Abstract

AS THE twentieth century comes to a close and the twenty-first dawns, the British Journal of Aesthetics begins its fortieth volume and enters its fortieth year. This seems an apt moment, or a good excuse, for a special issue, prefaced by a few general reflections, through the lens of the journal, on nearly half a century of aesthetics and on the prospects ahead. Strictly speaking, the fortieth anniversary of the journal does not fall until the autumn of 2000 as it was in the autumn of 1960 that the first issue appeared. But there is a seductiveness in round numbers and the coincidence of the start of volume 40 with the start of the new millen- nium is justification enough for special attention.1 In fact self-reflection has been a rare event in the BJA. There have been few editorials and only two previous Special Issues, one commemorating the eightieth birthday of the founding editor, Harold Osborne, in 1985 (vol. 25, no. 2), the other in 1994 (vol. 34, no. 1), a collection of papers on the theme of repres- entation. The editorial voice is seldom heard in the journal, at least in the form of observations about the journal’s contents. Both Harold Osborne and Terry Diffey, the two previous editors, were modestly reticent about the development of the journal that they did so much to create and consolidate. On occasion they did publish their own essays and reviews so their ideas on specific topics in aesthetics were on display. Indeed the 1977 volume contained no fewer than four essays and five reviews by Osborne while he was editor. But editorial commentary as such has been light. That said, it has been a feature of the BJA from its inception that the editor’s own stamp has been imprinted on the contents, as a consequence of the large degree of autonomy each editor has possessed in selecting material to publish