Den tredje earlen av Shaftesbury (1671–1713) var en av 1700-talets mest inflytelserika filosofer. Dialogen Moralisterna är Shaftesburys viktigaste verk, i vilket han undersöker den godhet, kärlek och skönhet som utmärker naturen och samhället. Med sin säregna blandning av moralfilosofi, estetisk teori och poesi intar Moralisterna en unik plats inom den europeiska upplysningen. -/- Karl Axelsson är lektor i estetik vid Södertörns högskola. Utöver själva översättningen bidrar han med en omfattande inledning om Shaftesburys filosofi, förklarande noter och hänvisningar till Shaftesburys övriga (...) verk. (shrink)

In the article, I analyze the significance of moral disposition and freedom concepts in the philosophy of Anthony Ashley Cooper, 3rd Earl of Shaftesbury (1671–1713), and their connection to the issues of personal identity and aesthetic experience. I point out that personal identity and freedom are not inherently given to a person but rather the goal of personality development. In this way, I compliment the interpretation presented by Laurent Jaffro and Ruth Boeker, indicating that the moral rigour characteristic of (...) the Stoic stance is mitigated in Shaftesbury’s view by the belief in the sympathy that connects people and the importance he attaches to the experience of beauty. Shaftesbury thus understands freedom as the result of self-improvement and internal teleological determination of the person, as well as political freedom, which is the outcome of free public debate. The postulate of social and political liberty links Shaftesbury with freethinkers such as John Toland and Anthony Collins. (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)

This chapter contains section titled: Rejecting Hedonism and the Reduction of Morality to Self‐Interest The Moral Sense, Harmony and Virtue.

The paper examines the “prehistory” in the 18th century of the theory of Bildung. Pedagogical historiography commonly traces the theory back to the influence of Anthony Ashley Cooper, third Earl of Shaftesbury, who is held to be the founder of the concept of “innere Bildung; on the grounds that Shaftesbury’s concept of “inward form” was translated into German as Bildung. The study focuses on the reception of Shaftesbury’s writings in the German-speaking realm in the 17th century in order to (...) discover the contexts of discourse in which this reception took place and to find out what significance the various discourses had for the formulation of a German “theory of Bildung.” What is revealed are varied influences of a religious, literary theory, and aesthetics nature that give indications as to why the construct of Bildung has remained diffuse and excessive in the German tradition up to the very present. It is also shown that the concept, in comparison to other discourses, found its way into the pedagogical discourse relatively late, which may be another reason for the difficulties that the German theory of Bildung continues to present to the science of pedagogy. (shrink)

Anthony Ashley Cooper, the Third Earl of Shaftesbury (1671-1713) was an English philosopher who profoundly influenced 18th century thought in Britain, France, and Germany, particularly in the areas of aesthetics, ethics, and religion.

When Anthony Ashley-Cooper, third earl of Shaftesbury, read the Meditations of Marcus Aurelius at the beginning of the eighteenth century, the Roman emperor was a relatively new member of the Stoic tradition as it was seen through early modern eyes. This article discusses two books owned and annotated by Shaftesbury, one a translation of Marcus Aurelius into English, the other a version of the Greek text. These books are a record of his study of earlier scholarship on the Meditations, (...) primarily the edition and notes of Thomas Gataker. This article gives a sense of how a reader who was influential in the dissemination of Stoic thought, studied the scholarship of an earlier age. (shrink)

Anthony Ashley Cooper, the Third Earl of Shaftesbury, was the grandson of the First Earl of Shaftesbury. The First Earl, along with John Locke, was a leader and founder of the Whig movement in Britain. Locke was the First Earl's secretary and also the tutor of the Third Earl. Both the First and Third Earls were members of parliament and supporters of Whig causes. Although both the First and Third Earls were involved in politics, the Third Earl (...) is better known for intellectual pursuits. Indeed, the Third Earl is second only to Locke in terms of influence during the eighteenth century. Yet if one takes into account effects upon literature, the arts, and manners, as well as upon philosophical trends and theories, Shaftesbury might be even more influential. Even if we restrict ourselves to philosophy, Shaftesbury's ideas were admired by thinkers as different as Leibniz and Montesquieu—something which could obviously not be said about Locke. Within ethics, Shaftesbury influenced Francis Hutcheson, David Hume, Samuel Butler, and Adam Smith and is credited with founding the “moral sense” school of thought. (shrink)

Anthony Ashley Cooper, 3rd Earl of Shaftesbury was an English philosopher and author. Originally published in 1914, this book presents the edited text of the sequel to Cooper's major work, Characteristics. An editorial introduction and detailed notes are included. This book will be of value to anyone with an interest in Cooper's writings and philosophy.

