This collection of essays explores the rise of aesthetics as a response to, and as a part of, the reshaping of the arts in modern society. The theories of art developed under the name of 'aesthetics' in the eighteenth century have traditionally been understood as contributions to a field of study in existence since the time of Plato. If art is a practice to be found in all human societies, then the philosophy of art is the search for (...) universal features of that practice, which can be stated in definitions of art and beauty. However, art as we know it - the system of 'fine arts' - is largely peculiar to modern society. Aesthetics, far from being a perennial discipline, emerged in an effort both to understand and to shape this new social practice. These essays share the conviction that aesthetic ideas can be fully understood when seen not only in relation to intellectual and social contexts, but as themselves constructed in history. (shrink)

Rylands English MS 60, compiled for the Spencer family in the eighteenth century, contains 130 printed portraits of early modern artists gathered from diverse sources and mounted in two albums: 76 portraits in the first volume, which is devoted to northern European artists, and 54 in the second volume, containing Italian and French painters. Both albums of this ‘Collection of Engravings of Portraits of Painters’ were initially planned to include a written biography of each artist copied from the (...) few sources available in English at the time, but that part of the project was abandoned. This article relates English MS 60 to shifting practices of picturing art history. It examines the rise of printed artists’ portraits, tracing the divergent histories of the genre south and north of the Alps, and explores how biographical approaches to the history of art were being replaced, in the eighteenth century, by the development of illustrated texts about art. (shrink)

This new history of Scottish philosophy will include two volumes that focus on the Scottish Enlightenment. In this volume a team of leading experts explore the ideas, intellectual context, and influence of Hutcheson, Hume, Smith, Reid, and many other thinkers, frame old issues in fresh ways, and introduce new topics and questions into debates about the philosophy of this remarkable period. The contributors explore the distinctively Scottish context of this philosophical flourishing, and juxtapose the work of canonical philosophers with contemporaries (...) now very seldom read. The outcome is a broadening-out, and a filling-in of the detail, of the picture of the philosophical scene of Scotland in the eighteenth century. (shrink)

18th-century British aesthetics addressed itself to a variety of questions: What is taste? What is beauty? Is there is a standard of taste and of beauty? What is the relation between the beauty of nature and that of artistic representation? What is the relation between one fine art and another? How ought the fine arts be ranked one against another? What is the nature of the sublime and ought it be ranked with the beautiful? What is the nature of (...) genius and what is its relation to taste? -/- Although none of these questions was peripheral to 18th-century British aesthetics, not all were equally central. The question on which the others tended to turn was the question concerning the nature of taste. But this question was not simply how best generally to define taste. Everyone seems to have been in at least rough agreement with Joseph Addison’s early definition of taste as “that faculty of soul, which discerns the beauties of an author with pleasure, and the imperfections with dislike” (Addison and Steele 1879, no. 409). But agreeing with Addison meant agreeing only to use “taste” to refer to that faculty and to acknowledge that such discerning has something of the phenomenology of sensation. The central question was how to think of taste so defined. Is taste a higher, cognitive faculty, akin perhaps to reason, with objects of a primarily intellectual nature? Or is it a lower, bodily faculty, more akin to the five bodily senses, and with objects of a primarily material nature? The major theories that arose in response to this question can be grouped into three main lineages: (a) internal-sense theories, of which the theories of Shaftesbury (1711), Hutcheson (1725), Hume (1739–40, 1751, and 1757) and Reid (1785) are representative; (b) imagination theories, of which theories of Addison (1712) and Burke (1757/59) are representative; and (c) association theories, of which the theories of Gerard (1757) and Alison (1790) are representative. (shrink)

