This paper explores the concept of an ?animal holocaust? by way of J.M. Coetzee's The Lives of Animals, and asks whether the Nazi treatment of the Jews can be legitimately compared to modern factory farming. While certain parallels make the comparison appealing, it is argued, only the holocaust can be described as ?evil.? The phenomena share another feature, however, namely, the capacity of perpetrators to render victims ?invisible.? This leaves the moral dimension of the comparison in tact since it shows (...) defenders and critics of an ?animal holocaust? to be talking about different things: the comparison is offensive for many because it levels degrees of moral value attributed to human and animal life, respectively, while for others it articulates the challenge of bringing non-human sentient beings into the same moral universe as their human counterparts. The paper concludes by asking whether such moral progress can ever render the death of human beings and animals similar in kind. (shrink)

This is the first single volume to offer a comprehensive and systematic account of British and American aesthetics from the early eighteenth century to the late twentieth century.

This paper traces the systematic connections between the structure of Hume's argument in "Of the Standard of Taste" and the way Kant presents the Antinomy of Taste in his Critique of Judgment. It is argued, however, that although there are striking parallels between the way Hume and Kant formulate their respective antinomies, there are significant differences in the way the two philosophers solve them. For while Hume's approach reflects his scepticism about the place of philosophy in common life, Kant's solution (...) confirms his view that philosophy can effectively correct the errors into which human reason naturally falls. (shrink)

Defines the cutting-edge of scholarship on ancient Greek history employing methods from social science.

The book has two aims. First, to examine the extent and significance of the connection between Hume's aesthetics and his moral philosophy; and, second, to consider how, in light of the connection, his moral philosophy answers central questions in ethics. The first aim is realized in chapters 1-4. Chapter 1 examines Hume's essay "Of the Standard of Taste" to understand his search for a "standard" and how this affects the scope of his aesthetics. Chapter 2 establishes that he treats beauty (...) in nature and art and moral beauty as similar in kind, and applies the conclusions about his aesthetics to his moral thought. Chapter 3 solves a puzzle to which this gives rise, namely, how individuals both accept general standards that they also contravene in the course of aesthetic and moral activity. Chapter 4 takes up the normative aspect of Hume's approach by understanding moral character through his view of moral beauty. The second aim of the book is realized in chapters 5-7 by entertaining three objections against Hume's moral philosophy. First, if morality is an immediate reaction to the beauty of vice and the deformity of virtue, why is perfect virtue not the general condition of every human individual? Second, if morality consists of sentiments that arise in the subject, how can moral judgments be objective and claim universal validity? And third, if one can talk of "general standards" governing conduct, how does one account for the diversity of moral systems and their change over time? The first is answered by showing that like good taste in aesthetics, 'right taste' in morals requires that the sentiments are educated; the second, by arguing against the view that Hume is a subjectivist and a relativist, and the third, by showing that his approach contains a view of progress left untouched by any personal prejudices Hume himself might harbor. The book concludes in chapter 7 by showing how Hume's view of philosophy affects the scope of any normative ethics. (shrink)

This volume offers readers a unique and comprehensive overview of theoretical perspectives on "the sublime," the singular aesthetic response elicited by phenomena that move viewers by transcending and overwhelming them. The book consists of an editor's introduction and fifteen chapters written from a variety of disciplinary perspectives. Part One examines philosophical approaches advanced historically to account for the phenomenon, beginning with Longinus, moving through eighteenth and nineteenth century writers in Britain, France, and Germany, and concluding with developments in contemporary continental (...) philosophy. Part Two explores the sublime with respect to particular disciplines and areas of study, including Dutch literature, early modern America, the environment, religion, British Romanticism, the fine arts, and architecture. Each chapter is both accessible for nonspecialists and offers an original contribution to its respective field of inquiry. (shrink)

In his writings Alfred Schutz identifies an artificiality in the concept of life-world produced by Edmund Husserl's method of reduction. As an alternative, he proposes to assume intersubjectivity as a given of everyday life. This eradicates Husserl's distinction between life-world and natural attitude. The subsequent phenomenological project appears to center upon sociological descriptions of the structures of the life-world rather than on a search for apodictic truth. Schutz, however, actually retains Husserl's emphasis on the subject. A tension then arises between (...) the assumption of intersubjectivity and individual experience. Rather than clarifying the concept of intersubjectivity, this further problematizes it. Drawing upon Max Weber's work, Schutz responds by developing a rigorous methodology for studying the social world. But having rejected Husserl's reduction and conflated life-world and natural attitude, Schutz's analysis moves at the level of daily life itself. Consequently, the explanatory categories he proposes appear as abstractions rather than as a way of describing lived experience. Schutz, it is concluded, initiates a scientistic sociology in which the commonsense structures of the natural attitude of everyday life are subverted and replaced by the more rigorous knowledge of the scientific attitude. Schutz's version of phenomenology is ultimately untrue to the spirit of Husserl's original project; and deploying his work as a clear-cut alternative to scientistic tendencies within sociology is not as straightforward as it might at first seem. (shrink)