Like Anthony Ashley Cooper, Third Earl of Shaftesbury, his subject, Michael Gill is concerned with his readers’ preconceptions. He comments on the fiction of an Ethiopian suddenly displaced from hi...

An engaging account of how Shaftesbury revolutionized Western philosophy At the turn of the eighteenth century, Anthony Ashley Cooper, the third Earl of Shaftesbury, developed the first comprehensive philosophy of beauty to be written in English. It revolutionized Western philosophy. In A Philosophy of Beauty, Michael Gill presents an engaging account of how Shaftesbury’s thought profoundly shaped modern ideas of nature, religion, morality, and art—and why, despite its long neglect, it remains compelling today. Before Shaftesbury’s magnum opus, Charactersticks of (...) Men, Manners, Opinions, Times, it was common to see wilderness as ugly, to associate religion with fear and morality with unpleasant restriction, and to dismiss art as trivial or even corrupting. But Shaftesbury argued that nature, religion, virtue, and art can all be truly beautiful, and that cherishing and cultivating beauty is what makes life worth living. And, as Gill shows, this view had a huge impact on the development of natural religion, moral sense theory, aesthetics, and environmentalism. Combining captivating historical details and flashes of humor, A Philosophy of Beauty not only rediscovers and illuminates a fascinating philosopher but also offers an inspiring reflection about the role beauty can play in our lives. (shrink)

This introductory article outlines the themes and aims of this special issue, which offers new perspectives on early modern debates about agency in two ways: First, it recovers writings on agency and liberty that have been widely neglected or that have received insufficient attention, including writings by Anne Conway, Henry More, Ralph Cudworth, William King, Gabrielle Suchon, Elizabeth Berkeley Burnet, Mary Astell, and Anthony Ashley Cooper, the Third Earl of Shaftesbury. Second, it reveals the richness of early modern debates (...) about agency and liberty. (shrink)

Over the last three decades, social theory has become an increasingly important subdiscipline within sociology. Social theory has attempted to elucidate the philosophical basis of sociology by defining the nature of social reality. According to social theory, society consists of objective institutions, structure, on the one hand, and individuals, agency on the other, it promotes human social relations, insisting that in every instance social reality consists of these relations.

Fallibilism about knowledge and justification is a widely held view in epistemology. In this paper. I will try to arrive at a proper formulation of fallibilism. Fallibilists often hold that Cartesian skepticism is a view that deserves to be taken seriously and dealt with somehow. I argue that it turns out that a canonical form of skeptical argument depends upon the denial of fallibilism. I conclude by considering a response on behalf of the skeptic.

It has been proposed that performance in the think – no think task represents a laboratory analogue of the voluntary form of memory repression. The central prediction of this repression hypothesis is that performance in the TNT task will be influenced by emotional characteristics of the material to be remembered. This prediction was tested in two experiments by asking participants to learn paired associates in which the first item was either emotionally positive or emotionally negative . The second word was (...) always emotionally neutral . Consistent with the repression hypothesis, significant memory suppression was observed in both experiments following ‘no think’ instructions for memories associated with emotionally negative material. No suppression was observed for memories associated with emotionally positive information. Implications of these findings for the relationship between performance in the TNT task and the controversial notion of memory repression are considered. (shrink)

This article considers financial risk management practice using a virtue ethics lens, in response to ongoing critiques of risk management from within business ethics. Risk management should be seen as embedded within a complex system of cultures, organizations and regulations that are underpinned by a quantitatively reductive or ‘mechanistic’ economic paradigm, where dominant logics of self-interest, profit maximization and short-termism prevail. Building on recent work applying virtue ethics in finance, an alternative to the values, normative expectations and priorities in financial (...) risk management is presented in the form of a refined ‘taxonomy’ of the virtues that can be applied to individuals and organizations engaged in financial risk management. This article aims to contribute to and extend debate on the ethical aspects of risk management and presents an alternative to more technically based critiques which do not engage with the underlying socially constructed foundations of risk management practice. It thereby provides a basis to critique the mechanistic and narrow approach used in the current regulation of the sector. (shrink)

