Earl of Shaftesbury

Drawing on 49 oral-history interviews with Scottish family business owner-managers, six key-informant interviews, and secondary sources, this interdisciplinary study analyses the decline of kinship-based connections and the emergence of new kinds of elite networks around the 1980s. As the socioeconomic context changed rapidly during this time, cooperation built primarily around literal family ties could not survive unaltered. Instead of finding unity through bio-legal family connections, elite networks now came to redefine their ‘family businesses’ in terms of affectively loaded ‘family values’ (...) such as loyalty, care, commitment, and even ‘love’. Consciously nurturing ‘as-if-family’ emotional and ethical connections arose as a psychologically effective way to bring together network members who did not necessarily share pre-existing connections of bio-legal kinship. The social-psychological processes involved in this extension of the ‘family’ can be understood using theories of the moral sentiments first developed in the Scottish Enlightenment. These theories suggest that, when the context is amenable, family-like emotional bonds can be extended via sympathy to those to whom one is not literally related. As a result of this ‘progress of sentiments’, one now earns his/her place in a Scottish family business, not by inheriting or marrying into it, but by performing family-like behaviours motivated by shared ethics and affects. (shrink)

Michael B. Gill’s A Philosophy of Beauty: Shaftesbury on Nature, Virtue, and Art focuses on Shaftesbury’s thinking about nature, religion, morality, and art. This beautifully and engagingly written book is insightful for scholars and general readers alike, and invites readers to explore the philosophical issues that arise from Shaftesbury’s philosophy. Gill not only shows how Shaftesbury’s ideas were revolutionary at the turn of the eighteenth century but also how they remain relevant today. Shaftesbury’s major work, Characteristicks of Men, Manners, Opinions, (...) Times, was one of the most influential books published during the first half of the eighteenth century. According to Gill, “[i]t played a momentous role in turning European thought away from the negative and toward the positive—in nature, religion, morality, and art” (1). Although Characteristicks serves as a major source, Gill also engages with numerous other published and unpublished writings by Shaftesbury. A Philosophy of Beauty is divided into five chapters which focus respectively on nature and God, virtue, art, painting, and writing. (shrink)

This e-book written in Hungarian seeks to reconstruct “the aesthetic” in the modern sense of the word, from the mid-17th century to the 1730s, through the texts of mainly British authors such as John Dennis, Lord Shaftesbury, Joseph Addison, Richard Steele, Francis Hutcheson, George Berkeley, sometimes using their Spanish and French predecessors for contextualization. It assumes that “the aesthetic” is an unprecedented type of experience that had to be discovered, or rather invented; it is therefore more than a discussion of (...) some old, always existing quality or sensibility in a new theoretical guise. If the words “(school) philosophy”, “art” and “criticism” can be associated with the mostly systematic theories of aesthetics that emerged in the wake of Alexander G. Baumgarten as a loose characterisation, then the words “(popular) theology”, “nature” and “exercise” are even more so with the earlier texts that are on the table here, which played a role in the formation of “the aesthetic”. It seems that in this period, “the aesthetic” is understood above all as a new and intimate link between the sensual and the supernatural or spiritual, in which the former is not just an apropos or disposable means to the latter, but an indispensable and ever-present component that provides a constitutive framework for experience. Its unprecedented modernity lies in its nisus to capture the divine in the sensual and to make it present as sensual. In this new experiential form, both the “nature” of the transcendence and the spiritual economics of the beholder are reconfigured. The new “aesthetic” is connected to and associated with the full experience of life, the joy of existence, the openness to the transcendent through the sensuality of the natural or everyday world, the interplay of external determination and internal spontaneity, the enchanted state of mind experienced in a waking dream, the reinterpretation of the relationship between reality and fiction, the intense existential experience of spiritual and emotional movement provided by walking, wandering, boating or cheerful imagination. (shrink)

At the heart of Michael B. Gill's impressive study of the third Earl of Shaftesbury's theory of beauty is the notion of nature and its moral, aesthetic, and religious ramifications. In this article, I elaborate on one of Gill's primary claims up to a point where I think a weak spot occurs. The claim concerns nature, and the weak spot is the interpretation of Shaftesbury's references to science (natural philosophy). On the whole, Gill holds that Shaftesbury is “no enemy of (...) a rational understanding of nature, no enemy of science” (44). While I agree with the first clause, I find the second problematic. I argue that, for Shaftesbury, a central problem with science is that it disrupts the moral and aesthetic unity of nature, a flaw shared by society's general exploitation of nature and animals. (shrink)