The British Aesthetic Tradition: From Shaftesbury to Wittgenstein is the first single volume to offer readers a comprehensive and systematic history of aesthetics in Britain from its inception in the early eighteenth century to major developments in Britain and beyond in the late twentieth century. The book consists of an introduction and eight chapters, and is divided into three parts. The first part, The Age of Taste, covers the eighteenth-century approaches of internal sense theorists, imagination theorists and associationists. The second, (...) The Age of Romanticism, takes readers from debates over the picturesque through British Romanticism to late Victorian criticism. The third, The Age of Analysis, covers early twentieth-century theories of Formalism and Expressionism to conclude with Wittgenstein and a number of views inspired by his thought. (shrink)

This paper considers the claim that Hume washostile to religion and religious belief, andhoped for their demise. Part one examines hisapproach to belief, showing how commentatorstake him to see religious belief asnon-natural. Part two challenges thisconclusion by arguing, first, that Hume'sdistinction between natural and artificialvirtue allows the term ``natural'' to coverreligious belief as well; second, that Humehimself never denies religious belief isnatural, and, third, that he takes religion tobe a necessary part of any flourishing society. The target of Hume's critical (...) remarks onreligion, it is then emphasized, are forms of``false'' religion, which arise from thecorrupting influence of passion, hypocrisy,bigotry, enthusiasm, and superstition. Atbest, it is concluded, the claim that Hume washostile to religion requires qualification,while the view that he was in favor of itsactual demise is largely unwarranted. (shrink)

While there is hardly an aspect of Hume’s work that has not produced controversy of one sort or another, deciphering and evaluating his views on aesthetics involves overcoming interpretive barriers of a particular sort. In addition to what is generally taken as the anachronistic attribution of “aesthetic theories” to any thinker of the eighteenth century, Hume presents the added difficulty that unlike the other founding-fathers of modern philosophical aesthetics, he produced no systematic work on the subject, and certainly nothing comparable (...) to his efforts in epistemology, morals, politics, history, and religion. Even interpreting Hume’s most definitive expression of his views on aesthetic questions—the famous essay “Of the Standard of Taste”—is fraught with difficulties and, as the diversity of views on the piece demonstrates, only the most confident reader would take it as an unambiguous statement of Hume’s position. (shrink)

This paper examines the role of the imagination in Hume's epistemology. Three specific powers of the imagination are identified – the imagistic, conceptual and productive – as well as three corresponding kinds of fictions based on the degree of belief contained in each class of ideas the imagination creates. These are generic fictions, real and mere fictions, and necessary fictions, respectively. Through these manifestations, it is emphasized, Hume presents the imagination both as the positive force behind human creativity and a (...) subversive presence that transforms experience while at once making it possible. (shrink)

While there is hardly an aspect of Hume’s work that has not produced controversy of one sort or another, deciphering and evaluating his views on aesthetics involves overcoming interpretive barriers of a particular sort. In addition to what is generally taken as the anachronistic attribution of “aesthetic theories” to any thinker of the eighteenth century, Hume presents the added difficulty that unlike the other founding-fathers of modern philosophical aesthetics, he produced no systematic work on the subject, and certainly nothing comparable (...) to his efforts in epistemology, morals, politics, history, and religion. Even interpreting Hume’s most definitive expression of his views on aesthetic questions—the famous essay “Of the Standard of Taste”—is fraught with difficulties and, as the diversity of views on the piece demonstrates, only the most confident reader would take it as an unambiguous statement of Hume’s position. (shrink)