The present article is an edition of the Pathologia (1706), a Latin manuscript on the passions by Anthony Ashley Cooper, the third Earl of Shaftesbury (1671-1713). There are two parts, i) an introduction with commentary (http://dx.doi.org/10.1080/01916599.2012.679795), and ii) an edition of the Latin text with an English translation (http://dx.doi.org/10.1080/01916599.2012.679796) . The Pathologia treats of a series of topics concerning moral psychology, ethics and philology, presenting a reconstruction of the Stoic theory of the emotions that is closely modelled on Cicero (...) and Diogenes Lærtius. It contains a most detailed typology of the passions and affections as well as an analysis of a series of psychological connections, for example between admiration and pride. On the basis of his reconstruction of Stoic moral psychology and ethics, Shaftesbury argues that in one of his phases, Horace should be interpreted as a Stoic rather than as an Epicurean. The translation and the commentary draw attention to the relations between the Pathologia and Shaftesbury's English writings, most importantly Miscellaneous Reflections and the Inquiry Concerning Virtue, or Merit, which sheds light on several features of Shaftesbury's relation to Stoicism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:diacritics 30.2 (2000) 88-112 [Access article in PDF] Milton's Aesthetics Of Eating Denise Gigante It is not a little curious that, with the exception of Ben Jonson (and he did not speak gravely about it so often), the poet in our own country who has written with the greatest gusto on the subject of eating is Milton. He omits none of the pleasures of the palate, great or small. (...) In his Latin poems, when young, he speaks of the pears and chestnuts which he used to roast at the fire with his friend Diodati. Junkets and other "country-messes" are not forgotten in his "Allegro." The simple Temptation in the Wilderness, "Command that these stones be made bread" (which was quite sufficient for a hunger that had fasted "forty days"), is turned, in Paradise Regained, with more poetry than propriety, into the set out of a great feast, containing every delicacy in and out of season. The very "names" of the viands, he says, were "exquisite." And in Paradise Lost, Eve is not only described as being skilful in paradisaical cookery ("tempering dulcet creams"), but the angel Raphael is invited to dinner, and helped by his entertainers to a series of tid-bits and contrasted relishes--Taste after taste, upheld with kindliest change. --Leigh Hunt, "Eating Songs" The title of an old play gives us a direct taste and surmise of its inwards, as the first lines of the Paradise Lost smack of the great Poem. --John Keats, "On 'Retribution, or the Chieftain's Daughter'" That Milton's Romantic readers should invoke the "taste" of his epic poetry suggests an awareness beyond the anecdotal. For as this essay will show, Milton complicates the category of physiological taste in such a manner as to form the ground for the possibility of aesthetic taste, which emerges as a distinct discourse in the early years of the eighteenth century. This is not to say that Milton is the only source for this dubious meaning-in-transition. But precisely how, prior to the interventions of Shaftesbury, Hutcheson, Hume, and the entire tradition of post-Miltonic theorists of taste, is one to read Adam's darkly sardonic postlapsarian remark: "Eve, now I see thou art exact of taste... And Palate call judicious" [PL IX.1017-20]? Critics have observed Milton's "ruthless and relentless pressure on 'taste,'" the fact that the word and its variants appear thirty times in Book IX of Paradise Lost alone [Ricks 69]. What I would like to suggest is that just as Milton is a seminal figure for the eighteenth-century aesthetic preoccupation with the sublime, 1 he is theoretically situated at the origins of the more generic thing called taste as well. [End Page 88]Of course Milton himself was aware of the epistemological implications of taste, whereby the Latin sapere can mean both "to taste" and "to know." 2 The fruit whose "mortal taste" was the source of all our woe did, after all, grow on the tree of knowledge, knowingly described by Satan as "precious of all Trees / In Paradise, of operation blest / To Sapience" [PL I.2, IX.795-97]. So too, when Adam calls Eve "exact of taste," he adds "of Sapience no small part" [PL IX.1018]. Throughout Paradise Lost and Paradise Regained, Milton plays with the epistemological connotation of taste, incorporating it even into the 1671 companion piece of the latter, Samson Agonistes, whose blind hero declares, "The way to know were not to see but taste" [1091]. At the time Milton was writing, however, taste was philosophically connected not only to knowledge and pleasure, but to morality as well. At the origins of the British empirical discourse of taste, Anthony Ashley Cooper, third Earl of Shaftesbury, inheriting this link between epistemology, aesthetics, and ethics, inquires: "Will it not be found... that what is beautiful is... true; and what is at once both beautiful and true is, of consequence, agreeable and good?" [2: 268-69]. For Milton as for Shaftesbury, the beautiful was the true was the good, and access to these ideals was bound up with the philosophic complexity... (shrink)

The standard definition of atomicity—the thesis that everything is ultimately composed of entities that lack proper parts—is satisfied by a model that is not atomistic. The standard definition is therefore an incorrect characterization of atomicity. I show that the model satisfies the axioms of all but the strongest mereology and therefore that the standard definition of atomicity is only adequate given some controversial metaphysical assumptions. I end by proposing a new definition of atomicity that does not require extensionality or unrestricted (...) summation. (shrink)