Aesthetic preferences and practices vary widely between individuals and between cultures. How should aesthetics proceed if we take this fact of aesthetic diversity, rather than the presumption of aesthetic universality, as our starting point? How should we theorize the cultural origins and cultural basis of aesthetic diversity? How should we think about the value and normativity of aesthetic diversity? In an effort to model what the turn toward diversity might look like in aesthetic inquiry, each author defends a different account (...) of aesthetic diversity, and they engage in a collective dialogue about these issues. (shrink)

This paper develops a form of realism about aesthetics that is stronger than typical versions of aesthetic realism. As I conceive of it, aesthetic realism is the view that there are some response-independent aesthetic facts. This kind of realism is unpopular in aesthetics and is often viewed as a non-starter. Against this pessimism, I argue that the prospects for this realist approach are more favorable than commonly supposed. I offer some reasons to prefer my brand of aesthetic realism to competing (...) realist and anti-realist positions. I also defend this aesthetic realism against what I call the ‘overly objective worry’ and correct misconceptions about what realism’s commitment to response-independence involves. (shrink)

Originally published as one of the Four Dissertations and then included in the 1758 edition of the Essays, the 1757 paper “Of the Standard of Taste” qualifies as David Hume’s official contribution to criticism.1 A few exceptions aside, no real or thorough effort has been taken by its critics to place the essay in the overall context of Hume’s science of human nature.2 Hume has certainly his share of responsibility in this: “Most of these essays were wrote with a View (...) of being published as WEEKLY-PAPERS, and were intended to comprehend the Design both of the SPECTATORS & CRAFTSMEN. But having dropped that Undertaking, partly from LAZINESS, partly from WANT OF LEISURE, and being willing to make Trial of my .. (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)

From the perspective of art education, the worst-case philosophical scenario is the hedonist-subjectivist account of art. If we measure art by the pleasure we gain from it, it may seem senseless to attempt teaching the reception of art. David Hume's ‘Of the Standard of Taste’ provides an argument for the art-education enthusiast, explaining that—even on a subjectivist account—art education crystallises our own preferences. While I refer to a historical debate and provide a close reading of an 18th-century essay, my goal (...) is to offer a philosophical solution to an ongoing dilemma; I use Hume's essay to ground the justification of art education. (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)

The thesis reconstructs Hume’s conception of character. Character is not just an ethical concern in Hume’s philosophy: Hume emphasises the importance of character in his ethics, aesthetics and history. The reconstruction therefore pays attention to Hume’s usage of the concept of character in his clearly philosophical works, the Treatise of Human Nature and the two Enquiries, as well as his less obviously philosophical works, the Essays, Moral, Political and Literary and the History of England. The first main thesis is that (...) Hume’s conception of character includes multiple heterogeneous elements. These include passions, habits, natural abilities and possibly general rules. These elements are combined to form a coherent character through social organisation and conventions. The elements underpin character attributions, but it is argued that Hume is not concerned with identifying elements with character traits, as he is interested in characters as a whole rather than individual traits. The second main thesis is that the character of judges is central to Hume’s philosophy. Hume’s most sustained character of a judge is to be found in the essay ‘Of the Standard of Taste’. Close examination of this essay with particular attention to the character of the true judge reveals that such judges should not be conceived of as ideal, as some commentators on the essay have supposed. It is further argued that the true judge can be used, with some modifications, as a template for the moral judge, which Hume requires for his moral philosophy but never fully articulates. The two theses are mutually supporting in that the judges examined in accord with the second thesis are conceived of in terms of the first thesis, i.e. they are conceived of by Hume as characters constituted by heterogeneous elements. The first thesis receives support from the second thesis, as the reality of the elements supposed in the first thesis is undermined by a failure to appreciate the importance of judges as characters in Hume’s philosophy. (shrink)