In his Fifth Meditation, Husserl appears to confront the problem of solipsism. As a number of commentators have suggested, however, since it arises from within phenomenology itself and the existence of the other is never in doubt, it is not a solipsism in the traditional Cartesian sense. Alfred Schutz, however, appears to understand Husserl's inquiry in precisely these terms. As such, his critical discussions of the Fifth Meditation, as well as his subsequent rejection of transcendental philosophy, might not be well-founded. (...) Yet in spite of this misconstrual, Schutz's criticisms do highlight the problematic relationship between subjectivity and intersubjectivity in Husserl's late phenomenology, and albeit misplaced, ironically, his rejection of the Fifth Meditation forms a coherent response to Husserl's call for a “science of the life-world.” Intersubjectivity, Schutz concludes, must be assumed as a basis for phenomenological investigation rather than derived as a result of philosophical inquiry. “Negatively,” this is clearly a departure from Husserl's project since Schutz inevitably negates the “radical” motif under which phenomenological inquiry ostensibly proceeds. “Positively,” however, the project to which this criticism leads—a “phenomenology of the natural attitude”—represents a legitimate direction for phenomenological study as well as a radical turn within the theory and practice of social science. (shrink)

A debate between two aestheticians concerning the relative influence of Scottish and German philosophers on the contemporary discipline. -/- .

Timothy M. Costelloe - Kant and the Culture of Enlightenment - Journal of the History of Philosophy 44:4 Journal of the History of Philosophy 44.4 667-668 Muse Search Journals This Journal Contents Reviewed by Timothy M. Costelloe The College of William and Mary Katerina Deligiorgi. Kant and the Culture of Enlightenment. Albany, New York: SUNY Press, 2005. Pp. xi + 248. Cloth, $70.00. At a time when our attention is overwhelmed by the practical manifestations of power (...) in pursuit of personal, political, and economic gain, it is timely to read a book urging the spirit of the Enlightenment as a palliative for contemporary ills. In Katerina Deligiorgi's recent study, Kant is the spectre haunting the halls of the Enlightenment project, reminding the living that it is a "culture" shaped by the "social ideal" of rational enquiry, self-criticism, and public debate ... (shrink)

