In my contribution to this volume, I (BHS) comment on on the stultifying rhetoric of contemporary analytic moral theory as illustrated in Judith Jarvis Thomson's Tanner Lectures, with particular reference to Thomson's anxieties about the moral relativism exhibited by college freshman and to her efforts--quite strained, in my view, and inevitably unsuccessful--to demonstrate the existence of objective judgments in matters of morality and taste .

Breaking off the ordinary flow of experience, the passions create a state of exception. In their suddenness and intensity, they map a personal world, fix and qualify our attention, and impel our actions. Outraged anger drives us to write laws that will later be enforced by impersonal justice. Intense grief at the death of someone in our life discloses the contours of that life to us. Wonder spurs scientific inquiry. The strong current of Western thought that idealizes a dispassionate world (...) has ostracized the passions as quaint, even dangerous. Intense states have come to be seen as symptoms of pathology. A fondness for irony along with our civic ideal of tolerance lead us to prefer the diluted emotional life of feelings and moods. Demonstrating enormous intellectual originality and generosity, Philip Fisher meditates on whether this victory is permanent-and how it might diminish us. From Aristotle to Hume to contemporary biology, Fisher finds evidence that the passions have defined a core of human nature no less important than reason or desire. Traversing the Iliad, King Lear, Moby Dick, and other great works, he discerns the properties of the high-spirited states we call the passions. Are vehement states compatible with a culture that values private, selectively shared experiences? How do passions differ from emotions? Does anger have an opposite? Do the passions give scale, shape, and significance to our experience of time? Is a person incapable of anger more dangerous than someone who is irascible? In reintroducing us to our own vehemence, Fisher reminds us that it is only through our strongest passions that we feel the contours of injustice, mortality, loss, and knowledge. It is only through our personal worlds that we can know the world. (shrink)

This is a book about the aesthetics of wonder, about wonder as it figures in our relation to the visual world and to rare or new experiences.

Within the strategy that we call avant-garde there are two sets of tactics, one immediate, the other long term. One set could be called a tactics of short-term attention, and it is this set that has been most often noticed. Shock, surprise, self-promotion, the baiting of middle-class solemnity, outrage, a subversive playfulness, a deliberate frustration of habitual expectations, an apparent difficult or refusal of communication, a banality where profundity and seriousness were earlier the norm: these are a few of the (...) tactics that again and again appeared as part of the competitive marketplace strategy for advertising the new.To be a notorious artist was always halfway to becoming a famous one, and many were willing to take the chance that once conditions were right the slight move from notoriety to fame could be accomplished. These tactics made it clear that the problem for an artist within the modern period was first of all to stand out within a crowd, within a surplus of candidates for the few places available nationally or internationally. The rivalry for initial attention under modern conditions set every artist the question of how his own work might have clear identity and felt importance. This was, in an age of products and advertising, the problem of how to turn a style into a brand. Philip Fisher is professor of English at Harvard University and the author of Hard Facts . The essay published here forms part of his forthcoming book Making and Effacing Art. He is currently at work on a book on the philosophical and literary history of the Passions. (shrink)