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)

The dominant feature of eighteenth-century aesthetic is the inquiry and discussion concerning the theory of “taste.” There is material or bibliographical evidence of this in the rapid sequence of treatises, essays, inquiries, observations, and controversies on this subject, extending from the close of the seventeenth to the last years of the eighteenth century, and bearing the names, in France, of Dacier, Bellegarde, Bouhours, Rollin, Seran de la Tour, Trublet, Formey, Bitaubé, Marmontel, and, still more eminent, of (...) Montesquieu, Voltaire, d’Alembert; in England, of Addison, Hume, Gerard, Home, Burke, Priestley, Blair, Beattie, Percival, Reid, Alison; in Italy, of Muratori, Calepio, Pagano, Corniani; in Germany, of Thomasius, J. U. König, Bodmer, A. von Schlegel, Wegelin, Heyne, Herz, Eberhard, J. C. König, and, by German influence in Hungary, Szardahely; and, greatest of all, Immanuel Kant, whoseCritique of Judgmentconsists in the main of a critique of the aesthetic judgment of taste. (shrink)

The dominant feature of eighteenth-century aesthetic is the inquiry and discussion concerning the theory of “taste.” There is material or bibliographical evidence of this in the rapid sequence of treatises, essays, inquiries, observations, and controversies on this subject, extending from the close of the seventeenth to the last years of the eighteenth century, and bearing the names, in France, of Dacier, Bellegarde, Bouhours, Rollin, Seran de la Tour, Trublet, Formey, Bitaubé, Marmontel, and, still more eminent, of (...) Montesquieu, Voltaire, d’Alembert; in England, of Addison, Hume, Gerard, Home, Burke, Priestley, Blair, Beattie, Percival, Reid, Alison; in Italy, of Muratori, Calepio, Pagano, Corniani; in Germany, of Thomasius, J. U. König, Bodmer, A. von Schlegel, Wegelin, Heyne, Herz, Eberhard, J. C. König, and, by German influence in Hungary, Szardahely; and, greatest of all, Immanuel Kant, whose Critique of Judgment consists in the main of a critique of the aesthetic judgment of taste. (shrink)

This essay deals with a particularly recalcitrant problem in the history of ideas, that of irrationalism. It emerged to full consciousness in mid-eighteenth century thought. Irrationalism was a logical consequence of individualism which in turn was a direct outcome of the Cartesian self-reflective subject. In time these tendencies produced the "critical" Zeitgeist and the "epoch of taste" during which Kant began thinking about such matters. Like Alfred Bäumler, I argue that irrationalism could not have arisen in ancient or (...) medieval philosophical discourse, as they both lacked a certain type of rationalism required as its conceptual antipode. Only after the Lisbon earthquake (1755), and the ensuing reason vs. passion debate acknowledging for the first time both human powers as equal contenders, did the specter of irrationalism arise and become a focus. Kant's revolution in thought produced "transcendental psychology" reconciling "pure" sensibility and "pure" reason and provided, I argue, the conceptual wherewithal to grant aesthetic feeling and irrationalism a philosophical niche. (shrink)

This essay deals with a particularly recalcitrant problem in the history of ideas, that of irrationalism. It emerged to full consciousness in mid-eighteenth century thought. Irrationalism was a logical consequence of individualism which in turn was a direct outcome of the Cartesian self-reflective subject. In time these tendencies produced the "critical" Zeitgeist and the "epoch of taste" during which Kant began thinking about such matters. Like Alfred Bäumler, I argue that irrationalism could not have arisen in ancient or (...) medieval philosophical discourse, as they both lacked a certain type of rationalism required as its conceptual antipode. Only after the Lisbon earthquake (1755), and the ensuing reason vs. passion debate acknowledging for the first time both human powers as equal contenders, did the specter of irrationalism arise and become a focus. Kant's revolution in thought produced "transcendental psychology" reconciling "pure" sensibility and "pure" reason and provided, I argue, the conceptual wherewithal to grant aesthetic feeling and irrationalism a philosophical niche. (shrink)