The ArgumentThis paper charts eighteenth-century chemistry's transition from its definition as an art to its proclaimed status as a science. Both the general concept of art and specific practices of eighteenth-century chemists are explored to account for this transition. As a disciplined activity, art orients practitioners' attention toward particular directions and away from others, providing a structured space of possibilities within which their discipline develops. Consequently, while chemists throughout the eighteenth century aspired to reveal (...) nature's “true voice,” the path of their investigations was directed by and toward their laboratory manipulations. So long as the chemical community maintained an ethos of polite cooperation and eschewed theoretical wrangling, this point was hidden by a rhetoric of “matter of fact” reporting. But as “facts” mounted in the 1770s and 1780s, especially in pneumatic chemistry, cooperation gave way to contention as chemists sought to name and organize their findings without the guidance of a communally accepted “natural” system. Lavoisier and his fellow “new” chemists offered a forceful solution to this dilemma by introducing a revolutionary network of theories, nomenclature, and instruments that unabashedly fused the productive manipulation of their laboratory work with what they claimed as the structure and activity of nature. (shrink)

The question about the nature of art is at the centre of the philosophy of art. The thesis seeks to replace the two dominant approaches to this question in contemporary English-speaking philosophy--essentialism and descriptivism--with an historicist approach. The historicist approach I develop and defend holds that answers to the question "What is Art?" must take the form of localized cultural-historical narratives. ;This alternative approach is applied to write the history of the development of what I call "the modern conception of (...) art" in the early eighteenth century. A changing notion of art that emerges in Britain in this period is decisive for all later philosophy of art. Its genesis must be understood in a context of social, political and cultural changes. These changes deeply affected many people's conception of themselves and of their place in society. Social status becomes uncertain, and new criteria for the presentation of the self and evaluation of others emerge. Knowledge about art and the display of taste become indicators of social distinctions and thus criteria for social evaluation, replacing older notions of birth and rank. The modern conception of art emerges as part of new ideas of the presentation of the self, as part of a new ideal of edification. ;In contemporary philosophy of art, the evaluative contents of the conception of art--its historical and contemporary connection to notions of the moral and social order--are seldom discussed. Yet, as I show, these connections exist and have existed for a long time. At the centre of contemporary philosophy of art, therefore, there is a conception of art which is ideological in the sense that it treats the normative as factual and the historically contingent as the natural. Only a historical analysis of the kind I carry out is able to bring to light this aspect of the conception of art presupposed in contemporary philosophy of art. (shrink)

Are works of art imitations? If so, what exactly do they imitate? Should an artist remind his audience that what it is perceiving is in fact artifice, or should he try above all to persuade it to accept the illusion as reality? Questions such as these, which have dominated aesthetic theory since the Greeks, were debated with extraordinary vigour and ingenuity in eighteenth-century France. In this book Dr Hobson analyses these debates, focusing in turn on painting, the novel, (...) drama, poetry and music. In each case she relates theory to contemporary works of art by Watteau, Chardin, Diderot, Beaumarchais, Gluck and many others. She shows that disputes within the theory of each art centred upon the nature of the perceiver's attention. Dr Hobson provides a method of mapping the changes in artistic style which took place as the century advanced. In discussing such conceptual transformations Dr Hobson opens an important perspective for the study of Romanticism and Realism. (shrink)

Together with Scottish Philosophy in the Nineteenth and Twentieth Centuries, edited by Gordon Graham, this volume inaugurates the series A History of Scottish Philosophy, published by Oxford University Press under Graham's general editorship. A collection of "collaborative studies by expert authors," the series is projected to "provide a comprehensive account of the Scottish philosophical tradition". In their introduction to this particular volume, however, editors Aaron Garrett and James A. Harris propose a more modest purpose. "It will be plain to the (...) reader," they acknowledge, "that we are not presenting here a comprehensive account of the philosophy of eighteenth-century Scotland". Leaving psychology... (shrink)

Although artistic activity has been a major social phenomenon in the western world, aesthetics has not always reflected the changes in techniques, processes, themes and uses through which the arts have developed and had their effect. Theory most often comes after the fact, and properly so. Yet aesthetics in its history has not only displayed an unfitting hubris, with thinkers attempting to legislate about style, suitability and materials to the artist; aesthetics has also lagged far behind the living edge of (...) artistic activity and discussed it in anachronistic terms. (shrink)

