미적 감정주의는 미적 가치평가가 감정 반응에 근거한다는 생각이다. 이 글에서 나는 미적 감정주의에 기초하여 미적 감정이 있다고 주장하는 두 관점인 환원주의와 수정주의를 비판적으로 검토한다. 경이 환원주의는 비인지주의 감정 이론을 전제하고 미적 감상이 경이 감정으로 환원된다고 주장한다. 다수 감정 환원주의는 인지주의나 비인지주의를 전제하지 않고 미적 감상이 다수의 감정으로 이루어진 한 부류로 환원된다고 주장한다. 반면 수정주의는 감상 감정인 미적 감정이 별도의 감정적 기능인 완성적 기능을 갖기에 독자적인 감정 유형으로 분류돼야 한다고 주장한다. 그러나 환원주의는 개념 예술 감상을 적절하게 설명하지 못한다는 문제를 가진다. 이에 (...) 더해, 경이 환원주의는 재조정을 통해 미적 경이의 지향적 대상을 구성하는 데 취약하고, 다수 감정 환원주의는 미적 가치평가의 근거가 감정이 아닌 다른 반응이나 태도일 가능성을 간과하는 문제를 가진다. 한편 수정주의는 감정의 완성적 기능과 정감적 평가가 개념적으로 충돌하는 문제를 드러내며, 직접 경험 원칙에서 벗어나는 예술 감상 사례를 설명하지 못한다. 그러므로 나는 환원주의와 수정주의가 모두 성공적이지 않다고 결론 내린다. (shrink)

Within the debate on the epistemology of aesthetic appreciation, it has a long tradition, and is still very common, to endorse the sentimentalist view that our aesthetic evaluations are rationally grounded on, or even constituted by, certain of our emotional responses to the objects concerned. Such a view faces, however, the serious challenge to satisfactorily deal with the seeming possibility of faultless disagreement among emotionally based and epistemically appropriate verdicts. I will argue that the sentimentalist approach to (...) class='Hi'>aesthetic epistemology cannot accept and accommodate this possibility without thereby undermining the assumed capacity of emotions to justify corresponding aesthetic evaluations – that is, without undermining the very sentimentalist idea at the core of its account. And I will also try to show that sentimentalists can hope to deny the possibility of faultless disagreement only by giving up the further view that aesthetic assessments are intersubjective – a view which is almost as traditional and widely held in aesthetics as sentimentalism, and which is indeed often enough combined with the latter. My ultimate conclusion is therefore that this popular combination of views should better be avoided: either sentimentalism or intersubjectivism has to make way. (shrink)

This chapter examines the critiques of sentimentalism developed by Moritz Geiger and José Ortega y Gasset within the field of phenomenological aesthetics. It explores and evaluates the main arguments behind this critique: namely the existence of an aesthetic attitude, an intellectualized view of appreciation, and the predominance of form over content. Though both authors utilize Kant’s idea of “aesthetic disinterestedness”, they endorse a view of appreciation which differs from the Kantian one in substantial respects.

Sentimentalist aesthetic theories, broadly construed, posit that emotions play a fundamental role in aesthetic experiences. Jesse Prinz has recently proposed a reductionistic version of sentimentalist aesthetics, suggesting that it is the discrete feeling of wonder that makes an experience aesthetic. In this contribution, we draw on Prinz’s proposal in order to outline a novel version of a sentimentalist theory. Contrasting Prinz’s focus on a single emotion, we argue that an aesthetic experience is rudimentarily composed of a (...) plurality of emotions. We acknowledge and discuss significant problems that follow from such a theory, arguing that a pluralist version of sentimentalism is nonetheless the soundest position within sentimentalist aesthetics. (shrink)

This chapter examines the critiques of sentimentalism developed by Moritz Geiger and José Ortega y Gasset within the field of phenomenological aesthetics. It explores and evaluates the main arguments behind this critique: namely, the existence of an aesthetic attitude, an intellectualized view of appreciation, and the predominance of form over content. Though both authors utilize Kant’s idea of “aesthetic disinterestedness,” they endorse a view of appreciation that differs from the Kantian one in substantial respects.

Philosophers have predominantly regarded morality and aesthetics judgments as fundamentally different. However, whether this claim is empirically founded has remained unclear. In a novel task, we measured brain activity of participants judging the aesthetic beauty of artwork or the moral goodness of actions depicted. To control for the content of judgments, participants assessed the age of the artworks and the speed of depicted actions. Univariate analyses revealed whole-brain corrected, content-controlled common activation for aesthetics and morality judgments in frontopolar, dorsomedial (...) and ventrolateral prefrontal cortex. Temporoparietal cortex showed activation specific for morality judgments, occipital cortex for aesthetics judgments. Multivariate analyses revealed both common and distinct whole-brain corrected representations for morality and aesthetics judgments in temporoparietal and prefrontal regions. Overall, neural commonalities are more pronounced than predominant philosophical views would predict. They are compatible with minority accounts that stress commonalities between aesthetics and morality judgments, such as sentimentalism and a valuation framework. (shrink)

