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)

Joseph Addison’s (1672--1719) essays in The Spectator occupy contradictory positions in the history of aesthetics. While they are generally considered central to the institution of aesthetics as a scholarly discipline, their reception has throughout history entailed a strong questioning of their philosophical and scholarly importance. In the following paper, I consider this dual feature as regards reception, and set out to clarify how this has come about. A re-examination of the arguments advanced by Addison makes clear that his role is (...) not that of a philosopher, but that of a public educator. As such he aims to raise the standard of general education of the British ‘middling orders’ in the early eighteenth century, and by using art for didactic purposes he seeks to contribute to the shaping of morally accomplished individuals. (shrink)

This book explores the impulses behind the fascination for that experience.

To study the corpus of the third Earl of Shaftesbury is to catch a unique voice in eighteenth-century philosophy. At times he brings clarity to the table, at other times he seems completely out of...