The book has two aims. First, to examine the extent and significance of the connection between Hume's aesthetics and his moral philosophy; and, second, to consider how, in light of the connection, his moral philosophy answers central questions in ethics. The first aim is realized in chapters 1-4. Chapter 1 examines Hume's essay "Of the Standard of Taste" to understand his search for a "standard" and how this affects the scope of his aesthetics. Chapter 2 establishes that he treats beauty (...) in nature and art and moral beauty as similar in kind, and applies the conclusions about his aesthetics to his moral thought. Chapter 3 solves a puzzle to which this gives rise, namely, how individuals both accept general standards that they also contravene in the course of aesthetic and moral activity. Chapter 4 takes up the normative aspect of Hume's approach by understanding moral character through his view of moral beauty. The second aim of the book is realized in chapters 5-7 by entertaining three objections against Hume's moral philosophy. First, if morality is an immediate reaction to the beauty of vice and the deformity of virtue, why is perfect virtue not the general condition of every human individual? Second, if morality consists of sentiments that arise in the subject, how can moral judgments be objective and claim universal validity? And third, if one can talk of "general standards" governing conduct, how does one account for the diversity of moral systems and their change over time? The first is answered by showing that like good taste in aesthetics, 'right taste' in morals requires that the sentiments are educated; the second, by arguing against the view that Hume is a subjectivist and a relativist, and the third, by showing that his approach contains a view of progress left untouched by any personal prejudices Hume himself might harbor. The book concludes in chapter 7 by showing how Hume's view of philosophy affects the scope of any normative ethics. (shrink)
Machine generated contents note: 'The sublime'. A short introduction to a long history Timothy M. Costelloe; Part I. Philosophical History of the Sublime: 1. Longinus and the ancient sublime Malcolm Heath; 2...And the beautiful? revisiting Edmund Burke's 'double aesthetics' Rodolphe Gasche; 3. The moral source of the Kantian sublime Melissa Meritt; 4. Imagination and internal sense: the sublime in Shaftesbury, Reid, Addison, and Reynolds Timothy M. Costelloe; 5. The associative sublime: Kames, Gerrard, Alison, and Stewart Rachel Zuckert; 6. The 'prehistory' (...) of the sublime in early modern France: an interdisciplinary perspective a Madeleine Martin; 7. The post-Kantian German sublime Paul Guyer; 8. The postmodern sublime: presentation and its limits David B. Johnson; Part II. Disciplinary and Other Perspectives: 9. The 'subtler sublime': in modern Dutch aesthetics John R. J. Eyck; 10. The first American sublime Chandos Michael Brown; 11. The environmental sublime Emily Brady; 12. Religion and the sublime Andrew Chignell and Matthew C. Halteman; 13. The British romantic sublime Adam Potkay; 14. The sublime and the fine arts Theodore Gracyk; 15. Architecture and the sublime Richard Etlin. (shrink)
The British Aesthetic Tradition: From Shaftesbury to Wittgenstein is the first single volume to offer readers a comprehensive and systematic history of aesthetics in Britain from its inception in the early eighteenth century to major developments in Britain and beyond in the late twentieth century. The book consists of an introduction and eight chapters, and is divided into three parts. The first part, The Age of Taste, covers the eighteenth-century approaches of internal sense theorists, imagination theorists and associationists. The second, (...) The Age of Romanticism, takes readers from debates over the picturesque through British Romanticism to late Victorian criticism. The third, The Age of Analysis, covers early twentieth-century theories of Formalism and Expressionism to conclude with Wittgenstein and a number of views inspired by his thought. (shrink)
In his writings Alfred Schutz identifies an artificiality in the concept of life-world produced by Edmund Husserl's method of reduction. As an alternative, he proposes to assume intersubjectivity as a given of everyday life. This eradicates Husserl's distinction between life-world and natural attitude. The subsequent phenomenological project appears to center upon sociological descriptions of the structures of the life-world rather than on a search for apodictic truth. Schutz, however, actually retains Husserl's emphasis on the subject. A tension then arises between (...) the assumption of intersubjectivity and individual experience. Rather than clarifying the concept of intersubjectivity, this further problematizes it. Drawing upon Max Weber's work, Schutz responds by developing a rigorous methodology for studying the social world. But having rejected Husserl's reduction and conflated life-world and natural attitude, Schutz's analysis moves at the level of daily life itself. Consequently, the explanatory categories he proposes appear as abstractions rather than as a way of describing lived experience. Schutz, it is concluded, initiates a scientistic sociology in which the commonsense structures of the natural attitude of everyday life are subverted and replaced by the more rigorous knowledge of the scientific attitude. Schutz's version of phenomenology is ultimately untrue to the spirit of Husserl's original project; and deploying his work as a clear-cut alternative to scientistic tendencies within sociology is not as straightforward as it might at first seem. (shrink)