The notion of normativity has been key to an actualizing reading of the subjective universality that for Kant characterizes the aesthetic judgment. However, in the scholarly literature little discussion is made, somehow unsurprisingly, of what exactly we should understand by normativity when it comes to Kant’s aesthetics. Recent trends show indeed the tendency to take normativity very broadly to the point of nuancing most of its core meaning. Based on how we speak about normativity in aesthetics, we seem indeed (...) to have accepted that every kind of evaluative process is normative. I will argue that the sentimentalist elements of Kant's account call for a revision of its normative interpretations, for a better framing of its subjective universalism, and finally for a reconsideration of aesthetic normativity in favour of regulativity. (shrink)

Linda Zagzebski recently put forward a new theory, moral exemplarism, that is meant to provide an alternative to theories like consequentialism and deontology, and which proposes to define key moral terms by direct reference to exemplars. The theory’s basic structure is straightforward. A virtuous person is defined as a person like that, where that points to individuals like Leopold Socha, Confucius, Jesus Christ, and so on. A key component of this theory is the function played by the emotions, specifically the (...) emotion of admiration, which helps us identify moral exemplars, inspires our emulation of them, and grounds moral motivation. In other words, admiration tracks persons like that. The aim of this article is to show that unless moral exemplarism recognises and incorporates an aesthetic dimension to morality, as did, for instance, eighteenth-century sentimentalists by recognising the categories of moral beauty and ugliness, the theory suffers important theoretical difficulties, whilst failing to yield some of the theoretical merits that it boasts. To this end, I will cast doubt on the prominent role accorded to the emotion of admiration for morality, arguing that it has to either be qualified as a specific kind of admiration––namely that which takes the beautiful as its object––or be replaced altogether with the affective response to the beautiful, a mark of which is pleasure or delight in the contemplation of an object. In short, an aesthetics of character is necessary in order to properly theorise the affective and motivational components of morality under an exemplarist framework. (shrink)

“A sentimental layman would feel, and ought to feel, horrified, on being admitted into [an expert art] critic's mind, to see how cold, how thin, how void of human significance, are the motives for favour or disfavour that there prevail.” Thus writes William James. The art-world is dominated by critics who sneer and sentimentality, resist evocation, and issue stale, dispassionate appraisals. Memorized standards are coolly deployed to scan works for the features that are currently in fashion, before an icy verdict (...) is delivered. Untutored art enthusiasts make aesthetic judgments in an entirely differently way. For them, appraisal is read off “the sounding board of the body.” They use their emotions. Thus, according to James, there are two ways to assess art: cold and hot. So who is right, the rhapsodical museum-goer or the effete professional critic? As a first pass, I side with the rhapsodies. I think dispassionate appraisal is parasitic on passionate appraisal. Cool reason can never be sufficient on its own to assess artistic merit. This is a corollary of “aesthetic sentimentalism”—a view was championed by Hume and other British moralists. Of course, aesthetic sentimentalism does not entail that critics are wrong when they depart from the bubbling masses. It entails merely that good critics must be slaves to their own passions. Hacks may deliver aesthetic judgments dispassionately, but more sensitive critics have been known to muster an occasional gasp or thrill. Perhaps the refined emotions of professional critics have more validity than the crude gushings of James ’s “sentimental layman.” True beauty may be restricted to those works that elicit goosebumps in skilled viewers. Hume flirts with this idea. He thinks John Milton is objectively better than John Ogilby. Why? Because John Dryden said so, and he should know. John D. can arbitrate between the merits of John M. (shrink)

In 1906, Henry Stephens Salt published a short collection of essays that presented several rhetorically powerful, if formally deficient arguments for the vegetarian position. By interpreting Salt as a moral sentimentalist with ties to Aristotelian virtue ethics, I propose that his aesthetic argument deserves contemporary consideration. First, I connect ethics and aesthetics with the Greek concepts of kalon and kalokagathia that depend equally on beauty and morality before presenting Salt’s assertion: slaughterhouses are disgusting, therefore they should not be promoted. (...) I suggest three areas of development since Salt’s death that could be fruitfully plumbed to rebuild this assertion into a contemporary argument: an updated analysis of factory farm conditions, insights from moral psychologists on the adaptive socio-biological benefits of disgust as a source of cognitive information, and hermeneutical considerations about the role of the audience that allow blameworthiness for slaughterhouse atrocities to be laid upon the meat-eater. (shrink)