This paper distinguishes two components of experience, the subjective and objective, and connects them to the distinction between “individual” and “social” epistemology. These elements, it is then proposed, shape Hume’s approach to knowledge and belief and, by extension, his treatment of taste. The paper con- cludes by distinguishing “philosophical criticism” from “vulgar criticism”; the former reflects Hume’s place in the eighteenth-century “science of man,” while the latter connects him to a tradition that makes aesthetics closer to an art criticism.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Cognition and Commitment in Hume's PhilosophyTimothy M. CostelloeDon Garrett. Cognition and Commitment in Hume's Philosophy. Oxford: Oxford University Press, 1997. Pp. 270. Cloth, $49.95Given that the Hume literature abounds in interpretive disagreements, it is striking to read of Don Garrett's aim "to solve... to be the last word about... [a] set of problems that have long stood in the way of understanding Hume's philosophy" (10); and, as if (...) that were not enough, to see him defining success in terms of grasping Hume's aims, understanding his arguments, and explicating conclusions and interrelations between them (8-9). Somewhere between honesty and hubris, Garrett then investigates various "puzzles" within Hume scholarship. The first three chapters undertake work of clarification. The first addresses "imagination" and "understanding," emphasizing Hume's "rejection of the intellect" within rationalist and empiricist thought, before raising difficulties with and offering solutions to Hume's use of the terms. Garrett then distinguishes five types of empiricism which "produce and reinforce" Hume's status as a cognitive psychologist developing a "theory of representational faculties" (39). Chapters two and three examine Hume's "fundamental principles" (Copy Principle and Separablity Principle) leading Garrett into informative discussions of various doctrines—space and time (152ff), the missing shade of blue (50-53, 73), and "distinctions of reason" (59ff)—arguing that none contradict the principles in question. At the end of the chapter, Garrett concludes Hume's interest in both principles lies less in doctrines each "forbids" than in "investigations... [each] motivates" (75).Armed with a battery of distinctions, the remaining chapters focus on seven such "investigations," each situating the problem, reconstructing Hume's arguments, considering extant interpretations, and offering original solutions to the puzzles posed. In chapter five, for example, Garrett argues that Hume endorses two definitions of "cause," which, neither logically equivalent nor co-extensive, involves Hume in contradiction. Having considered and rejected interpretations by other commentators, Garrett proposes a solution: Since Hume holds both that a "relation" exists only where two or more relations are compared (102-4); and that necessary connection involves "pairs of objects" and "ideas of pairs" (105-6), cause and effect can be defined either as constant conjunction or association. The "contradiction" thus removed, Garrett supports [End Page 441] his case by arguing that since Hume accepts two definitions of "virtue" (107ff.), he can do the same with causality. Finally, Garrett raises four objections to his conclusion and, responding to each, completes his solution to the Humean puzzle.As scholarly and engaging as Garrett's book is, however, the spirit of Hume is often missing from its pages. Although important, an approach which focuses on discrete fundamental principles, sets and solves puzzles, and transforms philosophical prose into lists of numbered propositions, belies Hume as a thinker obsessed with the medium of his message. Philosophy, in Hume's view, is also a matter of taste and character; a way of being and thinking which, as Garrett acknowledges, is integral to the "conduct of...[Hume's] life" (241).No single study can capture Hume's philosophy in its entirety. Yet a book claiming the "last word" might acknowledge the necessary partiality of its approach especially when it affects its own conclusions. First, with few exceptions, Garrett makes almost perfect sense of everything Hume says; and even when found wanting, it is "less philosophically vitiating that one might expect" (39). Charitable readings and Hume's greatness, notwithstanding, for his work to be free of all contradiction would be extraordinary. Second, Garrett's "puzzles" are not always genuine. Emphasizing, for example, how Hume's definitions of cause are the same thing viewed from different perspectives might prevent such a puzzle arising at all; and the evidence for Hume's putative "propositional theory of moral evaluation" is so thin (191) that one suspects Garrett's method to have a hand in generating the alleged contradiction.The same is true of the concluding chapter. Presenting the "puzzle" as a contradiction between skepticism and science, and looking to "human reason" for solace (207), it comes as no surprise that Hume's skepticism should ground and reconfirm "our commitment to reason and its products" (208). Hume's... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Kant and the Culture of EnlightenmentTimothy M. CostelloeKaterina Deligiorgi. Kant and the Culture of Enlightenment. Albany, New York: SUNY Press, 2005. Pp. xi + 248. Cloth, $70.00.At a time when our attention is overwhelmed by the practical manifestations of power in pursuit of personal, political, and economic gain, it is timely to read a book urging the spirit of the Enlightenment as a palliative for contemporary ills. In (...) Katerina Deligiorgi's recent study, Kant is the spectre haunting the halls of the Enlightenment project, reminding the living that it is a "culture" shaped by the "social ideal" of rational enquiry, self-criticism, and public debate (1). Drawing on Kant, Deligiorgi aims both to contribute to understanding the legacy of the Enlightenment and to demonstrate its "relevance" to current political and philosophical concerns (3). She pursues these ends by emphasizing how the power of the Enlightenment is embodied in its own "reflection on the meaning of the term 'enlightenment'" (4); and since this self-critical questioning has a history, unlocking the Enlightenment's past and revealing its future requires reconstructing a path through the philosophical forms that gave it shape. Deligiorgi's chosen route is not systematic, but it does reflect her concern to reveal the steady and reflective progress of human reason towards intellectual, social, and political self-consciousness.In chapter 1, she reminds readers that the guiding light of reason was as much explanandum as explanans for Enlightenment thinkers, dramatized by the failed "social criticism" of Diderot and Rousseau (16) and the retrograde step taken by Mendelssohn and Reinhold, who reached the "unsatisfactory" conclusion that the "final court of judgment" lay with enlightened individuals like themselves rather than with a "public that can act as standing jury... participating in its own enlightenment" (52). However, as Deligiorigi explains in chapter 2, the Enlightenment fulfils its promise in the shape of Kant and his emphasis on "public argument" (56), liberation from the "dogmatic certitudes of rationalism," and the rightful exercise of free thought (55). Under his direction, enlightenment transforms itself from the simple "struggle against error and superstition" into practical debate under the authority of reason—at once public and inclusive—with "the world at large" as its addressee (63). This, Deligiorgi proposes, constitutes a "culture of enlightenment" (71). [End Page 667]One might detect a certain naiveté in this view—a "dream of reason" (99)—given, as Hamann pointed out, the practical realities of power and authority echoed in Frederick II's ominous motto that citizens might "argue but obey" (94). In chapter 3, Deligiorgi responds to this charge by articulating Kant's view of universal history as causally ordered, meaningful, and directed, but at once the product of human action. Kant has a vision of hope, Deligiorgi urges, containing the promise of a political arrangement that ensures freedom for all, but without appealing to the schwärmerei of obscure, supra-individual forces he found in Herder, his erstwhile student and protégé (111). As Deligiorgi points out, even this solution smacks of the romantic, since, as Kant himself acknowledges, the belief that "our actions will bear fruit... is difficult to hold onto in our everyday experience of 'political evils'" (130). Indeed, as we learn in chapter 4, this uncomfortable truth is indicative of the more general problem that Kant's breezy faith in the "shared vision of enlightenment" (134) became anachronistic before the ink had dried, sullied by the grim realities of the modern state articulated in Schiller's pessimistic portrayal of the "struggle of existence," the material conditions of which leave little room for the luxuries of intellectual emancipation (140). However, while Deligiorgi deals decisively with flaws in Schiller's own vision of an "aesthetic state"—ultimately a "disembodied model of social and political life" (154)—she offers nothing to rescue the culture of enlightenment from the iron cage of bureaucracy, division, and mechanization.This, in fact, amounts to the least convincing part of Deligiorgi's often compelling tale. Her success at a rational reconstruction of Enlightenment thought is not mirrored in a defense of the companion claim that the culture of enlightenment is still relevant some two centuries later. "The contextualization of... (shrink)