While there is hardly an aspect of Hume’s work that has not produced controversy of one sort or another, deciphering and evaluating his views on aesthetics involves overcoming interpretive barriers of a particular sort. In addition to what is generally taken as the anachronistic attribution of “aesthetic theories” to any thinker of the eighteenth century, Hume presents the added difficulty that unlike the other founding-fathers of modern philosophical aesthetics, he produced no systematic work on the subject, and certainly nothing comparable (...) to his efforts in epistemology, morals, politics, history, and religion. Even interpreting Hume’s most definitive expression of his views on aesthetic questions—the famous essay “Of the Standard of Taste”—is fraught with difficulties and, as the diversity of views on the piece demonstrates, only the most confident reader would take it as an unambiguous statement of Hume’s position. (shrink)
This paper examines the role of the imagination in Hume's epistemology. Three specific powers of the imagination are identified – the imagistic, conceptual and productive – as well as three corresponding kinds of fictions based on the degree of belief contained in each class of ideas the imagination creates. These are generic fictions, real and mere fictions, and necessary fictions, respectively. Through these manifestations, it is emphasized, Hume presents the imagination both as the positive force behind human creativity and a (...) subversive presence that transforms experience while at once making it possible. (shrink)
Machine generated contents note: Introduction: a brief history of 'aesthetics'; Part I. The Age of Taste: 1. Internal sense theorists; 2. Imagination theorists; 3. Associationist theorists; Part II. The Age of Romanticism: 4. The picturesque; 5. Wordsworth and the early Romantics; 6. Victorian criticism; Part III. The Age of Analysis: 7. Theories of expression; 8. Wittgenstein and afterwards.
This paper considers the claim that Hume washostile to religion and religious belief, andhoped for their demise. Part one examines hisapproach to belief, showing how commentatorstake him to see religious belief asnon-natural. Part two challenges thisconclusion by arguing, first, that Hume'sdistinction between natural and artificialvirtue allows the term ``natural'' to coverreligious belief as well; second, that Humehimself never denies religious belief isnatural, and, third, that he takes religion tobe a necessary part of any flourishing society. The target of Hume's critical (...) remarks onreligion, it is then emphasized, are forms of``false'' religion, which arise from thecorrupting influence of passion, hypocrisy,bigotry, enthusiasm, and superstition. Atbest, it is concluded, the claim that Hume washostile to religion requires qualification,while the view that he was in favor of itsactual demise is largely unwarranted. (shrink)
While there is hardly an aspect of Hume’s work that has not produced controversy of one sort or another, deciphering and evaluating his views on aesthetics involves overcoming interpretive barriers of a particular sort. In addition to what is generally taken as the anachronistic attribution of “aesthetic theories” to any thinker of the eighteenth century, Hume presents the added difficulty that unlike the other founding-fathers of modern philosophical aesthetics, he produced no systematic work on the subject, and certainly nothing comparable (...) to his efforts in epistemology, morals, politics, history, and religion. Even interpreting Hume’s most definitive expression of his views on aesthetic questions—the famous essay “Of the Standard of Taste”—is fraught with difficulties and, as the diversity of views on the piece demonstrates, only the most confident reader would take it as an unambiguous statement of Hume’s position. (shrink)
In his Fifth Meditation, Husserl appears to confront the problem of solipsism. As a number of commentators have suggested, however, since it arises from within phenomenology itself and the existence of the other is never in doubt, it is not a solipsism in the traditional Cartesian sense. Alfred Schutz, however, appears to understand Husserl's inquiry in precisely these terms. As such, his critical discussions of the Fifth Meditation, as well as his subsequent rejection of transcendantal philosophy, might not be well-founded. (...) yet in spite of this misconstrual, Schutz's criticisms do highlight the problematic relationship between subjectivity and intersubjectivity in Husserl's late phenomenology, and albeit misplaced, ironically, his rejection of the Fifth Meditation forms a coherent response to Husserl's call for a science of the life-world. intersubjecitivy, Schutz concludes, must be assumed as a basis for phenomenological investigation rather than derived as a result of philosophical inquiry. Negatively, this is clearly a departure from Husserl's project since Schutz inevitably negates the radical motif under which phenomenological inquiry ostensibly proceeds. Positively, however, the project to which this criticism leads - a phenomenology of the natural attitude - represents a legitimate direction for phenomenological study as well as a radical turn within the thoery and pratice of social science. (shrink)
