The large extent to which aesthetic terms pervade Adam Smith’s discussion of ethics would seem to suggest, in the least, that the spheres of aesthetics and ethics are interwoven in a way hardly possible to conceive in the wake of Kant. Despite this recognized closeness between the two areas, one account in the literature has claimed that Smith’s understanding of beauty anticipates Kant’s modern notion of disinterested pleasure. It is claimed that according to Smith, disinterested pleasure is aroused by the (...) harmony of our moral sentiments as well as by the beauty of “productions of art.” By analyzing the relation of beauty to utility in Smith’s aesthetics and ethics, I will be arguing against the attribution to Smith of a specifically disinterested pleasure in our judgments of the beauty of the productions of art, as well as in the beauty of moral objects, such as virtuous character and conduct. (shrink)

Joseph Addison’s Spectator papers on the imagination have been read as a landmark in the development of aesthetic disinterestedness. But this is problematic in light of Addison’s theological concerns, particularly as they bear on the final causes of aesthetic pleasures. This teleology of the aesthetic is far from a Kantian understanding, but rather part of a larger discourse of physico-theology. By drawing on the work of Zeitz and Mayhew, among others, this paper shows how Addison’s theological underpinnings of the aesthetic (...) raise the broader question of the role theology played in the emergence and evolution of philosophical aesthetics. In eighteenth-century Britain, the aesthetic belonged to a disciplinary matrix comprising a set of confluent discourses, one of which was theology. Drawing on and expanding M.H. Abrams’s scheme, which explores how concepts such as ‘contemplation’ and ‘disinterestedness’ migrated from theology to aesthetic theory, this paper suggests that the concept of ‘aesthetic pleasure’ underwent a similar transformation. With Addison, the pleasures afforded by the imagination acquire a new dominant position which allows one to speak of a text in modern aesthetics instead of a manual of Christian apologetics. (shrink)