This essay proposes a new focus for studies in the relationship between aesthetics and morality in the Enlightenment period. Recent research, especially by Paul Guyer, seems to have established that the traditional question of whether a genealogy for autonomous aesthetics can be traced attending to the concept of disinterestedness in the era can be answered with an unambiguous no. This, however, should only encourage further research into the nature of the way in which the connection between the beautiful and the (...) good was understood. It is argued here that with the gradual erosion of the humanist rhetorical understanding of history from the seventeenth century the specific content of the link between aesthetics and ethics undergoes a fundamental change, making it significantly more abstract and far less specific. (shrink)

I develop and defend the following functional view of art: a work of art typically possesses as an essential feature one or more points, purposes, or ends with reference to the satisfaction of which that work can be appropriately evaluated. This way of seeing a work’s artistic value as dependent on its particular artistic ends (whatever they may be) suggests an answer to a longstanding question of what sort of internal relation, if any, exists between the wide variety of values (...) (moral, cognitive, aesthetic, etc.) that may be possessed by works of art and their value qua works of art. (shrink)