A new genre of treatises on practical seamanship emerged in eighteenth-century Britain. Authored by a group of seamen with decades of experience on the lower deck of merchant and naval vessels, these texts represented the ship as a machine, and seamanship as a form of mechanical experiment which could only be carried out by deep-sea sailors. However, as this article finds, this group of sailor–authors had only a brief moment of authoritative legitimacy before their ideas were repackaged and (...) promoted by land-bound authors and naval officers, and the progenitors of the ‘science of seamanship’ were deemed unfit participants in its ongoing practice. This article explores this brief moment, taking seriously the ideas and influences of the maritime milieu which spawned it, and arguing that the codification and circulation of ‘useful knowledge’ in eighteenth-century Britain often hardened social hierarchies. Examining seamanship forces us to question the progressivist linear trajectory of an increasingly open scientific culture during this period, and to focus instead on a repeating pattern in which the working knowledge of labourers and artisans was appropriated and its original practitioners denigrated. (shrink)

In much eighteenth-century British literary criticism, passion distinguishes poetry from philosophy, whose ideas are too abstract to evoke emotion. At the end of the century, however, William Wordsworth radically refuses this distinction between poetry and philosophy, rejecting the centrality of passion for poetry. Instead, developing ideas latent in the work of James Beattie, he places affection at the heart of his poetic theory. This essay uncovers "the affections" as a major site of meaning for Wordsworth: calm, rationalized (...) emotions, they yoke together the philosophical and the poetical, enabling poetry not merely to stimulate emotion but moreover to think through it. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Epic and Tragic Music: The Union of the Arts in the Eighteenth CenturyJoshua BillingsI. The Union of the Arts in WeimarAround 1800 in Weimar, thought on Greek tragedy crystallized around the union of speech, music, and gesture—what Wagner would later call the Gesamtkunstwerk. Friedrich Schiller and Johann Gottfried Herder both found something lacking in modern spoken theater in comparison with ancient tragedy’s synthesis of the arts. Schiller’s 1803 (...) “Trauerspiel mit Chören,” Die Braut von Messina, represents a radical experiment in recreating the ancient union of the arts.1 The Greek tragic chorus, revived in Schiller’s drama, becomes the modern locus for this union. In a preface appended to the published version of the play, Schiller writes,The tragic work of poetry first becomes a whole through its theatrical performance: the poet only gives the words; music and dance must be added as well to enliven them. As long as the chorus lacks this powerful sensory accompaniment, so long will it appear in the economy of a tragedy as an alien element, a foreign body, a retardation.2 [End Page 99]Exactly contemporary (and possibly in response), Herder’s discussion of drama in his journal Adrastea similarly views the union of the arts in ancient tragedy as a corrective for modern drama:3A Greek who attended our tragedy [Trauerspiel], used to the musical voice of his own, would have to find in it a sad play [trauriges Spiel]. “How wordy-mute,” he would say, “how dull and soundless! Have I stepped into a decorated grave? You shout and sigh and bluster! Move your arms, strain your facial features, reason, declaim; but does your voice and feeling never become song? Do you not miss the strength of this demonic expression? Do your rhythms, your iambs never urge you on to the accents of the true language of the gods?”4The focus on media distinguishes these Weimar discussions of tragedy both from the Jena aesthetics of the Schlegel brothers and from the Idealist “philosophy of the tragic” already underway in the works of Schelling, Hölderlin, and Hegel.5 Though both Schiller and Herder are relatively indifferent to dance, their writings reflect strong interests in music.6 Their considerations [End Page 100] of tragedy show a close engagement with the sensory experience of drama that is unusual for its time, and has little precedent in Germany.For Schiller’s late poetics, the union of words, music, and gesture is a means of radically dividing the experience of theater from daily life. The tragic chorus “should be for us a living wall, which tragedy sets up around itself in order to close itself off wholly from the real world.”7 It “justifies the tragic poet in this raising of tone, which fills the ear, which strains the spirit, which broadens the whole mind.”8 Musical speech, Schiller argues, allows for an expression that transcends conventional language and quotidian existence. Schiller had hoped “to let [the choral intermezzos] be recited in the way of song and to accompany them with an instrument,” though his wish went unfulfilled in the first, and subsequent performances.9 Yet even after relinquishing the real possibility of a union of the arts in performances of Braut, Schiller upheld it as an ideal in his preface.Herder is remembered today primarily for his elaboration of an organic historicism, which understands cultural phenomena according to the circumstances of their creation. Yet his concern was more than merely historical; especially in the Adrastea, he continually sought guidance for the present in the events of the past. A contemporary, writing shortly after Herder’s death, saw the two orientations, historical and critical, as equally important: investigation of the past was intended as “a didactic or warning image” for his own time.10 The guiding idea of the journal was similarly educative, based on Herder’s understanding of Adrastea as a principle of justice and moderation.11 In Herder’s thought, as in most writing on ancient literature of the eighteenth century, there is no absolute division between scholarly and critical concerns: the study of ancient works was both an end in itself and a... (shrink)