This essay traces the development of the philosophical debates concerning active powers and human agency in eighteenth-century Scotland. I examine how and why Scottish philosophers such as Francis Hutcheson, George Turnbull, David Hume, and Henry Home, Lord Kames, depart from John Locke’s and other traditional conceptions of the will and how Thomas Reid and Dugald Stewart reinstate Locke’s distinction between volition and desire. Moreover, I examine what role desires, passions, and motives play in the writings of these and other Scottish (...) Enlightenment philosophers on human agency and draw attention to their underlying disputes concerning liberty and necessity. I end by reflecting on how classifications of principles of actions changed in eighteenth and early nineteenth-century Scottish philosophy. (shrink)

This essay examines the relation between philosophical questions concerning personal identity and character development in Shaftesbury’s and Hume’s philosophy. Shaftesbury combines a metaphysical account of personal identity with a normative approach to character development. By contrasting Shaftesbury’s and Hume’s views on these issues, I examine whether character development presupposes specific metaphysical views about personal identity, and in particular whether it presupposes the continued existence of a substance, as Shaftesbury assumes. I show that Hume’s philosophy offers at least two alternatives. Moreover, (...) I consider whether and how Hume’s philosophy leaves scope for character development and how he departs from Shaftesbury’s normative project of self-formation. (shrink)

Den tredje earlen av Shaftesbury (1671–1713) var en av 1700-talets mest inflytelserika filosofer. Dialogen Moralisterna är Shaftesburys viktigaste verk, i vilket han undersöker den godhet, kärlek och skönhet som utmärker naturen och samhället. Med sin säregna blandning av moralfilosofi, estetisk teori och poesi intar Moralisterna en unik plats inom den europeiska upplysningen. -/- Karl Axelsson är lektor i estetik vid Södertörns högskola. Utöver själva översättningen bidrar han med en omfattande inledning om Shaftesburys filosofi, förklarande noter och hänvisningar till Shaftesburys övriga (...) verk. (shrink)

In this chapter, I discuss Locke’s contributions to moral psychology. I begin by examining how we acquire moral ideas, according to Locke. Next, I ask what explains why we act morally. I address this question by showing how Locke reconciles hedonist views concerning moral motivation with his commitment to divine law theory. Then I turn to Shaftesbury’s criticism that Locke’s moral view is a self-interested moral theory that undermines virtue. In response to the criticism I draw attention to Locke’s Christian (...) conception of virtue. (shrink)

Kant’s _Prolegomena_ is a piece of philosophical advertising: it exists to convince the open-minded “future teacher” of metaphysics that the true critical philosophy — i.e., the first _Critique_ — provides the only viable solution to the problem of metaphysics (i.e. its failure to make any genuine progress). To be effective, a piece of advertising needs to know its audience. This chapter argues that Kant takes his reader to have some default sympathies for the common-sense challenge to metaphysics originating from Thomas (...) Reid and his followers; this fact in turn explains his rhetorical strategies in the _Prolegomena_, particularly regarding the presentation of the problem of metaphysics. The chapter draws attention to the importance of Shaftesbury, who, with a nod to Horace, had argued for the deployment of humour to disarm fraudulent claims to epistemic and moral authority. Kant looks to Horace himself to poke fun at the common-sense challenge to metaphysics, and from there to indicate the general shape of the particular argumentative strategies of the _Critique_ — that project that alone, in his view, can promise some kind of future for metaphysics. (shrink)

Providing a gateway to a new history of modern aesthetics, this book challenges conventional views of how art's significance developed in society. -/- The 18th century is often said to have involved a radical transformation in the concept of art: from the understanding that it has a practical purpose to the modern belief that it is intrinsically valuable. By exploring the ground between these notions of art's function, Karl Axelsson reveals how scholars of culture made taste, morals and a politically (...) stable society integral to their claims about the experience of nature and art. -/- Focusing on writings by two of the most prolific men of letters in the 18th century, Joseph Addison (1672–1719) and the third Earl of Shaftesbury (1671–1713), Axelsson contests the conviction that modern aesthetic autonomy reoriented the criticism and philosophy originally prompted by these two key figures in the history of aesthetics. -/- By re-examining the political relevance of Addison and Shaftesbury's theories of taste, Axelsson shows that first and foremost they sought to fortify a natural link between aesthetic experience and modern political society. (shrink)

