, in a way that is morally unacceptable. The paper presents a theory of animal minds, and a theory of our duties of care towards members of other species. It goes on to examine what is meant by compromising welfare, discusses the crucial concept of stress as this concept features in animal welfare science, and explores the conditions under which stress becomes distress. The argument moves towards (...) the conclusion that there are conditions under which distress inflicted by a human being is morally unacceptable, but that these conditions are not met by the normal methods of hunting with hounds, even though they are frequently met by shooting and trapping. (shrink)

Abstract Scientific advances have made the end of life into the primary concern of medicine. But medicine also postpones the end of life, often until the time when we no longer have the mental and physical capacity to deal with it. I argue that we need to develop Nietzsche's idea of timely death, in order to find a moral basis for health care at the end of life, and that the crucial factor is the cultivation of the virtues that would (...) enable us to live in another and more reckless way. We should look on the problem not from the first-person point of view, but from the perspective of the other, and ask ourselves what is most admirable in another person, in his or her attitude to death. The point of timely death is to make death into the completion of life, where life is understood as a moral rather than a biological idea. (shrink)

Roger Scruton; XI*—Intensional and Intentional Objects, Proceedings of the Aristotelian Society, Volume 71, Issue 1, 1 June 1971, Pages 187–208, https://doi.org.

A dazzling treatise, as erudite and eloquent as Simone de Beauvoir's The Second Sex and considerably more sound in its conclusion - TLS "He is an eloquent and practised writer" - The Independent (UK) When John desires Mary or Mary desires John, what does either of them want? What is meant by innocence, passion, love and arousal, desire, perversion and shame? These are just a few of the questions Roger Scruton addresses in this thought-provoking intellectual adventure. Beginning from purely (...) philosophical premises, and ranging over human life, art and institutions, he surveys the entire field of sexuality; equally dissatisfied with puritanism and permissiveness, he argues for a radical break with recent theories. Upholding traditional morality - though in terms that may shock many of its practitioners - his argument gravitates to that which is candid, serene and consoling in the experience of sexual love. (shrink)

Received by the British press with equal acclaim and indignation, this book sets out to define and defend high culture against the world of pop, corn, and popcorn. It shows just why culture matters in an age without faith, and gives an extended argument, drawing on philosophy, criticism, and anthropology, against the "post-modernist" world-view. Scruton offers a penetrating attack on deconstruction, on Foucault, on Nietzschean self-indulgence, and on the "culture of repudiation" which has infected the modern academy. But his (...) book is not only negative. It is a celebration of the true heroes of modern culture and a call to the higher life. The American edition of this famous and notorious work has been revised to take account of the controversy which it has inspired, and contains new material specially directed to Americans. (shrink)

In addition the book also includes a good number of unpublished essays.

A compelling defense of the sacred by one of today's leading philosophers In The Soul of the World, renowned philosopher Roger Scruton defends the experience of the sacred against today's fashionable forms of atheism. He argues that our personal relationships, moral intuitions, and aesthetic judgments hint at a transcendent dimension that cannot be understood through the lens of science alone. To be fully alive—and to understand what we are—is to acknowledge the reality of sacred things. Rather than an argument (...) for the existence of God, or a defense of the truth of religion, the book is an extended reflection on why a sense of the sacred is essential to human life—and what the final loss of the sacred would mean. In short, the book addresses the most important question of modernity: what is left of our aspirations after science has delivered its verdict about what we are? Drawing on art, architecture, music, and literature, Scruton suggests that the highest forms of human experience and expression tell the story of our religious need, and of our quest for the being who might answer it, and that this search for the sacred endows the world with a soul. Evolution cannot explain our conception of the sacred; neuroscience is irrelevant to our interpersonal relationships, which provide a model for our posture toward God; and scientific understanding has nothing to say about the experience of beauty, which provides a God’s-eye perspective on reality. Ultimately, a world without the sacred would be a completely different world—one in which we humans are not truly at home. Yet despite the shrinking place for the sacred in today’s world, Scruton says, the paths to transcendence remain open. (shrink)

The doctrine of a ‘state of nature’ is at best a metaphor. Nevertheless it enables us to describe with vividness the distinction between those goods which might precede, and those which can only result from, the formation of society. I suspect that the goods which establish our well-being as rational creatures belong exclusively to the latter class, so that a rational creature is necessarily a zōon politikon.

German Idealism began with Leibniz and lasted until Schopenhauer, with a few central European after-shocks in the work of Husserl and his followers. That great epoch in German philosophy coincided with a great epoch in German music. It is scarcely surprising, therefore, that Idealist philosophers should have paid special attention to this art form. Looking back on it, is there anything of this prolonged encounter between music and philosophy that we can consider to be a real advance, and one that (...) we should draw on? Many have thought so, not least because Idealism, as it matured in the post-Kantian period, inherited the adulation for art in general, and music in particular, that we find in the writings of the German Romantics, notably in Schiller, Tieck and Wackenroder. The post-Kantian Idealists connected aesthetic experience with their claims to reveal the secret meaning of things, in the infinite, the absolute, the transcendental, the ineffable or some other such object of a quasi-religious devotion. Such we find in the writings of Schelling, Fichte, Hegel and Schopenhauer, the last of whom made music not only an object of philosophy, but a prime example of it. Music, Schopenhauer wrote, is not unconscious arithmetic, as Leibniz had claimed, but unconscious philosophy, since in music the inner essence of the world, which is will, is made directly present to the intellect. (shrink)