During the intellectual and cultural flowering of Scotland in the 18th century few subjects attracted as much interest among men of letters as aesthetics - the study of art from the subjective perspective of human experience. All of the great philosophers of the age - Hutcheson, Hume, Smith and Reid - addressed themselves to aesthetic questions. Their inquiries revolved around a cluster of issues - the nature of taste, beauty and the sublime, how qualitative differences operate upon the mind (...) through the faculty of taste, and how aesthetic sensibility can be improved through education. This volume brings together and provides contextual introductions to the most significant 18th century writing on the philosophy of art. From the pioneering study of beauty by Francis Hutcheson, through Hume's seminal essays on the standard of taste and tragedy, to the end of the tradition in Dugald Stewart, we are swept up in the debate about art and its value that fascinated the philosophers of enlightenment Scotland - and continues to do so to this day. Jonathan Friday is Senior Lecturer in History and Theory of Art at the University of Kent. He has published on the philosophy of art and aesthetics, the history of philosophy and moral philosophy. (shrink)

The Eighteenth century is one of the most important periods in the history of Western philosophy, witnessing philosophical, scientific, and social and political change on a vast scale. In spite of this, there are few single volume overviews of the philosophy of the period as a whole. _The Routledge Companion to Eighteenth Century Philosophy _is an authoritative survey and assessment of this momentous period, covering major thinkers, topics and movements in Eighteenth century philosophy. Beginning (...) with a substantial introduction by Aaron Garrett, the thirty-five specially commissioned chapters by an outstanding team of international contributors are organised into seven clear parts: Context and Movements Metaphysics and Understanding Mind, Soul, and Perception Morals and Aesthetics Politics and Society Philosophy in relation to the Arts and Sciences Major Figures. Major topics and themes are explored and discussed, ranging from materialism, free will and personal identity; to the emotions, the social contract, aesthetics, and the sciences, including mathematics and biology. The final section examines in more detail three figures central to the period: Hume, Rousseau and Kant. As such _The Routledge Companion to Eighteenth Century Philosophy_ is essential reading for all students of the period, both in philosophy and related disciplines such as politics, literature, history and religious studies. (shrink)

ABSTRACT This article offers some reflections on the importance Adam Smith accorded to luck in The Wealth of Nations. While the place of moral luck in The Theory of Moral Sentiments has been the subject of some scholarly attention, this has not been the case for luck in his best-known work. It focuses on what Smith thought particularly striking about our estimation of our own good fortune and argues that it accentuated the need for trustworthiness and trusted friends.

Cover -- Half Title -- Title Page -- Copyright Page -- Original Copyright Page -- Dedication -- Table of Contents -- INTRODUCTION -- VOLTAIRE -- HUME -- ROBERTSON -- GIBBON -- INDEX.