This paper explores the concept of an ?animal holocaust? by way of J.M. Coetzee's The Lives of Animals, and asks whether the Nazi treatment of the Jews can be legitimately compared to modern factory farming. While certain parallels make the comparison appealing, it is argued, only the holocaust can be described as ?evil.? The phenomena share another feature, however, namely, the capacity of perpetrators to render victims ?invisible.? This leaves the moral dimension of the comparison in tact since it shows (...) defenders and critics of an ?animal holocaust? to be talking about different things: the comparison is offensive for many because it levels degrees of moral value attributed to human and animal life, respectively, while for others it articulates the challenge of bringing non-human sentient beings into the same moral universe as their human counterparts. The paper concludes by asking whether such moral progress can ever render the death of human beings and animals similar in kind. (shrink)
Although one might reasonably ask whether the explicit references to taste, beauty, and deformity, scattered through Hume's writings really amount to an "aesthetic theory," both the ubiquity of the language and the apparently unself-conscious way in which Hume employs it, provide good food for philosophical thought. Perhaps, one might speculate, there are systematic connections between the aesthetic dimension of Hume's thinking and his approach to epistemology and morals for which he is better known. While many have gestured towards such a (...) possibility, and a substantial body of work has grown around Hume's celebrated essay "Of the Standard of Taste," it is only with Dabney Townsend's Hume's Aesthetic Theory: Taste and Sentiment that a book-length study has been devoted specifically to this theme. The work should thus be of great interest to Hume scholars, aestheticians, and students of eighteenth-century thought more generally. (shrink)
Claudia Schmidt begins her new book, David Hume: Reason in History, by noting how recent literature has tended either to offer an overview of Hume’s thinking or to develop a “unified account of a number of themes” from it; there are no extant studies, she emphasizes, that both display the “explicit order of a systematic survey” and provide “a unified interpretation of his thought”. Schmidt takes this to be a “lacuna in the literature,” one she intends to fill by combining (...) a “systematic survey” of Hume’s contributions to the various branches of philosophy, history, and the social sciences, with a “distinctive interpretation” of her own. In so doing, she casts her net over a wide audience: the book is intended to bring in those starting out on their study of Hume, as well as attract the more seasoned specialist in search of a new interpretation, the non-specialist with an interest in recent scholarship, and those outside philosophy who are curious about Hume’s place in the methodology and history of their own disciplines. (shrink)
This paper argues that an important feature of Locke's doctrine concerning primary and secondary qualities is also central to Hume's thinking. Section one considers Locke's distinction, presenting it in terms of an "error theory." Locke argues that we attribute secondary qualities to objects and that in so doing give those qualities an ontological status they do not otherwise possess. Locke completes his theory by drawing on the concept of "resemblance" to explain why such mistakes occur in the first place. Section (...) two turns to Hume's philosophy, arguing that, despite his ambiguous comments on Locke and "the modern philosophy," he employs an error theory of the sort developed by Locke. This contention is supported by way of Hume's treatment of beauty as a secondary quality or sentiment which arises in an individual who judges an object beautiful. The paper concludes by emphasizing that, for Hume, this philosophical explanation of beauty stands in contrast to the error committed in common life where, as in Locke's account, people make the mistake of taking beauty to be in the object itself. (shrink)
This dissertation examines Edmund Husserl's call for a "science of the life-world." It is argued that the most appropriate response is to develop such a science in specifically sociological terms. This argument is made by exploring particular themes in sociological theory and the philosophy of the social sciences. The dissertation begins by explicating Husserl's aspiration to understand the "life-world" and ends with the fulfillment of this aspiration in a "sociology of the life-world." ;The initial focus is upon Husserl's ambiguous concepts (...) of "life-world" and "intersubjectivity." These gain coherence when "intersubjectivity" is understood as the content of "life-world" and subject matter of philosophy. Husserl's argument implies that intersubjectivity should supersede subjectivity as the focus of study. Schutz contends that Husserl's conception of the life-world is artificial and that his philosophy is beset by an insurmountable solipsism. Schutz's alternative is to approach intersubjectivity as an empirical fact. This opens up everyday life to sociological