This collection of texts on the Sublime provides the historical context for the foundation and discussion of one of the most important aesthetic debates of the Enlightenment. The significance of the Sublime in the eighteenth century ranged across a number of fields - literary criticism, empirical psychology, political economy, connoisseurship, landscape design and aesthetics, painting and the fine arts, and moral philosophy - and has continued to animate aesthetic and theoretical debates to this day. However, the unavailability (...) of many of the crucial texts of the founding tradition has resulted in a conception of the Sublime often limited to the definitions of its most famous theorist Edmund Burke. Andrew Ashfield and Peter de Bolla's anthology, which includes an introduction and notes to each entry, offers students and scholars ready access to a much deeper and more complex tradition of writings on the Sublime, many of them never before printed in modern editions. (shrink)

_A groundbreaking study of the development of form in eighteenth-century aesthetics_ In this original work, Abigail Zitin proposes a new history of the development of form as a concept in and for aesthetics. Her account substitutes women and artisans for the proverbial man of taste, asserting them as central figures in the rise of aesthetics as a field of philosophical inquiry in eighteenth-century Europe. She shows how the idea of formal abstraction so central to (...) conceptions of beauty in this period emerges from the way practitioners think about craft and skill across the domestic, industrial, and so-called high arts. Zitin elegantly maps the complex connections among aesthetics, form, and formalism, drawing out the understated presence of practice in the writings of major eighteenth-century thinkers including Locke, Addison, Burke, and Kant. This new take on an old story ultimately challenges readers to reconsider form and why it matters. (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)

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 volume re-examines traditional interpretations of the rise of modern aesthetics in eighteenth-century Britain and Germany. It provides a new account that connects aesthetic experience with morality, science, and political society. In doing so, the book challenges longstanding teleological narratives that emphasize disinterestedness and the separation of aesthetics from moral, cognitive, and political interests. The chapters are divided into three thematic parts. The chapters in Part I demonstrate the heteronomy of eighteenth-century British aesthetics. (...) They chart the evolution of aesthetic concepts and discuss the ethical and political significance of the aesthetic theories of several key figures, namely the third Earl of Shaftesbury, David Hume, and Adam Smith. Part II explores the ways in which eighteenth-century German thinkers examine aesthetic experience and moral concerns and relate to the work of their British counterparts. The chapters here cover the work of Kant, Moses Mendelssohn, Alexander Gottlieb Baumgarten, and Madame de Staël. Finally, Part III explores the interrelation of science, aesthetics, and a new model of society in the work of Goethe, Johann Wilhelm Ritter, Friedrich Hölderlin, and William Hazlitt, among others. This volume develops unique discussions of the rise of aesthetic autonomy in the eighteenth century. In bringing together well-known scholars working on British and German eighteenth-century aesthetics, philosophy, and literature, it will appeal to scholars and advanced students in a range of disciplines who are interested in this topic. (shrink)

Containing twenty-two essays, including Dabney Townsend's essay on the development of eighteenth century aesthetics to make the history of aesthetics accessible to both students and specialists alike.

Hands are notoriously hard to draw. To compellingly capture their detail, proportion, and movement is generally considered a mark of an artist’s mastery of tech.

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 aim of this paper is not to focus on a particular thematic issue of Aesthetics, offering an exhaustive approach of it, but to display a broader map allowingto capture the essence of this topic from an overall perspective. To achieve it, I have paid attention to a number of points that will help to place Aesthetics in historical terms in the context of 18th century Great Britain. In this vein, I have addressed certain pillars deemed crucial (...) in understanding Aesthetics, such as the socio-historical background in which it emerged, the meaning of this field of study, its main theoreticians and its three most important aesthetic categories. Finally, I close the paper by drawing some brief conclusions. (shrink)

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)

Now reissued with substantial new material, The Seventh Sense is the definitive study of the aesthetic theory of the great eighteenth-century philosopher Frances Hutcheson, and its huge influence on British aesthetics. Peter Kivy's book is a seminal work on early modern aesthetics, and has been much in demand since going out of print some years ago; this new edition brings the book up to date with the addition of eight essays that Kivy has written on the (...) subject since 1976. (shrink)