Cet article propose un regard historique sur la notion d’exercice en art, à travers le cas du métier de comédien dans la seconde moitié du XVIIIe siècle. Alors qu’une véritable théâtromanie s’empare de la société française, les acteurs et les actrices doivent répondre aux exigences d’un public friand de nouveautés à l’affiche. L’article met en lumière des pratiques peu visibles du travail artistique, comme l’effort de mémorisation des rôles, ou les modalités d’organisation des exercices au sein de la première école (...) dramatique française (1786-1789). Nous montrons également que la reconnaissance croissante de la centralité de l’exercice, à la fois corporel et intellectuel, dans le métier de comédien contribue à définir la spécificité de l’art dramatique dans le second XVIIIe siècle. (shrink)

The diminution of emphasis on the arts and the humanities and the corresponding increased emphasis on business and STEM disciplines has resulted in a normative conception of national progress that excludes aesthetic education. Scholars in the arts and the humanities have responded to this marginalization either by calling for more esotericism or by underscoring the importance of aesthetic education to the future of democracy and humanity. These arguments have failed to capture the public’s attention. In this essay, I argue that (...) there is a third way: aesthetic educators should challenge the normative understanding of national progress. To this end, I return to the dawn of the split between scientific inquiry and humanist understanding to highlight French Enlightenment debates around the understanding of progress. Specifically, I call attention to the writings of the French philosopher Germaine de Staël because in the adaptation of her notion of progress lies possible hope for the future of the humanities and the arts. (shrink)

This study focuses on Denis Diderot, whose experimentation with presenting critical knowledge exemplifies the Enlightenment's struggle to produce a rationalist critique of all prior knowledge.

Taste and Experience in Eighteenth Century Aesthetics acknowledges theories of taste, beauty, the fine arts, genius, expression, the sublime and the picturesque in their own right, distinct from later theories of an exclusively aesthetic kind of experience. By drawing on a wealth of thinkers, including several marginalised philosophers, Dabney Townsend presents a novel reading of the century to challenge our understanding of art and move towards a unique way of thinking about aesthetics. Speaking of a proto-aesthetic, Townsend (...) surveys theories of taste and beauty arising from the empiricist shift in philosophy. A proto-aesthetic was shaped by the philosophers who followed Locke and accepted that theories of taste and beauty must be products of experience alone. Francis Hutcheson, David Hume, Alexander Gerard and Thomas Reid were among the most important advocates, joined by others who re-thought traditional topics. Featuring chapters tracing its philosophical principles, issues raised by the subjectivity of the empiricist approach and the more academic proto-aesthetic formed toward the end of the century, Townsend argues that Lockean empiricism laid the foundations for what we now call aesthetics. (shrink)

A History of Scottish Philosophy is a series of collaborative studies by expert authors, each volume being devoted to a specific period. Together they provide a comprehensive account of the Scottish philosophical tradition, from the centuries that laid the foundation of the remarkable burst of intellectual fertility known as the Scottish Enlightenment, through the Victorian age and beyond, when it continued to exercise powerful intellectual influence at home and abroad. The books aim to be historically informative, while at the same (...) time serving to renew philosophical interest in the problems with which the Scottish philosophers grappled and in the solutions they proposed. -/- This is a companion volume to Scottish Philosophy in the Eighteenth Century, Volume I. Where Volume I covered Scottish Enlightenment contributions to morals, politics, art, and religion, this second volume covers philosophical method, metaphysics, and the philosophy of mind. It includes a comprehensive account of the teaching of philosophy in Scottish universities in the eighteenth century. Particular attention is given to Scottish achievements in the science of the mind in chapters on perception, the intellectual powers, the active powers, habit and the association of ideas, and language. (shrink)