Judgments of beauty are neither subjective nor arbitrary, and are a necessary part of practical reasoning in any attempt to harmonise our activities and ways of life with those of our neighbours. The creation of a neighbourhood, a place, a home, or any other settlement in which people of different occupations and views reside side by side involves coordination of a kind that only aesthetic judgment can reliably achieve. And that is why judgment of that kind exists, and why a (...) rational being who has no grasp of it is incapacitated. (shrink)

Brings together essays on the philosophy of art in which a philosophical theory of aesthetic judgment is tested and developed through its application to particular examples. Each essay approaches, from its own field of study, what Roger Scruton argues to be the central problems of aesthetics -- what is aesthetic experience, and what is its importance for human conduct? The book is divided into four parts. The first contains a resume of modern analytical aesthetics, which also serves as an (...) introduction to subsequent chapters. It also includes an essay that reviews current theories of literary criticism. The second part is devoted to musical aesthetics and contains the theoretical core of the work. Here Scruton describes the contours of aesthetic understanding, and defends the view that the object of aesthetic experience is inherently significant, even when it has no "content" that can be described in propositional terms. He rebuts the view that music is representational, and in the third part goes on to propose a theory of representation whereby to refute the suggestion that photography is a representational art. This third section also contains a study of film. The final part comprises essays relating aesthetic judgment to the understanding of culture, humor, and design. It covers many subjects, including the prose works of Samuel Beckett and the architecture of Leninism. The essays in this book form parts of a single intellectual enterprise, which is to give analytical foundations to the criticism of literature, visual art, music, and culture. (shrink)

Immanuel Kant is one of the most influential-and most complex-modern philosophers. His ideas on the subjective nature of reality challenged contemporary beliefs about God, morality, and free will. Roger Scruton, a well-known and controversial philosopher in his own right, tackles his exceptionally complex subject with a strong hand, providing an accessible introduction to Kant's work and his pivotal Critique of Pure Reason.

Human beings talk and co-operate, they build and produce, they work to accumulate and exchange, they form societies, laws and institutions, and, in all these things the phenomenon of reason—as a distinct principle of activity—seems dominant. There are indeed theories of the human which describe this or that activity as central—speech, say, productive labour (Marx), or political existence (Aristotle). But we feel that the persuasiveness of such theories depends upon whether the activity in question is an expression of the deeper (...) essence, reason itself, which all human behaviour displays. (shrink)

From Botticelli to birdsong, Mozart, and the Turner Prize, Roger Scruton explores what it means for something to be beautiful. This thought-provoking introduction to the philosophy of beauty draws conclusions that some may find controversial, but, as Scruton shows, help us to find greater sense of meaning in the beautiful objects around us.

Human Beauty 3. Natural Beauty 4. Everyday Beauty 5. Artistic Beauty 6. Taste and Order 7. Eros and Art 8. Sacred Beauty Notes and Further Reading.

This paperback edition is fully updated with new chapters on the livestoick crisis, fishing and BSE and a layman's guide introduction to philosophical concepts, ...

Explores the various approaches to the analysis of music, and the kinds of questions they are designed to answer. Analysis is relevant only if it explores the intentional order of a piece of music rather than its acoustical order; this means that theories of analysis are ultimately theories of what is or can be heard, and are best understood as attempting the ‘emendation of the ear’. Vindicates motivic and related forms of musical analysis against the charge that they are indifferent (...) to musical meaning. (shrink)

Musical understanding, as described in preceding chapters, is clearly dependent on a musical culture. What exactly do we mean by culture? Ch. 15 develops a theory of culture as rooted in the religious experience, which it perpetuates in aesthetic form. Hence, culture is inherently liable to crises, as faith dwindles or vacillates. We are living through such a crisis now. It is a crisis that was radically misunderstood by Adorno, who nevertheless introduced an important element of sociological criticism into the (...) study of musical banality. The book concludes with some pre‐modern responses to post‐modern doubts. (shrink)

Er is een groot verschil tussen een slecht en een kwaadaardig mens. In de wereldliteratuur vinden wij vele voorbeelden, waarin het diabolische karakter wordt beschreven. Maar nog gevaarlijker is de ideologie, die tot individuele kwaadaardigheid aanzet en deze rechtvaardigt. Daarbij speelt de seksualiteit vanouds een rol in de verleiding van de mens tot het kwaad.

Explores the parallels and divergences between music and language, dismisses certain fashionable semiotic approaches, and tries to show that recent attempts to give a generative theory of musical syntax are fundamentally mistaken. Explores the suggestions that music has syntax and a rule‐guided structure, and argues that these suggestions are based on metaphors. The meaning of a piece of music is given by perception, not by convention.

It has always been controversial to make a sharp distinction between the philosophical and the psychological approaches to aesthetics; and the revolution brought about by cognitive science has led many to believe that the philosophy of art no longer controls a sovereign territory of its own. To take one case in point: recent aesthetics has addressed the problem of fiction, asking how it is that real emotions can be felt towards merely imagined events. Several philosophers have tried to solve this (...) problem by leaning on observations in psychology – Jenefer Robinson, for example, exploring the domain of pre-conscious and non-rational responses, and Greg Currie, invoking simulation theory from the realm of cognitive science. I am not yet persuaded that either has succeeded in solving the philosophical question: but the fact that such sophisticated and well-informed philosophers should begin from studies in empirical psychology says much about how the subject of aesthetics has changed since the early days of linguistic analysis. (shrink)