How can one be a good person? That, in essence, is the question I ask in this dissertation. More specifically, I ask how we, in general, can best go about the complex and never-ending task of trying to figure out what we should do and then do it. I answer that question in four articles, each dealing with an aspect of the model of morality presented by Adam Smith in The Theory of Moral Sentiments. The title of the dissertation, ‘How (...) to be a good sentimentalist’, thus refers to that particular philosophical framework. However, the answers I give should be relevant to any person concerned with how to be a good person. The first article, Moral Tuning, deals with the first part of the question, namely how we can best go about figuring out what it is that we should and should not do. Specifically, it deals with the question of whether, and if so how, individuals like you and I can critically reflect upon the norms of our own society, sorting the chaff of merely conventional norms from the wheat of genuinely moral ones. In brief, it is the question of whether we as individuals are autonomous in our relation to the norms of our own society. In answering this question, my co-authors and I argue that Smith’s use of musical metaphors in TMS, words like tone, pitch, and concord, can be understood as elements of an analogical model of morality. In contrast to earlier interpretations of Smith’s musical metaphors, which have seen music as an aesthetic object, we draw on recent developments in musicology to argue that music may also be construed as a practice. Construing the source domain of this analogical model as musical practice allows us to construe the target domain also as a practice—as moral tuning. This in turn allows us to argue that moral autonomy consists in realising the freedom inherent in the constant need to translate norms into action, and in so doing, to interpret and reinterpret, not only the actions, but the norms themselves. In other words, following the norms of our own society already implies that we are autonomous in relation to them. Being good sentimentalists thus begins with realising that we are free to question and reshape the moral standard of our own society. The second article, Love Redirected, deals with the second part of the question, namely how we can best go about doing what we already think we should do. This, then, is a question of moral motivation, more specifically a question about the difference between genuinely moral motivation and other kinds of motivation, like a selfish desire for praise. Smith himself argues that we not only desire the actual praise of other people, but to be worthy of their praise, to be ‘praiseworthy’. The desire to be praiseworthy, the ‘love of praiseworthiness’ is then the genuinely moral motivation, for it aims at nothing but the satisfaction of having done the right thing. The trouble with Smith’s answer is that he does not adequately connect his claim about praiseworthiness to the rest of his model. This has lead to some confusion in the secondary literature, and in the first part of Love Redirected, I seek to end this confusion by combining what Smith says in the various editions of TMS into a coherent argument for how the desire to be praiseworthy comes from redirecting our desire for praise from other people towards the ideal of the ‘impartial spectator’. I then go on to show how this reading also fits with modern psychological research on the moral development of children. Finally, I conclude that this redirection of our desire for praise requires not just negative, but positive emotional reinforcement. Therefore, becoming good sentimentalists involves taking pleasure in our moral successes, no less than we are pained at our failures. The third article, The Practical Impossibility of Being both Impartial and Well-informed, makes a first pass at dealing with the idea of the impartial spectator itself, an idea that is central to the answers given in the two first articles. The problem with the impartial spectator is that she is also supposed to be well-informed about those she judges. However, the demands of impartiality and of understanding pull in opposite directions: To be well-informed—to properly understand the situation and character of the person we judge—we must, typically, be sufficiently physically close to that person to see with our own eyes what they are going through. At the same time, this kind of physical closeness tends to entangle us in the kinds of emotional bonds that hinder an impartial evaluation. One might think that this tension could be eased or eliminated by relying less on physical closeness and more on the powers of our imagination to, as Smith frequently puts it, ‘bring home to us’ the situation of the person we are judging. However, using Construal Level Theory, I argue that merely imagining someone’s situation in detail and/or taking their perspective produces a similar effect to physical closeness, and hence that the tension between understanding and impartiality is practically inescapable. To be good sentimentalists, we must therefore recognise our limitations, and give up on the illusion of ever being fully understanding and perfectly impartial at the same time. The fourth article, The Partially Impartial Spectator as an Ethical Ideal, makes a second pass at dealing with the idea, or rather ideal, of the impartial spectator. It begins with the recognition that we frequently fail to be impartial spectators, both of others, and of ourselves. This is especially true in those cases where our views conflict with those of someone else. Building on research detailing the various ways in which cognitive and affective biases impact our perception of the world, our reasoning about our own views, and our ability to resolve disputes with others, I argue that merely trying harder to be impartial spectators is liable to backfire, rendering us just as biased as ever, to which is added an unshakeable confidence that we were right all along. Therefore, I go on to argue, we must try smarter. Trying smarter, I conclude, involves aiming for something less ideal, more achievable, and, most importantly, humbler, namely to be partially impartial spectators. Being a good sentimentalist thus beings with realising our freedom to interpret, continues in our taking pleasure in our moral successes, pauses at the realisation that we will never be truly impartial spectators, and ends with a commitment to continued improvement under the lodestar of the ideal of the partially impartial spectator. (shrink)

This compelling book defends realism concerning the aesthetic—in particular, concerning the aesthetic properties of works of art. Morais lucidly argues that art criticism, when referring to aesthetic properties, is referring not ultimately to the critic’s subjective reactions, but to genuine properties of the works. With a focus on contemporary discussion conducted in the analytic tradition, as well as on arguments by Hume and Kant, this book characterizes the debate in aesthetics and the philosophy of art concerning (...) class='Hi'>aesthetic realism, examining attacks on the objectivity of values, the ‘autonomy thesis’, and Hume’s sentimentalism. Considering and defusing scepticism concerning the significance of the ontological debate about aesthetic realism, Morais discusses two powerful attacks on aesthetic realism before defending the doctrine against them and providing a positive realist account of aesthetic properties. (shrink)

This chapter provides a response dependence interpretation of it, and shows that it is compatible with a virtue ethical interpretation of Hume's moral philosophy. It aims to do justice to Hume's convictions both that sentiment lies at the foundations of ethics, and that ethics is a form of reliable, objective interaction with the world, permitting critical purchase on both people's behavior and emotions through objectively and socially accessible notions of virtue and vice. The distinction between a scientific constitution of properties (...) and an ethical or aesthetic one is nicely illustrated with Hume's discussion of the beauty of a circle. The chapter discusses the analysis of Hume's notion of the moral sense itself. The moral sense, as an appreciation of virtue, involves sensitivities due to the excitement of “sympathy” but a sympathy driven by or operating within the background of desires for the good of others. (shrink)