Although a number of commentators have remarked upon the simi larities between aspects of George Herbert Mead's social psychology and Adam Smith's Theory of Moral Sentiments, there has been no sys tematic attempt to document the connection. This article attempts to do precisely that. First, the legitimacy of the connection is established by showing the likelihood that Mead knew this particular work by Smith, and by bringing together the various treatments of the matter made by commentators. Since Mead himself does (...) not reference Smith's theory, however, the continuity can be demonstrated only on the level of ideas. Second, then, the movement of Mead's thought is recon structed through the terms 'individual' and 'social epistemology'. An account based upon the former posits self-consciousness as the pre condition for knowledge about others, while the latter makes the development of self dependent on a concept of community. Mead's div ision of the self into the 'I' and the 'me' is central in forcing the shift from the one to the other. Smith's account of moral action, it is then argued, rests upon the same logic. His ideas of 'changing roles in the fancy', the 'impartial spectator', and division of the self, parallel Mead's 'taking the role of the other' and discussion of the self. The 'ideal' spec tator corresponds to Mead's 'generalized other'. The article concludes by drawing a parallel between Mead and Smith on the universal facts of human nature and the moral community. (shrink)

Claudia Schmidt begins her new book, David Hume: Reason in History, by noting how recent literature has tended either to offer an overview of Hume’s thinking or to develop a “unified account of a number of themes” from it; there are no extant studies, she emphasizes, that both display the “explicit order of a systematic survey” and provide “a unified interpretation of his thought”. Schmidt takes this to be a “lacuna in the literature,” one she intends to fill by combining (...) a “systematic survey” of Hume’s contributions to the various branches of philosophy, history, and the social sciences, with a “distinctive interpretation” of her own. In so doing, she casts her net over a wide audience: the book is intended to bring in those starting out on their study of Hume, as well as attract the more seasoned specialist in search of a new interpretation, the non-specialist with an interest in recent scholarship, and those outside philosophy who are curious about Hume’s place in the methodology and history of their own disciplines. (shrink)

This dissertation examines Edmund Husserl's call for a "science of the life-world." It is argued that the most appropriate response is to develop such a science in specifically sociological terms. This argument is made by exploring particular themes in sociological theory and the philosophy of the social sciences. The dissertation begins by explicating Husserl's aspiration to understand the "life-world" and ends with the fulfillment of this aspiration in a "sociology of the life-world." ;The initial focus is upon Husserl's ambiguous concepts (...) of "life-world" and "intersubjectivity." These gain coherence when "intersubjectivity" is understood as the content of "life-world" and subject matter of philosophy. Husserl's argument implies that intersubjectivity should supersede subjectivity as the focus of study. Schutz contends that Husserl's conception of the life-world is artificial and that his philosophy is beset by an insurmountable solipsism. Schutz's alternative is to approach intersubjectivity as an empirical fact. This opens up everyday life to sociological investigation. Although Schutz follows Husserl's recommendations, it is argued that he misconstrues the scope of Husserl's philosophy and, subsequently, his own thought terminates in a reification of method and failure to achieve a science of the life-world. Mead provides a way to remedy this failure by beginning with the relationship between individual and society. Yet Mead's conception of intersubjectivity also fails, as it is undermined by an account of meaning premised on the individual alone. ;By introducing the idea of "universal symbol," however, Mead suggests the study of language as the central topic for a sociology of the life-world. In the final chapters this dissertation draws upon the thought of Ludwig Wittgenstein, Michael Oakeshott, and Harold Garfinkel to discuss how language can be conceived and studied as a set of practices shared within a society. While realizing Husserl's call, the solution of focusing on language raises the question of the scope and nature of sociological inquiry. The dissertation concludes by arguing that sociology, since its procedures are governed by the everyday character of phenomena it studies, should be understood as a descriptive mode of inquiry. In this way, Husserl's recommendations may be enacted in a sociology of the life-world. (shrink)