British writers of the eighteenth century such as Shaftesbury and Hutcheson are widely thought to have used the notion of disinterestedness to distinguish an aesthetic mode of perception from all other kinds. This historical view originates in the work of Jerome Stolnitz. Through a re-examination of the texts cited by Stolnitz, I argue that none of the writers in question possessed the notion of disinterestedness that has been used in later aesthetic theory, but only the ordinary, non-technical concept, (...) and that they did not use this notion to define a specifically aesthetic mode of perception or a specifically aesthetic mode of anything else. The nearest thing that they had to the Stolnitzian conception of “the aesthetic” was their conception of taste, which differs from the former in some essential respects. (shrink)

The 18th-century emergence of aesthetics has been interpreted as a symptom of the entrance of a new image of man, individuality, a modern conception of subjectivity, a new mode of experience, as well as a new ideology or the modern concept of (fine) art into European consciousness. And even though these narratives all situate aesthetics within heteronomous contexts—from physiology and psychology to morality and politics, from social and economic history to belief and religion—one narrative came out as (...) victorious, which neglects the eighteenth-century interpenetration of various disciplines. It offers instead a teleological history of aesthetics which leads towards the concept of autonomy, aesthetic and/or artistic, as it takes shape, allegedly, in the aesthetics of Kant and then Romanticism. The new volume of the Routledge Studies in Eighteenth-Century Philosophy, entitled Beyond Autonomy in Eighteenth-Century British and German Aesthetics, joins the growing body of scholarship that re-examines the influential narratives of autonomy. (shrink)

Cette contribution mobilise des stratégies issues d’un champ d’étude émergent qu’est l’esthétique du quotidien, afin d’explorer les plaisirs liés à la lecture de Robinson Crusoé de Daniel Defoe et de Sir Charles Grandison de Samuel Richardson. Le paradigme fictionnel qu’est le Crusoé de Defoe est une inspiration paradoxale, puisqu’il prête le flanc à la critique en tant qu’incarnation séduisante du pouvoir colonial tout en suscitant l’admiration par sa capacité à faire naître un enthousiasme intellectuel et artistique significatif chez un groupe (...) diversifié de penseurs et d’écrivains. Pour de nombreux lecteurs, il a prouvé sa valeur comme source d’inspiration et de plaisir, en particulier dans son approche esthétique pour structurer la vie quotidienne. La fiction de Samuel Richardson, pour sa part, continue de mettre l’accent sur le quotidien, insistant encore davantage sur les rapports entre l’éthique et l’esthétique. Dans son dernier roman, Sir Charles Grandison, le plaisir n’est presque jamais ressenti sans s’accompagner de commentaires esquissant les contours de la portée morale ; l’acte du raisonnement moral lui-même est manifestement affectif, tant pour les personnages que pour les lecteurs. Cet article se conclut par une réflexion sur les capacités de la littérature et, particulièrement, celles du roman réaliste, à façonner la vie ordinaire des lecteurs de tous les jours. (shrink)

For many eighteenth-century European philosophers and writers, the "beautiful soul" was a symbol of enlightened humanity, carrying with it the possibility that aesthetic beauty and moral goodness would be fused in a new, indivisible unity. In the first book in English on the subject, Robert E. Norton follows the fortunes of this cultural icon, exploring the reasons for both its initial popularity and its subsequent decline as a cultural ideal during the Enlightenment.

Referred to as the "bible of American lawyers," Blackstone's Commentaries on the Laws of England shaped the principles of law in both England and America when its first volume appeared in 1765. For the next century that law remained what Blackstone made of it. Daniel J. Boorstin examines why Commentaries became the most essential knowledge that any lawyer needed to acquire. Set against the intellectual values of the eighteenth century-and the notions of Reason, Nature, and the Sublime-- (...) Commentaries is at last fitted into its social setting. Boorstin has provided a concise intellectual history of the time, illustrating all the elegance, social values, and internal contradictions of the Age of Reason. (shrink)

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)