It is quite standard, even banal, to describe Kant's project in the Critique of Pure Reason [KrV] as a critical reconciliation of rationalism and empiricism, most directly expressed in Kant's claim that intuitions and concepts are two distinct, yet equally necessary, and necessarily interdependent sources of cognition. Similarly, though Kant rejects both the rationalist foundation of morality in the concept of perfection and that of the empiricists in feeling or in the moral sense, one might broadly characterize Kant's moral philosophy (...) as an attempt to reconcile the apriori universality and necessity of rationalist ethics with empiricist or sentimentalist strictures concerning the distinction between the ‘ought’ and the ‘is’, between third personal knowledge of the good and first personal motivation. (shrink)

In aesthetics there is a long tradition according to which beauty is the object of love. One construal of this suggests a sentimentalist theory of beauty: beauty just is the object of an emotion aptly described as love. The first step toward such a view would be to discern whether we can make sense of at least some kind of aesthetic affect as at least some kind of love. I suggest that we can by taking up a thought from (...) Frank Sibley, according to whom aesthetic properties reflect non-aesthetic values that “go deep into human life and interests” or that “mean much to us” given the kinds of lives we live. I show how we might think that a variety of aesthetic affect represents its object as embodying life-affirming value and as such we can see a variety of aesthetic affect as a kind of love of life. It remains to be seen whether this can be leveraged into a theory of beauty narrowly construed. (shrink)

The Emotions chapter (XXV) in James' Principles of Psychology traverses the entire range of experienced emotions from the “coarser” and more instinctual to the “subtler” emotions intimately involved in cognitive, moral, and aesthetic aspects of life. But Principles limits himself to an account of emotional consciousness and so there are few direct discussions in the text of Principles about what later came to be called moral psychology, and fewer about anything resembling philosophical ethics. Still, James’ short section on the (...) subtler emotions, when read in connection with his later philosophical writings, still provides insight on James’ views about how human emotion colors our moral psychology and agency. The paper tries to articulate how James' somatic account of emotion adds significantly to contemporary discussions at the borders of moral psychology and philosophy: discussions over the foreground/background distinction, emotional temperament, emotional learning, moral imagination, and selfhood and narrativity. The final section focuses on the neo-Jamesian character of "new sentimentalist" moral psychologists. Among the substantial connections I discuss between James and 1) between Jonathan Haidt’s “social intuitionism” and 2) Jesse Prinz’s "emotionism" are the critiques that they each share of the pretensions of hard universalist ethical theories. (shrink)

Although in his earlier ethical writings Kant explains the concept of moral feeling, inherited from the British sentimentalists, as a peculiar feeling of respect for the moral law that functions as an incentive for moral actions, the Doctrine of Virtue seems to add complexity to the issue. There, Kant discusses two similar aesthetic predispositions, moral feeling and respect, whose relationship to the feeling of respect is far from clear. This article offers a much needed elucidation of the relationship between (...) these three concepts. In the first part, I show that Kant, in the writings before the Doctrine of Virtue, transforms the British sentimentalists’ construal of moral feeling into that of the feeling of respect as the sole moral incentive. In the second part, I argue that, although in the Doctrine of Virtue Kant distinguishes, for a specific reason, between the aesthetic predisposition of moral feeling and that of respect, they are both ultimately identical to the feeling of respect. The conclusion is that nothing of substance changes between Kant’s earlier thinking and his views in the Doctrine of Virtue; for Kant there is just one feeling that properly deserves the name of moral feeling, the feeling of respect. (shrink)

"Adam Smith is widely regarded as the founder of political economy and one of the great thinkers of the Enlightenment period. Best-known for his founding work of economics, The Wealth of Nations, Smith's thought engaged equally with the nature of morality, above all in his Theory of Moral Sentiments. Smith's brilliance leaves us with an important question, however: Was he first and foremost a moral philosopher, who happened to turn to economics for part of his career? In this outstanding philosophical (...) introduction Samuel Fleischacker argues that Smith is a superb example of the broadly curious thinkers who flourished in the Enlightenment; one for whom morality, politics and economics were just a few of the many fascinating subjects that could be illuminated by naturalistic modes of investigation. After a helpful overview of his life and work, Fleischacker examines the full range of Smith's thought, including: epistemology, philosophy of science and aesthetics, moral sentimentalism, moral approval, sympathy, and judgement, the character of virtue advantages and disadvantages of Smith's moral philosophy, Smith's views on religion, justice and jurisprudence, governmental policy, economic principles, Smith's philosophical legacy and his place in the history of liberalism. Including chapter summaries, suggestions for further reading and a glossary, Adam Smith is essential reading for those studying ethics, political philosophy, the history of philosophy, and the Enlightenment, as well as those reading Smith in related disciplines such as economics, law and religion"--. (shrink)

This paper argues that certain literary works can only be fully appreciated if the reader is able to experience through empathy the character’s values. I call it "the axiological account" because it makes the grasping of aesthetic values dependent on the experience of other values embodied in the work. I develop my argument in three stages. First, I argue that in empathy we not only apprehend but also experience something similar to what the target is going through. Next, I (...) show how this experience is necessary to extract the aesthetic values of certain works. The final section addresses two challenges to the proposed account. (shrink)