This paper investigates the concept of “sociology” and the logical limits which, it is argued, are imposed upon its practice by the nature of the subject matter it investigates. This thesis is developed, first, by examining Michael Oakeshott’s distinction between “technical” and “practical” knowledge, and his concept of “abridgment”. The view of human action which follows from this is then applied to sociological practice in order to show how the latter involves a unique sort of abridgment. Then, drawing on Ludwig (...) Wittgenstein's conception of philosophy, it is argued that sociological inquiry has its own form of investigation which is most accurately termed “description”. Finally, Harvey Sacks' notion of “primitive, natural science” is critically examined as an account of social science which approximates most closely to the one being articulated here. The weakness of Sacks’ account, it is suggested, can be explained by his failure to appreciate the Oakeshottian insights about human action with which the argument began. The paper concludes by drawing out some implications of the proposed thesis. (shrink)

This essay examines Hume’s treatment of money in light of his view of the imagination. It begins with his claim that money is distinct from wealth, the latter arising, according to vulgar reasoning, from the power of acquisition that it represents, or, understood philosophically, from the labor that produces it. The salient features that Hume identifies with the imagination are then put forth, namely its power to combine ideas creatively and the principle of easy transition that characterizes its movement among (...) them. Two issues that these features explain are then discussed: first, why people take value to lie in the material of which money is made, and, second, why they assign value to what they take money to represent, namely, wealth. In both cases, the imagination creates a new relation, an illusion or fiction, that cannot be traced directly to experience. In the case of money, the faculty conjoins what is intangible (the power of acquisition) with the physical qualities of specie; in the case of property it produces a causal relation that connects persons with objects to constitute stable possession that constitutes ownership. Hume also appeals to the imagination to explain the rules of property that subsequently develop (present possession, occupation, prescription, and transference). The essay concludes by emphasizing that being based on the imagination is not in itself indicative of any instability in either money or property and the practices they enshrine, a feature they share with other phenomena (such as the self and continued existence) that Hume also traces to the same faculty. (shrink)

This paper argues that an important feature of Locke's doctrine concerning primary and secondary qualities is also central to Hume's thinking. Section one considers Locke's distinction, presenting it in terms of an "error theory." Locke argues that we attribute secondary qualities to objects and that in so doing give those qualities an ontological status they do not otherwise possess. Locke completes his theory by drawing on the concept of "resemblance" to explain why such mistakes occur in the first place. Section (...) two turns to Hume's philosophy, arguing that, despite his ambiguous comments on Locke and "the modern philosophy," he employs an error theory of the sort developed by Locke. This contention is supported by way of Hume's treatment of beauty as a secondary quality or sentiment which arises in an individual who judges an object beautiful. The paper concludes by emphasizing that, for Hume, this philosophical explanation of beauty stands in contrast to the error committed in common life where, as in Locke's account, people make the mistake of taking beauty to be in the object itself. (shrink)

This paper argues that an important feature of Locke's doctrine concerning primary and secondary qualities is also central to Hume's thinking. Section one considers Locke's distinction, presenting it in terms of an "error theory." Locke argues that we attribute secondary qualities to objects and that in so doing give those qualities an ontological status they do not otherwise possess. Locke completes his theory by drawing on the concept of "resemblance" to explain why such mistakes occur in the first place. Section (...) two turns to Hume's philosophy, arguing that, despite his ambiguous comments on Locke and "the modern philosophy," he employs an error theory of the sort developed by Locke. This contention is supported by way of Hume's treatment of beauty as a secondary quality or sentiment which arises in an individual who judges an object beautiful. The paper concludes by emphasizing that, for Hume, this philosophical explanation of beauty stands in contrast to the error committed in common life where, as in Locke's account, people make the mistake of taking beauty to be in the object itself. (shrink)

In his account of musical interaction and temporality, Schutz's outer-inner distinction appears to capture a component of everyday experience. But engagement with Wittgensteinian philosophy reveals Schutz's false contrast between literal and metaphorical components of language, a series of philosophical confusions stemming from reifications of mental verbs, and the attribution of genuine duration to phenomena that have life as linguistic objects. Consequently, Schutz's intended account of social interaction comes to rest upon a radically private concept of the subject. A sociology of (...) time, it is concluded, can avoid these conceptual traps by attending to the linguistic component of temporality. (shrink)