Eighteenth-Century english scientists, Poets, And philosophers extended the meaning of 'distance' beyond a concept of space and time to include psychological and aesthetic meanings. Berkeley (1709), Priestley (1772), And thomas wedgwood (1818) showed that it was not a self-Evident idea but a complex intellectual construction. The poets denham (1655), Pope (1711), Dyer (1726), Collins (1747), Gray (1747), Campbell (1799) and wordsworth (1805-1827) used distance to represent a mental perspective, An aesthetic attitude, Nostalgia, Hope, Fancy, And imagination. Hume (1739), (...) Hartley (1749), Adam smith (1761), Burke (1757), And blair (1783) discussed early versions of aesthetic distance. The expanding meaning of 'distance' corresponds with the changing understanding of space and time in the philosophies of locke, Hume, And kant. Distance provided the eighteenth century with a means of exploring the relationship between subjective and objective realms of experience. (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)

This book affects a rapprochement between memory studies and eighteenth-century aesthetics with the aim of modifying received views on the role and fate of memory in the history of criticism. It argues that the philosophical problems characterizing conceptualizations of memory unsettle its opposition to the imagination and explain its relation to literary discourse. Moving from the Muses through Plato and Descartes to works by Pope, Addison, Gerard, and Kames, the book traces these problems through various "figures" representing (...) notions of memory and claims that eighteenth-century critical thought exploited a constructive sense of memory for accounts of the notion of the imagination. Komáromy thus argues for the persistence of the literary relevance of memory even in a poetics of the imagination, offering a new perspective on the changing relation of memory and imagination at a point in the history of criticism that has determined the critical assessment of these concepts. (shrink)

In the mid-eighteenth century music underwent a sudden and drastic revolution when composers “discovered” a new dimension to their art. This had immense repercussions on the philosophy of art, for the music created before and after this divide represents two different species of aesthetic experience, which in due course affected our understanding of the meaning and import of the other arts as well. Despite the immense aesthetic repercussions of this Copernican revolution in music, philosophers of art seem not (...) to have taken much notice of it. This essay details the emergence of the relevant musical criteria during the eighteenth century and dwells on their long-term impacts on the philosophy of art. (shrink)

Eighteenth-century historiography was not, as Meinecke argued, "the substitution of a process of individualizing observation for a generalizing view of human forces in history." This generally accepted view involves a metaphysics which, though characteristic of nineteenth-century historicism, rejects the primarily contextual evaluation of eighteenth-century historicism. This underlying form of evaluation developed not with individualism, but with aesthetics. Though usually considered a product of the eighteenth century, aesthetic historicism can be traced to the (...) Quarrel of the Ancients and the Moderns, which began in the late 1680s and culminated with the "war over Homer" of 1714-1716. This argument explored the problem of evaluating the art of other historical ages. The implications of this position are that historicism was not an essentially German movement and that historicism was not a rigid antithesis to the Enlightenment. (shrink)

A History of Modern Aesthetics narrates the history of philosophical aesthetics from the beginning of the eighteenth century through the twentieth century. Aesthetics began with Aristotle's defense of the cognitive value of tragedy in response to Plato's famous attack on the arts in The Republic, and cognitivist accounts of aesthetic experience have been central to the field ever since. But in the eighteenth century, two new ideas were introduced: that aesthetic experience is (...) important because of emotional impact - precisely what Plato criticized - and because it is a pleasurable free play of many or all of our mental powers. This book tells how these ideas have been synthesized or separated by aestheticians of modern times. This first volume recounts how philosophers in Britain, France, and Germany developed these new approaches and searched for ways to combine them with the cognitivism of traditional aesthetics. (shrink)