investigation. Although Schutz follows Husserl's recommendations, it is argued that he misconstrues the scope of Husserl's philosophy and, subsequently, his own thought terminates in a reification of method and failure to achieve a science of the life-world. Mead provides a way to remedy this failure by beginning with the relationship between individual and society. Yet Mead's conception of intersubjectivity also fails, as it is undermined by an account of meaning premised on the individual alone. ;By introducing the idea of "universal symbol," however, Mead suggests the study of language as the central topic for a sociology of the life-world. In the final chapters this dissertation draws upon the thought of Ludwig Wittgenstein, Michael Oakeshott, and Harold Garfinkel to discuss how language can be conceived and studied as a set of practices shared within a society. While realizing Husserl's call, the solution of focusing on language raises the question of the scope and nature of sociological inquiry. The dissertation concludes by arguing that sociology, since its procedures are governed by the everyday character of phenomena it studies, should be understood as a descriptive mode of inquiry. In this way, Husserl's recommendations may be enacted in a sociology of the life-world. (shrink)
This essay examines Hume’s treatment of money in light of his view of the imagination. It begins with his claim that money is distinct from wealth, the latter arising, according to vulgar reasoning, from the power of acquisition that it represents, or, understood philosophically, from the labor that produces it. The salient features that Hume identifies with the imagination are then put forth, namely its power to combine ideas creatively and the principle of easy transition that characterizes its movement among (...) them. Two issues that these features explain are then discussed: first, why people take value to lie in the material of which money is made, and, second, why they assign value to what they take money to represent, namely, wealth. In both cases, the imagination creates a new relation, an illusion or fiction, that cannot be traced directly to experience. In the case of money, the faculty conjoins what is intangible with the physical qualities of specie; in the case of property it produces a causal relation that connects persons with objects to constitute stable possession that constitutes ownership. Hume also appeals to the imagination to explain the rules of property that subsequently develop. The essay concludes by emphasizing that being based on the imagination is not in itself indicative of any instability in either money or property and the practices they enshrine, a feature they share with other phenomena that Hume also traces to the same faculty. (shrink)
Claudia Schmidt begins her new book, David Hume: Reason in History, by noting how recent literature has tended either to offer an overview of Hume’s thinking or to develop a “unified account of a number of themes” from it; there are no extant studies, she emphasizes, that both display the “explicit order of a systematic survey” and provide “a unified interpretation of his thought”. Schmidt takes this to be a “lacuna in the literature,” one she intends to fill by combining (...) a “systematic survey” of Hume’s contributions to the various branches of philosophy, history, and the social sciences, with a “distinctive interpretation” of her own. In so doing, she casts her net over a wide audience: the book is intended to bring in those starting out on their study of Hume, as well as attract the more seasoned specialist in search of a new interpretation, the non-specialist with an interest in recent scholarship, and those outside philosophy who are curious about Hume’s place in the methodology and history of their own disciplines. (shrink)
This chapter explores the approaches taken by eighteenth-century British writers to the relationship between aesthetic judgments of beauty, sublimity, and the picturesque, and the faculty of taste that makes them possible. Writers in the tradition emphasize the fit between qualities in objects so judged and a capacity to be affected by them. This common theme unites the various contributions, but they can be divided in terms of the faculty on which different writers place emphasis. A first group isolates an internal (...) sense ; a second emphasizes the imagination, and a third appeals to principles of association. Each group is discussed in turn and details of the respective positions explored. (shrink)
Timothy M. Costelloe - Kant and the Culture of Enlightenment - Journal of the History of Philosophy 44:4 Journal of the History of Philosophy 44.4 667-668 Muse Search Journals This Journal Contents Reviewed by Timothy M. Costelloe The College of William and Mary Katerina Deligiorgi. Kant and the Culture of Enlightenment. Albany, New York: SUNY Press, 2005. Pp. xi + 248. Cloth, $70.00. At a time when our attention is overwhelmed by the practical manifestations of power in pursuit of personal, (...) political, and economic gain, it is timely to read a book urging the spirit of the Enlightenment as a palliative for contemporary ills. In Katerina Deligiorgi's recent study, Kant is the spectre haunting the halls of the Enlightenment project, reminding the living that it is a "culture" shaped by the "social ideal" of rational enquiry, self-criticism, and public debate ... (shrink)