This essay argues, flouting paradox, that Mill was a utilitarian but not a consequentialist. First, it contends that there is logical space for a view that deserves to be called utilitarian despite its rejection of consequentialism; second, that this logical space is, in fact, occupied by John Stuart Mill. The key to understanding Mill's unorthodox utilitarianism and the role it plays in his moral philosophy is to appreciate his sentimentalist metaethics—especially his account of wrongness in terms of fitting guilt and (...) resentment. Mill recognizes a fundamental moral asymmetry between the agent and others, which conflicts intractably with a presupposition of consequentialism. This allows him to differentiate three potentially conflicting evaluative spheres: morality, prudence, and aesthetics. This essay's account of Mill's utilitarianism coheres with his defense of individual liberty and his embrace of supererogation, both of which elude traditional interpretations. (shrink)

Shaftesbury's philosophy combined a powerfully teleological approach, according to which all things are part of a harmonious cosmic order, with sharp observations of human nature (see section 2 below). Shaftesbury is often credited with originating the moral sense theory, although his own views of virtue are a mixture of rationalism and sentimentalism (section 3). While he argued that virtue leads to happiness (section 4), Shaftesbury was a fierce opponent of psychological and ethical egoism (section 5) and of the egoistic (...) social contract theory of Hobbes (section 6). Shaftesbury advanced a view of aesthetic judgment that was non-egoistic and objectivist, in that he thought that correct aesthetic judgment was disinterested and reflected accurately the harmonious cosmic order (section 7). Shaftesbury's belief in an harmonious cosmic order also dominated his view of religion, which was based on the idea that the universe clearly exhibits signs of perfect divine design (section 8). According to Shaftesbury, the ultimate end of religion, as well as of virtue, beauty, and philosophical understanding (all of which are turn out to be one and the same thing), is to identify completely with the universal system of which one is a part. (shrink)

ResumenEn este trabajo tratamos de esclarecer en qué sentido Hume es relativista con relación a la ética y a la estética. El sentimentalismo inherente a su ética y estética hace que, desde el punto de vista de algunos intérpretes, Hume sea un relativista radical con respecto a dichos ámbitos. Sin embargo, tanto el innegable sentimentalismo de Hume como su supuesto relativismo requieren un profundo estudio. Nos valdremos del concepto de regla general para analizar las relaciones entre sentimentalismo y relativismo, y (...) finalmente argumentaremos que si bien tiene sentido calificar a Hume como relativista, su relativismo es moderado y sensato.Palabras claveRelativismo, Hume, regla general, Ética, EstéticaAbstractIn this paper we will try to elucidate in what sense Hume is a relativist concerning ethics and aesthetics. According to some interpreters’ views, Hume’s sentimentalism with respect to ethics and aesthetics implies that Hume is what we could call a radical relativist. However, both Hume’s sentimentalism and his alleged relativism need a deep analysis. We will analyze the relationship between sentimentalism and relativism based on the concept of general rule. Finally we will argue that, even though Hume may be labelled as a relativist, his relativism is moderate and sensible.Keywords Relativism, Hume, general rule, Ethics, Aesthetics. (shrink)

