Abstract

Following suggestions of Isaiah Berlin, Charles Taylor articulates a central doctrine of late eighteenth-century and nineteenth-century German philosophy: “expressivism,” viz., the view that the most valuable human life is one of self-expression. This conception has its historical roots in Rousseau’s proto-Romantic celebration of natural authenticity and in Herder’s deistic naturalism, and has had considerable influence on subsequent philosophers and Western culture broadly. Taylor suggests that this doctrine both draws from philosophical aesthetics and explains the central role aesthetics comes to play in nineteenth-century philosophy as a paradigm, perhaps the highest, realm of human existence. This paper critically investigates this doctrine and its historical-intellectual origins, specifically in connection to modern European aesthetics. I argue that Taylor’s expressivist ideal comprises several elements, which are neither necessarily connected with one another, nor obviously valuable. I propose that the coincidence and valuation of these elements in expressivism may be understood historically to derive from the combination (perhaps conflation) of two central theoretical doctrines in aesthetics concerning beauty. Though this account can explain why philosophers come to endorse something like expressivism, it does not, I suggest, resolve all of the difficulties attendant on this view.