This paper argues that an important feature of Locke's doctrine concerning primary and secondary qualities is also central to Hume's thinking. Section one considers Locke's distinction, presenting it in terms of an "error theory." Locke argues that we attribute secondary qualities to objects and that in so doing give those qualities an ontological status they do not otherwise possess. Locke completes his theory by drawing on the concept of "resemblance" to explain why such mistakes occur in the first place. Section (...) two turns to Hume's philosophy, arguing that, despite his ambiguous comments on Locke and "the modern philosophy," he employs an error theory of the sort developed by Locke. This contention is supported by way of Hume's treatment of beauty as a secondary quality or sentiment which arises in an individual who judges an object beautiful. The paper concludes by emphasizing that, for Hume, this philosophical explanation of beauty stands in contrast to the error committed in common life where, as in Locke's account, people make the mistake of taking beauty to be in the object itself. (shrink)
This paper investigates the concept of “sociology” and the logical limits which, it is argued, are imposed upon its practice by the nature of the subject matter it investigates. This thesis is developed, first, by examining Michael Oakeshott’s distinction between “technical” and “practical” knowledge, and his concept of “abridgment”. The view of human action which follows from this is then applied to sociological practice in order to show how the latter involves a unique sort of abridgment. Then, drawing on Ludwig (...) Wittgenstein's conception of philosophy, it is argued that sociological inquiry has its own form of investigation which is most accurately termed “description”. Finally, Harvey Sacks' notion of “primitive, natural science” is critically examined as an account of social science which approximates most closely to the one being articulated here. The weakness of Sacks’ account, it is suggested, can be explained by his failure to appreciate the Oakeshottian insights about human action with which the argument began. The paper concludes by drawing out some implications of the proposed thesis. (shrink)
Although a number of commentators have remarked upon the simi larities between aspects of George Herbert Mead's social psychology and Adam Smith's Theory of Moral Sentiments, there has been no sys tematic attempt to document the connection. This article attempts to do precisely that. First, the legitimacy of the connection is established by showing the likelihood that Mead knew this particular work by Smith, and by bringing together the various treatments of the matter made by commentators. Since Mead himself does (...) not reference Smith's theory, however, the continuity can be demonstrated only on the level of ideas. Second, then, the movement of Mead's thought is recon structed through the terms 'individual' and 'social epistemology'. An account based upon the former posits self-consciousness as the pre condition for knowledge about others, while the latter makes the development of self dependent on a concept of community. Mead's div ision of the self into the 'I' and the 'me' is central in forcing the shift from the one to the other. Smith's account of moral action, it is then argued, rests upon the same logic. His ideas of 'changing roles in the fancy', the 'impartial spectator', and division of the self, parallel Mead's 'taking the role of the other' and discussion of the self. The 'ideal' spec tator corresponds to Mead's 'generalized other'. The article concludes by drawing a parallel between Mead and Smith on the universal facts of human nature and the moral community. (shrink)
Timothy M. Costelloe - Kant and the Culture of Enlightenment - Journal of the History of Philosophy 44:4 Journal of the History of Philosophy 44.4 667-668 Muse Search Journals This Journal Contents Reviewed by Timothy M. Costelloe The College of William and Mary Katerina Deligiorgi. Kant and the Culture of Enlightenment. Albany, New York: SUNY Press, 2005. Pp. xi + 248. Cloth, $70.00. At a time when our attention is overwhelmed by the practical manifestations of power in pursuit of personal, (...) political, and economic gain, it is timely to read a book urging the spirit of the Enlightenment as a palliative for contemporary ills. In Katerina Deligiorgi's recent study, Kant is the spectre haunting the halls of the Enlightenment project, reminding the living that it is a "culture" shaped by the "social ideal" of rational enquiry, self-criticism, and public debate ... (shrink)
In his account of musical interaction and temporality, Schutz's outer-inner distinction appears to capture a component of everyday experience. But engagement with Wittgensteinian philosophy reveals Schutz's false contrast between literal and metaphorical components of language, a series of philosophical confusions stemming from reifications of mental verbs, and the attribution of genuine duration to phenomena that have life as linguistic objects. Consequently, Schutz's intended account of social interaction comes to rest upon a radically private concept of the subject. A sociology of (...) time, it is concluded, can avoid these conceptual traps by attending to the linguistic component of temporality. (shrink)