Cultural factors are operating in the aesthetic experience of pictorial realism, occurring in a transcultural manner, and their effects are salient in beholder’s affective reaction correlated with perceptual-cognitive operation. This paper aims to demonstrate this hypothesis, by developing two analytical tools that might explain the anti-hedonic valence of Hong Taeyong, an eighteenth-century Korean literatus’ aesthetic experience of a Western religious fresco depicting the Lamentation of Christ in a Jesuit Catholic church in Beijing. First, a complex multifold conflict between (...) «actual affect» and culturally modeled «ideal affect», operating simultaneously in his visual experience, might be translated into a highly negative valence of his global affective state. Second, the variance of processing fluencies at different levels would have made his global processing operation less fluid, and it might play a role in his negative affective valence, since the affect is inherent in processing fluency signal. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Women and Philosophy in Eighteenth-Century Germany ed. by Corey W. DyckJulia BorcherdingCorey W. Dyck, editor. Women and Philosophy in Eighteenth-Century Germany. Oxford: Oxford University Press, 2021. Pp. 272. Hardback, $85.00.In more ways than one, this volume constitutes an important contribution to ongoing efforts to reconfigure and enrich our existing philosophical canon and to question the narratives that have led to its current shape. To (...) start, while there is a growing amount of research dedicated to recovering the contributions of women to early modern philosophy, much of this work focuses on the seventeenth century, and geographically centers on England, France, and Italy. By turning the spotlight on eighteenth-century Germany, this volume broadens the scope of these efforts in an important way. Further, with the historiography of this period still shaped by a long-standing dismissive treatment of post-Leibnizian German philosophy and by the long shadow cast by the success of Kant's Critical philosophy, which eclipsed many of the thinkers opposed to it, challenges to its traditional narratives seem especially important. The editor's earlier collection (coedited with Falk Wunderlich) on Kant and his German contemporaries already succeeded in mounting such a challenge by showing that German philosophy throughout the eighteenth century in fact presents us with an extraordinarily rich tableau of intellectual life (Kant and His German Contemporaries. Vol. 1: Logic, Mind, Epistemology, Science and Ethics [Cambridge: Cambridge University Press, 2018]).The present volume stands as a further valuable contribution to relativizing the still dominant narrative of German philosophy as the story of a select few brilliant minds. It successfully dispenses not only with the idea that those minds were few, but also with the equally persistent one that they were exclusively male. Already in the nineteenth century, we find historians such as Karl Joël explicitly casting the new age of German philosophy inaugurated by Kant as its "masculine epoch"—an image undoubtedly furthered by its main protagonist, who cast philosophical acumen in decidedly male terms when he observed that "[a] woman who has a head full of Greek, like Madame Dacier, or one who engages in debate about the intricacies of mechanics, like the Marquise du Châtelet, might just as well have a beard; for that expresses in a more recognizable form the profundity for which she strives" (Karl Joël, Die Frauen in der Philosophie [Hamburg, 1896], 48; Immanuel Kant, Beobachtungen über das Gefühl des Schönen und Erhabenen [Königsberg, 1764], translation in Londa Schiebinger, The Mind Has No Sex? Women in the Origins of Modern Science [Cambridge, MA: Harvard University Press, 1989], 146; both cited in Eileen O'Neill, "Disappearing Ink: Early Modern Women Philosophers and Their Fate in History," in Philosophy in a Feminist [End Page 154] Voice: Critiques and Reconstructions, ed. Janet A. Kourany [Princeton, NJ: Princeton University Press, 1997], 17–62). Yet as the contributions to this volume forcefully illustrate, women in the period did—in spite of the numerous severe social, religious, and political obstacles they faced—in fact manage to gain access to its intellectual sphere, and actively shaped its philosophical landscape.While the papers collected here are of high quality throughout, they do vary in their approach. Many chapters, especially in the earlier parts of the volume, investigate female figures as philosophers in their own right, and carve out their self-standing contributions to prominent philosophical movements and debates. Focusing on Sophie of Hanover's correspondence with Leibniz, Christian Leduc's chapter begins by examining her metaphysical views and argues, against standing interpretations, that her main aim is to defend a version of the doctrine of physical influence as an account of mind-body interaction while rejecting metaphysical commitments regarding the nature of the soul in favor of a more agnostic, Lockean empiricist approach. In chapter 3, Stefanie Buchenau shows how women engaging with Wolffian Schulphilosophie began to view themselves as more than teachers and translators and started to claim the title of philosophers. Using the example of Johanna Charlotte Unzer, Buchenau convincingly argues that despite the "feminine," aesthetic garb of her thought, Unzer in fact offers a serious critique and revision of the Wolffian model of... (shrink)

It would be, at this hour of the day, supererogatory to argue the pre-eminence of Locke's influence on eighteenth-century thought. But though this claim has been made often enough, 1 and has often enough been shown to be true, it has not been shown for aesthetics. I believe it to be true of aesthetics as well, but that the fact has gone unremarked, because the line of influence here is not so overt as in the case (...) of, say, political theory or epistemology. It is, rather, oblique and devious; that the influence is there at all is, even, paradoxical. (shrink)