This chapter explores the approaches taken by eighteenth-century British writers to the relationship between aesthetic judgments of beauty, sublimity, and the picturesque, and the faculty of taste that makes them possible. Writers in the tradition emphasize the fit between qualities in objects so judged and a capacity to be affected by them. This common theme unites the various contributions, but they can be divided in terms of the faculty on which different writers place emphasis. A first group isolates an internal (...) sense ; a second emphasizes the imagination, and a third appeals to principles of association. Each group is discussed in turn and details of the respective positions explored. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 39.3 (2001) 445-446 [Access article in PDF] G. Felicitas Munzel. Kant's Conception of Moral Character: The "Critical" Link of Morality, Anthropology, and Reflective Judgment. Chicago: University of Chicago Press, 1999. Pp. xxii + 378. Cloth, $53.00. Paper, $24.00. Given the recent trend in Kant scholarship to seek a kinder, more caring philosopher behind the familiar rules and imperatives, a study focusing on the (...) place of "character" in Kant's thought is a timely contribution to a growing body of work. Indeed, G. Felicitas Munzel intends to go where no Kantian has gone before and show not only that Kant has a conception of character, but that it is "rich" (1) and "unique in the history of philosophy" (5). Considering his "corpus as a whole" (6), she sets out to demonstrate the "systematic importance" of the concept for Kant's thought (1) and reveal "a richer sense of familiar notions of his moral philosophy than is generally appreciated" (11).From the outset, however, high hopes prove hard to sustain. In Chapter 1, Munzel's exegetical efforts to link "character" with Denkungsart ("conduct of thought") and Gesinnung ("comportment of mind"), either delineate only familiar elements of Kant's thought or attribute to him views which philosopher and non-philosopher alike could hardly deny: in Kant's "rich" conception, character involves clear thinking and perfection, and is an "accomplished state" (67) presupposing sound reasoning and the capacity to think. In what becomes the dominant theme of the study, Munzel concludes that, for Kant, character is an activity in which the objective moral law is realized in subjects acting on maxims and from firm principles.In Chapter 2 the reader is subsequently led across a familiar terrain of causality, desire, and feeling, to learn that Kant is disinclined to inclination, but very much inclined to reason (71-2); and that character has a foot in both the empirical and intelligible orders of causality (74). The same goes for desire (95ff.) and aesthetic capacity (126ff.), where the "moral form" of character represents the union of reason and nature. A [End Page 445] similar story continues in Chapter 3 where Munzel considers Kant's view of religion and hopes to cast "new light" (142) upon and foster "fresh appreciation" (182) for "radical evil." Again, the reader spots comforting landmarks along the way and emerges into a world unchanged: for Kant, Munzel concludes, human conflict is a manifestation of evil with its roots in human nature; virtue involves progress or advance; and a well-established character brings inner and outer peace to human life (134-6).In the remainder of the book Munzel turns to the "structure and cultivation of character." Chapter 4 focuses on orientation, reflective principles, conscience, and discourse where, rambling through the Kantian landscape, one learns that common sense is a source of principles (198ff); maxims should be steadfastly adopted (208-9); and that morally upright persons should know their duty (210), tell the truth (246), and develop their capacities to the full (249). By this stage, that "character must be made subjectively rational" (252) has become a mantra, but lest the point remain unclear, Munzel expounds a metaphor (from Mendelssohn's Morgenstunden) of a traveler on life's journey, in order to emphasize that moral character involves being rational, competent, and accountable for one's actions (191ff.).In the final chapter, pedagogy becomes the main focus. It is a practice, Munzel contends, which determines the conditions under which character is formed (260). Mixed in the appropriate fashion, its elements combine to make "cultivation of moral judgment" the "essence of moral character" (259). Again, Munzel connects character to well-known Kantian doctrines, linking pedagogy to self-mastery (292) and a community of civic-minded citizens (258) in which the good of one promotes the well-being of all (288). In the world according to Kant, reason "grafts" virtue onto the stuff of nature to create an organic unity as—in Munzel's favorite metaphor (see 335-45... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Kant and the Culture of EnlightenmentTimothy M. CostelloeKaterina Deligiorgi. Kant and the Culture of Enlightenment. Albany, New York: SUNY Press, 2005. Pp. xi + 248. Cloth, $70.00.At a time when our attention is overwhelmed by the practical manifestations of power in pursuit of personal, political, and economic gain, it is timely to read a book urging the spirit of the Enlightenment as a palliative for contemporary ills. In (...) Katerina Deligiorgi's recent study, Kant is the spectre haunting the halls of the Enlightenment project, reminding the living that it is a "culture" shaped by the "social ideal" of rational enquiry, self-criticism, and public debate (1). Drawing on Kant, Deligiorgi aims both to contribute to understanding the legacy of the Enlightenment and to demonstrate its "relevance" to current political and philosophical concerns (3). She pursues these ends by emphasizing how the power of the Enlightenment is embodied in its own "reflection on the meaning of the term 'enlightenment'" (4); and since this self-critical questioning has a history, unlocking the Enlightenment's past and revealing its future requires reconstructing a path through the philosophical forms that gave it shape. Deligiorgi's chosen route is not systematic, but it does reflect her concern to reveal the steady and reflective progress of human reason towards intellectual, social, and political self-consciousness.In chapter 1, she reminds readers that the guiding light of reason was as much explanandum as explanans for Enlightenment thinkers, dramatized by the failed "social criticism" of Diderot and Rousseau (16) and the retrograde step taken by Mendelssohn and Reinhold, who reached the "unsatisfactory" conclusion that the "final court of judgment" lay with enlightened individuals like themselves rather than with a "public that can act as standing jury... participating in its own enlightenment" (52). However, as Deligiorigi explains in chapter 2, the Enlightenment fulfils its promise in the shape of Kant and his emphasis on "public argument" (56), liberation from the "dogmatic certitudes of rationalism," and the rightful exercise of free thought (55). Under his direction, enlightenment transforms itself from the simple "struggle against error and superstition" into practical debate under the authority of reason—at once public and inclusive—with "the world at large" as its addressee (63). This, Deligiorgi proposes, constitutes a "culture of enlightenment" (71). [End Page 667]One might detect a certain naiveté in this view—a "dream of reason" (99)—given, as Hamann pointed out, the practical realities of power and authority echoed in Frederick II's ominous motto that citizens might "argue but obey" (94). In chapter 3, Deligiorgi responds to this charge by articulating Kant's view of universal history as causally ordered, meaningful, and directed, but at once the product of human action. Kant has a vision of hope, Deligiorgi urges, containing the promise of a political arrangement that ensures freedom for all, but without appealing to the schwärmerei of obscure, supra-individual forces he found in Herder, his erstwhile student and protégé (111). As Deligiorgi points out, even this solution smacks of the romantic, since, as Kant himself acknowledges, the belief that "our actions will bear fruit... is difficult to hold onto in our everyday experience of 'political evils'" (130). Indeed, as we learn in chapter 4, this uncomfortable truth is indicative of the more general problem that Kant's breezy faith in the "shared vision of enlightenment" (134) became anachronistic before the ink had dried, sullied by the grim realities of the modern state articulated in Schiller's pessimistic portrayal of the "struggle of existence," the material conditions of which leave little room for the luxuries of intellectual emancipation (140). However, while Deligiorgi deals decisively with flaws in Schiller's own vision of an "aesthetic state"—ultimately a "disembodied model of social and political life" (154)—she offers nothing to rescue the culture of enlightenment from the iron cage of bureaucracy, division, and mechanization.This, in fact, amounts to the least convincing part of Deligiorgi's often compelling tale. Her success at a rational reconstruction of Enlightenment thought is not mirrored in a defense of the companion claim that the culture of enlightenment is still relevant some two centuries later. "The contextualization of... (shrink)