This paper takes up the somewhat neglected work of one of the earliest pioneers of modern European aesthetic theory, Jean-Baptiste Du Bos. It aims to correct views in which Du Bos is pigeon-holed as a ‘sentimentalist’, dismissed as a radical subjectivist, or, at best, acknowledged as an influence on the more important work of David Hume. Instead, it presents Du Bos as an original thinker whose highly intuitive approach to the arts is still relevant to contemporary concerns, and can (...) be favourably contrasted with the tradition of disinterested, universalist aesthetics that rose to such strong prominence in the century following his work. It highlights several of his ideas that have not received sufficient attention, including his emphasis on boredom as a motivation for turning to artifice, his notion of the ‘artificial emotions’ that can result from such encounters, his community-based conception of taste, his faith in the general public as legitimate judges of artwork, and the importance he places on different forms of interest when thinking about art. In the course of this discussion, Du Bos’s work is presented as presciently questioning clear cut distinctions between ‘high’ and ‘low’ cultural spheres, as well as exploring contemporary questions about the constitution of ‘the public’ and the legitimacy of its judgement. It also argues that the vocabulary of ‘artificial emotion’ can be as helpfully applied to the increasingly sophisticated world of mass entertainment as it can be to the world of contemporary art. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Response to Charles AltieriRobert B. PippinIam very grateful to Charles Altieri for his attentive reading of and thoughtful critique of Philosophy by Other Means: The Arts in Philosophy and Philosophy in the Arts.1 Let me proceed immediately to his main and quite important criticism of the approach defended there. It is this: "My one huge problem with Pippin's perspective is that I cannot accept his insistence that the (...) distinctive form of thinking elicited by works of art is best treated as a mode of knowledge." And he offers a contrasting perspective: "Instead I propose that art should matter to society primarily as the achievement of constructed, specific, individual experiences that embody resonance and authority. Then we can claim that their capacities to engage audiences in particular imaginative situations dramatically stage responses to the historical conditions on which Pippin dwells." This is a densely stated alternative, and I am not sure I fully understand it or why stating it this way thereby shows why art "should matter to society" (art may do this, but why is that important?), but I have much to say by way of clarification before getting to the alternative.First, I meant the title to be as dialectical and so as paradoxical as it sounds. If the means are "other," then we have left philosophy altogether; if the other means are still philosophical, then they can't count as "other." By dialectical I mean simply the avoidance of such dualisms, while not collapsing distinctions through some sort of resolutive reductionism. The idea is to avoid two terrible examples of philosophical approaches to the arts that putatively avoid such dualisms: either provocative or illustrative. The former sees literature especially as embodying issues like moral dilemmas that can be understood to pose, to provoke, philosophical [End Page 249] questions that traditional philosophy should then take up and discuss on its own. (Examples are the way Samuel Beckett's plays, or Albert Camus's The Stranger, are sometimes taught.) The latter, the illustrative, sees literature, again paradigmatically, as providing something like the flesh and blood of abstract philosophical issues, instantiating and illustrating a particular philosophical approach, like moral sentimentalism. (Charles Dickens is often cited.)These are surely examples of what Altieri cites as, and quite rightly rejects, as "appropriating those [aesthetic] experiences for philosophical explanation." I want to reject such "appropriationism" too. In my first chapter, on philosophical criticism of the arts, the idea I defended was that attention to the philosophical value of literature (I will stay with this art form for a while) is attention to literature as a form of reflective thinking itself, in no need of appropriation by philosophy—even though, I claim, there can be a form of philosophical criticism. The point of such criticism is to illuminate that dimension of the work itself, something philosophically significant that the work can do but traditional philosophy cannot.This is couched within several qualifications. Such attentiveness can be valuable, but not for just any work of great literature. Some literature is great without being concerned with any aesthetic modality of "thinking." One can surely admire Samuel Richardson or Anthony Trollope or William Makepeace Thackeray and admit that their value stems from other qualities in the prose, plotting, and psychologically astute portrayal of characters. And for many other reasons, any of the arts can be said to be valuable even if a case can also be made for their bearing on philosophy.And finally, the concept of "philosophical knowledge" is quite complicated. Surely some philosophers, like G. W. F. Hegel, believe in such a thing, but I don't. As Altieri rightly points out, no Absolute exists. What interests me is the relevance of Hegel's claim that a sensible and affective modality of collective self-knowledge can be embodied in many great works. But the collective self-knowledge embodied in fiction is not like discursive or analytic or even speculative knowledge. I see no strict distinction between the object of interrogation and the interrogation itself. That is, the "self" in question (e.g., who have we become?) is what it is by virtue of its own self-interpretation. Self-knowledge in... (shrink)

ResumenEn este trabajo tratamos de esclarecer en qué sentido Hume es relativista con relación a la ética y a la estética. El sentimentalismo inherente a su ética y estética hace que, desde el punto de vista de algunos intérpretes, Hume sea un relativista radical con respecto a dichos ámbitos. Sin embargo, tanto el innegable sentimentalismo de Hume como su supuesto relativismo requieren un profundo estudio. Nos valdremos del concepto de regla general para analizar las relaciones entre sentimentalismo y relativismo, y (...) finalmente argumentaremos que si bien tiene sentido calificar a Hume como relativista, su relativismo es moderado y sensato.Palabras claveRelativismo, Hume, regla general, Ética, EstéticaAbstractIn this paper we will try to elucidate in what sense Hume is a relativist concerning ethics and aesthetics. According to some interpreters’ views, Hume’s sentimentalism with respect to ethics and aesthetics implies that Hume is what we could call a radical relativist. However, both Hume’s sentimentalism and his alleged relativism need a deep analysis. We will analyze the relationship between sentimentalism and relativism based on the concept of general rule. Finally we will argue that, even though Hume may be labelled as a relativist, his relativism is moderate and sensible.Keywords Relativism, Hume, general rule, Ethics, Aesthetics. (shrink)