This introductory article outlines the themes and aims of this special issue, which offers new perspectives on early modern debates about agency in two ways: First, it recovers writings on agency and liberty that have been widely neglected or that have received insufficient attention, including writings by Anne Conway, Henry More, Ralph Cudworth, William King, Gabrielle Suchon, Elizabeth Berkeley Burnet, Mary Astell, and Anthony Ashley Cooper, the Third Earl of Shaftesbury. Second, it reveals the richness of early modern debates about (...) agency and liberty. (shrink)

The aim of this paper is to show that Shaftesbury’s thinking about liberty is best understood in terms of self-mastery. To examine his understanding of liberty, I turn to a painting that he commissioned on the ancient theme of the choice of Hercules and the notes that he prepared for the artist. Questions of human choice are also present in the so-called story of an amour, which addresses the difficulties of controlling human passions. Jaffro distinguishes three notions of self-control that (...) are present in the story of an amour. Although I agree with many aspects of Jaffro’s interpretation, I question his conclusion that self- control in the Stoic sense is best reserved for ‘moral heroes.’ I propose an alternative developmental interpretation, according to which all human beings are on an intellectual journey aimed at personal and moral improvement. My interpretation takes seriously that for Shaftesbury philosophy is meant to be practical and help improve our lives. I end by arguing that rather than trying to situate Shaftesbury’s concept of liberty within debates among compatibilists and incompatibilists it is more promising to understand it in terms of self- mastery and thus regard it as a version of positive liberty. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

The debate over whether human motivations are fundamentally selfinterested or benevolent consumed Shaftesbury, Mandeville, and Hutcheson, but Hume – though explicitly indebted to all three – almost entirely ignores this issue. I argue that his relative silence reveals an overlooked intellectual debt to Bishop Butler that informs two distinguishing features of Hume’s view: first, it allows him to appropriate compelling empirical observations that Mandeville makes about virtue and moral approval; second, it provides a way of articulating a fundamental criticism of (...) Shaftesbury and Hutcheson on the issue of virtuous motivation. From this position, Hume is able to reframe the question of virtue according to the approbation of the spectator, rather than the internal aims of the agent. (shrink)

The dissertation traces the development of what I call “the problem of partiality” through the work of certain key figures in the British Moralist tradition: John Locke, Catharine Trotter Cockburn, Anthony Ashley Cooper (the Third Earl of Shaftesbury), Francis Hutcheson, John Gay, David Hume, Joseph Butler, and Adam Smith. On the one hand, we are committed to impartiality as a constitutive norm of moral judgment and conduct. On the other hand, we are committed to the idea that it is permissible, (...) or even obligatory, to expend disproportionate resources promoting the good of our loved ones over the good of strangers. However, these two commitments conflict with one another. This problem challenges us to provide an account of the scope and limits of reasonable partiality that does justice to both commitments. I argue that confronting this tension is a central project of early modern ethics. I offer a rereading of the British Moralist tradition, centered on debates about partiality, and thereby shift discussion of the tradition away from concerns about meta-ethics and moral epistemology, to issues of practical ethics. The topic of partiality remains central in contemporary ethics, as is evident in ongoing debates about the place of empathy in moral judgment, and the role of love in shaping our moral commitments. Though the aim of the dissertation is not to settle questions about the scope and limits of reasonable partiality, the focus here remains fixed on how the concept of partiality was problematized in our ethical thought, and how it informs our discussions in normative ethics and moral psychology. Alongside building a bridge between early modern scholarship and recent work in ethics, the dissertation casts light on two understudied figures in the British Moralist tradition – Cockburn and Gay – who contributed greatly to debates about partiality. By examining their contributions, I reconsider their place in the history of modern ethics and therefore provide a more contextualized account of philosophical thought in the period. (shrink)

Shaftesbury’s major work Characteristicks of Men, Manners, Opinions, Times was one of the most influential English works in the eighteenth century. This paper focuses on his contributions to debates about persons and personal identity and shows that Shaftesbury regards metaphysical questions of personal identity as closely connected with normative questions of character development. I argue that he is willing to accept that persons are substances and that he takes their continued existence for granted. He sees the need to supplement metaphysical (...) debates of personal identity and believes that we have to turn to the character that is realized by a substance if we want to understand who we are. For Shaftesbury persons have a particular character, can act, and govern themselves. I propose that Shaftesbury’s approach to persons has a developmental dimension, which is meant to encourage personal development and improvement of character. The developmental dimension can be understood as an intellectual journey that invites us to search for our true self, to develop our character, and to seek happiness, which ultimately involves understanding our place as persons in the order of the universe. I show that my developmental interpretation is preferable to other existing interpretations. (shrink)