A History of Scottish Philosophy is a series of collaborative studies by expert authors, each volume being devoted to a specific period. Together they provide a comprehensive account of the Scottish philosophical tradition, from the centuries that laid the foundation of the remarkable burst of intellectual fertility known as the Scottish Enlightenment, through the Victorian age and beyond, when it continued to exercise powerful intellectual influence at home and abroad. The books aim to be historically informative, while at the same (...) time serving to renew philosophical interest in the problems with which the Scottish philosophers grappled and in the solutions they proposed. This is a companion volume to Scottish Philosophy in the Eighteenth Century, Volume I. Where Volume I covered Scottish Enlightenment contributions to morals, politics, art, and religion, this second volume covers philosophical method, metaphysics, and the philosophy of mind. It includes a comprehensive account of the teaching of philosophy in Scottish universities in the eighteenth century. Particular attention is given to Scottish achievements in the science of the mind in chapters on perception, the intellectual powers, the active powers, habit and the association of ideas, and language. (shrink)

Summary Pierre-Joseph Macquer (1718–1784) is well known as one of the major chemists in the eighteenth century as a theoretician and a teacher. He is also known for his works on dyeing. This paper presents a new face of Macquer. He proposed a theory on mordants in dyeing as early as 1775. Besides his activity at the Académie des sciences, he played an important role in Government as the commissioner of dyeing from 1766 where he established close links (...) with artisan inventors. Académicien chimiste at the royal Manufactory of Sèvres from 1757, he was also the inventor of French porcelain. His notebooks show his organization, method, courage, passion and obstinacy in the search for the paste for hard porcelain. He also proposed an interpretation of its formation. Macquer was both a theoretician and a practical expert in dyeing as well as in porcelain making. He managed to bridge the gap between science and art. (shrink)

(1983). The union of arts and sciences in the eighteenth century: Lorenz Spengler (1720–1807), artistic turner and natural scientist. Annals of Science: Vol. 40, No. 5, pp. 411-436.

The Seventh Sense is the definitive study of the aesthetic theory of the great eighteenth-century philosopher Francis Hutcheson, arguably the founder of the modern discipline of aesthetics, and one of the most important figures of the Scottish Enlightenment. This new edition brings Peter Kivy's seminal work back into print, substantially expanded by the addition of seven essays, which deal primarily with Hutcheson's relation to other thinkers, and his influence on eighteenth- and early nineteenth-century aesthetics.Part I of (...) The Seventh Sense presents a detailed analysis of Hutcheson's aesthetic theory. Part II traces the considerable influence of Hutcheson's theory up to the early years of the nineteenth century. Part III is a new and substantial addition to the original work, collecting Peter Kivy's essays on this topic since the first edition appeared, which deal primarily with Hutcheson, David Hume, and Thomas Reid. Philosophers of art, historians of philosophy, and historians working on eighteenth-century European art and culture will find this new edition an invaluable resource. (shrink)

What is the role of language in human cognition? Could we attain self-consciousness and construct our civilisation without language? Such were the questions at the basis of eighteenth-century debates on the joint evolution of language, mind, and culture. Language and Enlightenment highlights the importance of language in the social theory, epistemology, and aesthetics of the Enlightenment. While focusing on the Berlin Academy under Frederick the Great, Avi Lifschitz situates the Berlin debates within a larger temporal and geographical framework. (...) He argues that awareness of the historicity and linguistic rootedness of all forms of life was a mainstream Enlightenment notion rather than a feature of the so-called 'Counter-Enlightenment'. -/- Enlightenment authors of different persuasions investigated whether speechless human beings could have developed their language and society on their own. Such inquiries usually pondered the difficult shift from natural signs like cries and gestures to the artificial, articulate words of human language. This transition from nature to artifice was mirrored in other domains of inquiry, such as the origins of social relations, inequality, the arts and the sciences. By examining a wide variety of authors - Leibniz, Wolff, Condillac, Rousseau, Michaelis, and Herder, among others - Language and Enlightenment emphasises the open and malleable character of the eighteenth-century Republic of Letters. The language debates demonstrate that German theories of culture and language were not merely a rejection of French ideas. New notions of the genius of language and its role in cognition were constructed through a complex interaction with cross-European currents, especially via the prize contests at the Berlin Academy. (shrink)