This essay questions three widespread assumptions in monument debates it terms “moralism,” “universalism,” and “interpretive dominance.” Roughly: moralism assumes that memorials should be only to good people or good causes; universalism holds that memorials should represent or be “for” the whole polity or its (real or supposed) corporate values; interpretive dominance maintains that, when faced with monuments with reasonable qualifying and disqualifying interpretations, policy should respond to the disqualifying one(s). These assumptions do not settle the debates between removalists and preservationists, (...) but they do make the removalist position easier to defend. Various counterexamples to these assumptions, real and imagined, motivate competing positions I term “sentimentalism,” “particularism,” and “interpretive independence.”. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Sympathy in Mind (1876–1900)Susan LanzoniIn the April 1884 issue of Mind, William James published his influential account of emotion, which stressed the bodily and physiological constitution of various feeling-states.1 The article reflected new trends in physiological psychology, but came under attack by numerous respondents in the journal who argued that there was more to the emotions than physiology.2 As the evolutionary psychologist Hiram Stanley intoned, "emotions in the higher (...) stages are filled out by knowledge and will."3 Many noted that the higher emotions—aesthetic sentiments, sympathy, pity, envy, love—were not marked by clear physiological changes. Charles Darwin had observed that love was not discernable by prominent facial expressions.4 There was also little agreement as to how to divide sentiments from appetites, affections, and passions. What came to be known as the James-Lange theory [End Page 265] of emotion, then, was only one of a variety of theories of emotion circulating in Anglo-American intellectual culture of the late nineteenth century.5In debates about the nature of emotion, the higher emotions—particularly that of sympathy—played a crucial role. Sympathy was most often understood to be a kind of tenderheartedness linked to, but distinct from love. At the same time, sympathy was tethered to a variety of moral and epistemological ends—as a cornerstone in evolutionary ethics, an element in aesthetic appreciation, and even as a source for knowledge of other minds. Sympathy had had a prominent place in eighteenth-century theories of aesthetics, moral sentiments and taste, in the writings of Adam Smith and Edmund Burke. In the late Victorian period, theories of sympathy drew on this lineage and increasingly became tinged with evolutionary and developmental features.Although sympathy in the Victorian period has gained the attention of literary scholars, historians of the mind sciences have not paid it much due, even though its psychological origins and moral correlates were of sustained interest in this period.6 Stefan Collini has argued that British intellectual culture was intrigued by the interplay of egoistic and altruistic tendencies, and the birth of a number of ethical societies in the final two decades of the century attests to the increased emphasis on the moral dimensions of sympathy.7 Anti-vivisection movements and societies for the prevention of cruelty to animals and children, often with appeals to sympathy, gained adherents in this period in Britain and America.8 In one study, [End Page 266] psychologists distributed scientific questionnaires in order to assess the experiences of sympathy and pity of nearly four hundred subjects.9 There was no underestimating the importance of sympathy for Anglo-American intellectuals, who confidently claimed it was becoming more refined and more widely diffused in their era. Darwin believed that sympathy had been extended to those of the same nation, and prescriptively wrote that it should extend to all nations and races, as well as the imbecile and the maimed. Darwin was echoing here the broader enlightenment sentimentalist tradition that linked the feeling of sympathy to a conception of humanity.10In the pages of the British professional psychological and philosophical journal Mind, sympathy was under scrutiny by scholars in evolutionary and developmental psychology, ethics, and aesthetics. This journal, first published in 1876, and funded by Alexander Bain, examined new trends in physiological and scientific psychology and sought a broad philosophical framework for the understanding of mental life.11 It played a mediating role in the overlapping discussions of science and philosophy and published on a diverse array of topics. Although Mind saw itself as a specialized journal for psychology and philosophy, it was founded at an historical moment when discussions of the mind were not narrowly portioned out to the psychological sciences, as would increasingly be the case after 1900. Indeed, the experimental psychological laboratory emerged as a new scientific institution [End Page 267] only in 1879 with Wilhelm Wundt's Leipzig laboratory, and then in 1897 at the Universities of London and Cambridge. Specialization in the late Victorian age on topics relating to the mind was downright eclectic: during the editorships of George Croom Robertson (1876–1892) and of G.F. Stout (1892–1920), Mind published on physiological... (shrink)

Vasilij Zhukovskij’s Sel’skoe kladbische, a translation of Thomas Gray’s Elegy Written in a Country Churchyard, occupies a special place in Russian literary history. First published in 1802, it was so widely imitated by later Russian poets that it came to be regarded as a “landmark of Russian literature”, not only at a boundary between two cultures (English and Russian) but also at a boundary within Russian culture itself — the transition from Neoclassical to Romantic aesthetics. Zhukovskij’s translation of Gray can (...) be read as the end result of a long process of personal education in the sign system of Sentimentalism, in both its European and its Russian variants, which then reproduced itself in an impersonal way within his culture as a whole. Zhukovskij did not merely reinscribe Gray’s poem into Russian. Rather, he used it to deploy the developing Russian Sentimentalist (Karamzinist) style within a wide range of lyric registers, thereby providing models for other Russian lyric poets. In this sense, his work exemplifies Juri Lotman’s dictum that “the elementary act of thinking is translation” — it made itpossible for Russian poets to think within an entirely new, though by no means foreign system of signs. (shrink)

Vasilij Zhukovskij’s Sel’skoe kladbische, a translation of Thomas Gray’s Elegy Written in a Country Churchyard, occupies a special place in Russian literary history. First published in 1802, it was so widely imitated by later Russian poets that it came to be regarded as a “landmark of Russian literature”, not only at a boundary between two cultures (English and Russian) but also at a boundary within Russian culture itself — the transition from Neoclassical to Romantic aesthetics. Zhukovskij’s translation of Gray can (...) be read as the end result of a long process of personal education in the sign system of Sentimentalism, in both its European and its Russian variants, which then reproduced itself in an impersonal way within his culture as a whole. Zhukovskij did not merely reinscribe Gray’s poem into Russian. Rather, he used it to deploy the developing Russian Sentimentalist (Karamzinist) style within a wide range of lyric registers, thereby providing models for other Russian lyric poets. In this sense, his work exemplifies Juri Lotman’s dictum that “the elementary act of thinking is translation” — it made itpossible for Russian poets to think within an entirely new, though by no means foreign system of signs. (shrink)

Peirce’s idea of an unlimited community has been usually analyzed from its role in science and the normative ideal of truth. However, it is essential to understand the role of the community of inquiry in light of the other normative sciences, aesthetics and ethics, since according to Peirce, any endeavor to know that is not guided by the esthetical ideal of admirable per se should not be considered as proper science, but as a power tool to benefit some elite. This (...) article aims to analyze Peirce’s idea of community of inquiry in light of sentimentalism and the normative sciences in order to evidence that such community is not elitist, but open, insofar as it is also lured by the summum bonum and the admirable per se. Finally, we provide a more organic reading of Peirce’s work, opening the way to consider possible consequences of this position from an ethical and political perspective. (shrink)