In this paper, I attempt to recover an 18th Century approach to moral theory that can be called Moral Taste Theory. Through an exploration of 18th Century sources I define the characteristics of moral taste theory and to distinguish it from its closest rival, moral sense theory. In general a moral taste theorist holds that moral judgments are analogous to aesthetic judgments while a moral sense theorist holds that moral judgments are analogous to physical sense perception. Francis Hutcheson was a (...) paradigmatic moral sense theorist, but I argue that David Hume is best understood as a moral taste theorist. If we do not understand the concept of moral taste, we cannot understand 18th Century moral philosophy, and, more importantly, we will miss out on an important source of inspiration for 21st Century moral philosophy. (shrink)

The problem of evil is not only a logical problem about God's goodness but also an existential problem about the sense of God's presence, which the Biblical book of Job conceives as a problem of aesthetic experience. Thus, just as theism can be grounded in religious experience, atheism can be grounded in experience of evil. This phenomenon is illustrated by two contrasting literary descriptions of aesthetic experience by Jean-Paul Sartre and Annie Dillard. I illuminate both of these literary texts with (...) a discussion of the 18th Century philosopher Lord Shaftesbury's concept of ‘enthusiasm’. (shrink)

This paper examines Shaftesbury’s reflections on the nature of philosophy in his Askêmata notebooks, which draw heavily on the Roman Stoics Epictetus and Marcus Aurelius. In what follows, I introduce the notebooks, outline Shaftesbury’s account of philosophy therein, compare it with his discussions of the nature of philosophy in his published works, and conclude by suggesting that Pierre Hadot’s conception of ‘philosophy as a way of life’ offers a helpful framework for thinking about Shaftesbury’s account of philosophy.

Whewell and ShaftesburyIn contemporary moral philosophy ‘moral realism’ refers to a position in the metaphysics of morality that is analogous to realism about ordinary objects, and to scientific realism about theoretical entities. It is a realist doctrine in contrast to non-cognitivism, constructivism, fictionalism, and nihilism about moral judgments and moral properties. But while these particular contrasts are characteristic of contemporary philosophy, realism itself is much older. Ross, Prichard, and Sidgwick, for instance, hold realist views in the metaphysics of morals, though (...) they do not describe them in this way.As far as I know, the first person to use ‘moral realism’ as a description of a distinct tradition in modern moral philosophy is Whewell. He speaks of Shaftesbury as “the origin of a new school of real moralists” , who maintained some of the views of “the ancient school of Cudworth and Clarke”. Balguy is a member of this “old realist school” who defe .. (shrink)

_An exploration of philosophical and religious ideas about humor in modern philosophy and their secular implications._.

Name der Zeitschrift: Kierkegaard Studies Yearbook Jahrgang: 19 Heft: 1 Seiten: 189-216.

The present article is an edition of the Pathologia (1706), a Latin manuscript on the passions by Anthony Ashley Cooper, the third Earl of Shaftesbury (1671–1713). There are two parts, i) an introduction with commentary (http://dx.doi.org/10.1080/01916599.2012.679795), and ii) an edition of the Latin text with an English translation (http://dx.doi.org/10.1080/01916599.2012.679796) . The Pathologia treats of a series of topics concerning moral psychology, ethics and philology, presenting a reconstruction of the Stoic theory of the emotions that is closely modelled on Cicero and (...) Diogenes Lærtius. It contains a most detailed typology of the passions and affections as well as an analysis of a series of psychological connections, for example between admiration and pride. On the basis of his reconstruction of Stoic moral psychology and ethics, Shaftesbury argues that in one of his phases, Horace should be interpreted as a Stoic rather than as an Epicurean. The translation and the commentary draw attention to the relations between the Pathologia and Shaftesbury's English writings, most importantly Miscellaneous Reflections and the Inquiry Concerning Virtue, or Merit, which sheds light on several features of Shaftesbury's relation to Stoicism. (shrink)