Claudia Schmidt begins her new book, David Hume: Reason in History, by noting how recent literature has tended either to offer an overview of Hume’s thinking or to develop a “unified account of a number of themes” from it; there are no extant studies, she emphasizes, that both display the “explicit order of a systematic survey” and provide “a unified interpretation of his thought”. Schmidt takes this to be a “lacuna in the literature,” one she intends to fill by combining (...) a “systematic survey” of Hume’s contributions to the various branches of philosophy, history, and the social sciences, with a “distinctive interpretation” of her own. In so doing, she casts her net over a wide audience: the book is intended to bring in those starting out on their study of Hume, as well as attract the more seasoned specialist in search of a new interpretation, the non-specialist with an interest in recent scholarship, and those outside philosophy who are curious about Hume’s place in the methodology and history of their own disciplines. (shrink)

Although one might reasonably ask whether the explicit references to taste, beauty, and deformity, scattered through Hume's writings really amount to an "aesthetic theory," both the ubiquity of the language and the apparently unself-conscious way in which Hume employs it, provide good food for philosophical thought. Perhaps, one might speculate, there are systematic connections between the aesthetic dimension of Hume's thinking and his approach to epistemology and morals for which he is better known. While many have gestured towards such a (...) possibility, and a substantial body of work has grown around Hume's celebrated essay "Of the Standard of Taste," it is only with Dabney Townsend's Hume's Aesthetic Theory: Taste and Sentiment that a book-length study has been devoted specifically to this theme. The work should thus be of great interest to Hume scholars, aestheticians, and students of eighteenth-century thought more generally. (shrink)