This Dawes Hicks Lecture on Philosophy for 1966 is concerned to exhibit the basis of Kant's deontological moral theory and primacy-warranting of practical over theoretical reason. One would have thought this had been done often enough, but Warnock has apparently not benefited from past attempts. For his effort to undermine both of Kant's contentions and push in a utilitarian direction is based on an unsympathetic and unprobing manipulating of the key terms in the theory: freedom, reason, virtue. For example, Warnock (...) cites the historical influence of Rousseau on Kant in the matter of stressing the primacy of practical reason but fails to note the deeper connection between Kant's deontologism and Rousseau's sentimentalism: the link emerges when we realize that aesthetic beauty, which is the norm that Rousseau presses toward in his sentimentalism, is, like Kantian virtue, an embodiment of the good which has no purpose beyond itself. Warnock also fails to see that Kant was more than dimly aware of the fact that Reason is realized Freedom; and consequently his disparaging reference to Kant's rationalism is ill-conceived.--E. A. R. (shrink)

Can a set of musical metaphors in a treatise on ethics reveal something about the nature and source of moral autonomy? This article argues that it can. It shows how metaphorical usage of words like tone, pitch, and concord in Adam Smith's Theory of Moral Sentiments can be understood as elements of an analogical model for morality. What this model tells us about morality depends on how we conceptualise music. In contrast to earlier interpretations of Smith's metaphors that have seen (...) music as an aesthetic object, this article sees music as a practice. Understood in this way, the analogy allows us to see morality too as a practice––as moral tuning. This in turn reveals a novel answer to the intractable problem of conventionalism: moral autonomy consists in the freedom inherent in the constant need to interpret and reinterpret the strictly formal ideal of perfect propriety. (shrink)

Can a set of musical metaphors in a treatise on ethics reveal something about the nature and source of moral autonomy? This article argues that it can. It shows how metaphorical usage of words like tone, pitch, and concord in Adam Smith's Theory of Moral Sentiments can be understood as elements of an analogical model for morality. What this model tells us about morality depends on how we conceptualise music. In contrast to earlier interpretations of Smith's metaphors that have seen (...) music as an aesthetic object, this article sees music as a practice. Understood in this way, the analogy allows us to see morality too as a practice––as moral tuning. This in turn reveals a novel answer to the intractable problem of conventionalism: moral autonomy consists in the freedom inherent in the constant need to interpret and reinterpret the strictly formal ideal of perfect propriety. (shrink)

In "Aesthetic Histories" our contributors’ shared concern is the inspiring and confounding, healthy and uncomfortable and above all inevitable relationship between history and aesthetic praxis.

EVENTAL AESTHETICS RETROSPECTIVE 1. LOOKING BACK AT 10 ISSUES OF EVENTAL AESTHETICS.

This issue is dedicated to thinking about art and current aesthetic perspectives through Hegelianism.

Our contributors explore a rich variety of aesthetic problems that bring about the self-reflexive re-evaluation of ideas.

In this special issue on animals and aesthetics, contributors explore encounters with animals in art and thought.

Is aesthetics a product of evolution? Are human aesthetic behaviors in fact evolutionary adaptations? The creation of artistic objects and experiences is an important aesthetic behavior. But so is the perception of aesthetic phenomena qua aesthetic. The question of evolutionary aesthetics is whether humans have evolved the capacity not only to make beautiful things but also to appreciate the aesthetic qualities in things. Are our near-universal love of music and cute baby animals essential to our (...) species’ evolutionary development, which took place over thousands of years? In other words, do aesthetic practice and appreciation help people to survive or reproduce? Do aesthetic behaviors help to propel natural selection? If so, what does that tell us about ourselves as human beings? What does it tell us about art, our other aesthetic practices, and aesthetic experience? (shrink)

This handsomely produced volume contains 22 contributions from international scholars, which were originally presented at the 2000 Conference of the International Society for Phenomenology, Fine Arts, & Aesthetics. The papers center around the theme of gardens and include a wide range of topics of interest to phenomenologists but also, perhaps, to gardeners with a philosophical bent. A sampling of topics: Leonardo's Annunciation Hortus Conclusus and its reflexive intent; hatha yoga--a phenomenological experience of nature; the Chinese attempt to miniaturize the world (...) in gardens; conflating and compressing time in commodified space and architecture; constructing the deconstructive landscape (the ruin aesthetic); and a phenomenological-anthropological aproach to Zen gardens. The volume is lightly indexed by name (mostly philosophers). Annotation (c)2003 Book News, Inc., Portland, OR (booknews.com). (shrink)

A hijacking is a violent takeover, a misappropriation of something for a purpose other than its intended one, by parties other than those for whom the thing was meant. This issue explores the aesthetic practices and consequences of unauthorized repurposing.

In her book, Vibrant Matter, Jane Bennett thinks through what ontological, political, and ecological questions would look like if humans could admit that matter and nonhuman things are living, creative agents; the contributors to this issue of Evental Aesthetics begin to think through what aesthetic questions would look like.

In this issue, our contributors demonstrate how art in the city, art “about” the city, art compared to the city, can bring to attention the insidious forces underlying every city’s gleaming, wide-awake veneer.