The present article is an edition of the Pathologia (1706), a Latin manuscript on the passions by Anthony Ashley Cooper, the third Earl of Shaftesbury (1671-1713). There are two parts, i) an introduction with commentary (http://dx.doi.org/10.1080/01916599.2012.679795), and ii) an edition of the Latin text with an English translation (http://dx.doi.org/10.1080/01916599.2012.679796) . The Pathologia treats of a series of topics concerning moral psychology, ethics and philology, presenting a reconstruction of the Stoic theory of the emotions that is closely modelled on Cicero and (...) Diogenes Lærtius. It contains a most detailed typology of the passions and affections as well as an analysis of a series of psychological connections, for example between admiration and pride. On the basis of his reconstruction of Stoic moral psychology and ethics, Shaftesbury argues that in one of his phases, Horace should be interpreted as a Stoic rather than as an Epicurean. The translation and the commentary draw attention to the relations between the Pathologia and Shaftesbury's English writings, most importantly Miscellaneous Reflections and the Inquiry Concerning Virtue, or Merit, which sheds light on several features of Shaftesbury's relation to Stoicism. (shrink)

This chapter examines the different answers that British moralists gave to the question ‘what does virtue consist in?’ Rather than as a royal road to present-day views in ethics, their answers are best understood when considered against the background of early modern natural law theories and their projected metaphysics of morals. The emerging ‘science of morality’ dealt with the metaphysical problem of determining what sort of thing virtue is. Considered from this vantage point, the British moralists struggled with the problem (...) of deciding whether moral concepts signify laws of nature, rational drives in human beings, irrational drives in human beings, volitions of a legislator, or social institutions. British moral philosophies in the eighteenth century can be divided up according to whether they defended the thesis that moral qualities are artificial, the thesis that they are part of nature, or the thesis that they are the product of historical experience. (shrink)

Anthony Ashley Cooper, 3rd Earl of Shaftesbury was an English philosopher and author. Originally published in 1914, this book presents the edited text of the sequel to Cooper's major work, Characteristics. An editorial introduction and detailed notes are included. This book will be of value to anyone with an interest in Cooper's writings and philosophy.

In this paper I want to scrutinize one of the key ideas within modern Western aesthetics. Beauty is often considered to derive from a virtuous disinterested attitude towards nature. This kind of view has been advocated by thinkers such as Shaftesbury and Kant in the beginning of the so-called aesthetic turn in philosophy. The problem with this view is that it presupposes that nature exists by itself before human intervention in a kind of ideal pristine state. My hypothesis is that (...) this ideal of pristine nature constitutes one of the underlying problems of many contemporary environmental discourses. (shrink)

Anthony Ashley Cooper, the Third Earl of Shaftesbury (1671-1713) was an English philosopher who profoundly influenced 18th century thought in Britain, France, and Germany, particularly in the areas of aesthetics, ethics, and religion.

1. Introduction: 1.1 Difficulties of Approach; 1.2 Philosophical Background. 2. The Context of Early Modern Theories of the Passions: 2.1 Changing Vocabulary; 2.2 Taxonomies; 2.3 Philosophical Issues in Theories of the Emotions. SUPPLEMENTARY DOCUMENTS: Ancient, Medieval and Renaissance Theories of the Emotions; Descartes; Hobbes; Malebranche; Spinoza; Shaftsbury; Hutcheson; Hume.

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.

Shaftesbury's philosophy combined a powerfully teleological approach, according to which all things are part of a harmonious cosmic order, with sharp observations of human nature (see section 2 below). Shaftesbury is often credited with originating the moral sense theory, although his own views of virtue are a mixture of rationalism and sentimentalism (section 3). While he argued that virtue leads to happiness (section 4), Shaftesbury was a fierce opponent of psychological and ethical egoism (section 5) and of the egoistic social (...) contract theory of Hobbes (section 6). Shaftesbury advanced a view of aesthetic judgment that was non-egoistic and objectivist, in that he thought that correct aesthetic judgment was disinterested and reflected accurately the harmonious cosmic order (section 7). Shaftesbury's belief in an harmonious cosmic order also dominated his view of religion, which was based on the idea that the universe clearly exhibits signs of perfect divine design (section 8). According to Shaftesbury, the ultimate end of religion, as well as of virtue, beauty, and philosophical understanding (all of which are turn out to be one and the same thing), is to identify completely with the universal system of which one is a part. (shrink)

Newman’s explicit presentation of the ideal type, “the gentleman,” appears first and foremost in his Oratory papers of 1847 and 1848, and appears only secondarily, and then but partially, four and five years later in his Dublin Discourses of 1852. This essay traces lines of similarity and of difference between these successive portraits and distinguishes both from the attractive, better-known sketch Newman presents as Lord Shaftesbury’s, the “beau ideal” of the man of the world.