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)

The third Earl of Shaftesbury had generally been known as the forerunner of the Moral Sense school of philosophers in the eighteenth century. Surprisingly little attention had been paid to his importance for literature and yet undoubtedly this had been very great. Originally published in 1951, this study gives an account of Shaftesbury's aesthetic and literary theory; his discussion of the imagination, ridicule, the aesthetic judgment and the sublime; and his anticipation of later writers such as (...) Burke, Coleridge and Kant. It also considers Shaftesbury's thought as part of the background of ideas in the Augustan period and his influence in such fields as literature, architecture and landscape gardening. In addition, the author assesses in more general terms Shaftesbury's attempt to maintain a Platonic viewpoint that would be more congenial to poetry than Locke's "new way of ideas". (shrink)

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.

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)

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)

Introduction: "I chose therefore my party & am a whigg": the First and Third Earls of Shaftesbury as political icons / Patrick Muller, Dresden -- Part I. The First Earl of Shaftesbury -- Whig wit: Andrew Marvell and the Earls of Shaftesbury / Nigel Smith, Princeton University -- Trade for peace: a complete account of the First Earl of Shaftesbury: interest in Carolina's Indian trade / Andrew Agha, University of South Carolina, Columbia -- (...) John Locke and the reputation of the First Earl of Shaftesbury / Mark Goldie, University of Cambridge -- Part II. The Third Earl of Shaftesbury in his time -- Shaftesbury, an early voice of the radical enlightenment / Jonathan Israel, Institute for Advanced Study, Princeton University -- Shaftesbury and Locke: a tale of three letters / Daniel Carey, National University of Ireland, Galway -- "An equal commonwealth": Lord Ashley and the republican project of the late 1690s / Patrick Muller, Dresden -- Party politics in characteristicks / Jacob Sider Jost, Dickinson College, Carlisle -- Psychological and political balances: the Third Earl of Shaftesbury's reading of James Harrington / Laurent Jaffro -- (Re)defining the commonwealth: Shaftesbury's concept of political freedom / Angela Taraborrelli, St. John's University of Rome -- Shaftesbury's non-secular cosmopolitanism / David Alvarez, DePauw University, Greencastle -- Taste, the people and the public according to the Third Earl of Shaftesbury / Lawrence E. Klein, University of Cambridge -- Part III. The Third Earl of Shaftesbury: afterlife -- Art, morality and choice: the Third Earl of Shaftesbury and John Molesworth / William Molesworth, Dublin -- "Moral painting, by way of dialogue": Shaftesbury in the cry / Rebecca Anne Barr, National University of Ireland, Galway -- "Virtue pointing to her rugged mountain": Shaftesbury in America / James Pratt, University of Toronto -- Radicalizing sympathy: William Godwin's reading of Shaftesbury / Roman A. Barton, Humboldt-Universitat, Berlin. (shrink)

Many people today glorify wild nature. This attitude is diametrically opposed to the denigration of wild nature that was common in the seventeenth century. One of the most significant initiators of the modern revaluation of nature was Anthony Ashley Cooper, the third Earl of Shaftesbury. I elucidate here Shaftesbury’s pivotal view of nature. I show how that view emerged as Shaftesbury’s solution to a problem he took to be of the deepest philosophical and personal (...) importance: the problem of how worship of God can be both transportingly emotional and entirely rational. In section 1 I sketch the denigration of wild nature in two of Shaftesbury’s predecessors: Burnet and Locke. I next turn to Shaftesbury’s problem, describing in section 2 the love of God he aspired to and in section 3 his commitment to rational religion. I then explain Shaftesbury’s solution, describing in section 4 his view of beauty in general and in section 5 his view of the beauty of nature. (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 (...) class='Hi'>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)

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...

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)

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

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 38.4 (2000) 529-548 [Access article in PDF] Shaftesbury's Two Accounts of the Reason to be Virtuous Michael B. Gill College of Charleston 1. Anthony Ashley Cooper, the third Earl of Shaftesbury (1671-1713), was the founder of the moral sense school, or the first British philosopher to develop the position that moral distinctions originate in sentiment and not in (...) reason alone. Shaftesbury thus struck the initial blow in the battle waged by sentimentalists such as Hutcheson and Hume against rationalists such as Cudworth and Clarke.Such is a common view of Shaftesbury's place in the history of moral philosophy.1 But while this common view is accurate in a very general sense, it also oversimplifies in a manner that threatens to misrepresent the development of modern ethical theory and obscure what is most interesting about Shaftesbury.2 The view suggests, in particular, that the most important distinction in early modern British moral philosophy was between sentimentalism and rationalism. There was, however, a distinction ontologically deeper than [End Page 529] that, which explains how Shaftesbury, even while developing his moral sense theory, could at times be much closer to his rationalist predecessors Cudworth and Clarke than to his sentimentalist followers Hutcheson and Hume.In this paper I will elucidate this deeper ontological distinction by examining two different accounts that Shaftesbury gives of the reason to be virtuous. Both of Shaftesbury's accounts are in a sense sentimentalist, but only the second of them constitutes a sharp break from his rationalist predecessors. Shaftesbury himself does not seem fully aware of the radical implications of his second account, but the implications are there nonetheless. And by exposing them we will gain a view not only of a crucial ambiguity in Shaftesbury's thought but also of a central faultline in the history of British moral philosophy. We will also come to see that while Shaftesbury does pave the way for a new ontology of morals, he does so more by accident than by design.3 2. Shaftesbury believes that to be virtuous is to have a benevolent character or a deep non-derivative commitment to promote the "publick Interest."4 He also believes that a person who has a benevolent character will always be happier than a person who does not, and that this constitutes a sufficient reason for each of us to "embrace" virtue (Inquiry 48).5 But of course some will deny that the benevolent person is always happiest and so Shaftesbury sets out to prove that there exists between benevolence and happiness a natural and necessary connection.How does Shaftesbury establish the connection between benevolence and happiness? In two different ways.6 The first way of establishing the connection [End Page 530] can be called the teleological account, and the second way can be called the mental enjoyment account. Let us first examine the teleological account.The initial claim of Shaftesbury's teleological account of the reason to embrace virtue is that benevolence is what is most natural for humans, or their proper end or telos.7 As he puts it just after explaining "whatVirtueis," It has been already shewn, that in the Passions and Affections of particular Creatures, there is a constant relation to the Interest of a Species, or common Nature. This has been demonstrated in the case of natural Affection, parental Kindness, Zeal for Posterity, Concern for the Propagation and Nurture of the Young, Love of Fellowship and Company, Compassion, mutual Succour, and the rest of this kind. Nor will any-one deny that this Affection of a Creature towards the Good of the Species or common Nature, is as proper and natural to him, as it is to any Organ, Part or Member of an Animal-Body, or mere Vegetable, to work in its known Course, and regular way of Growth. 'Tis not more natural for the Stomach to digest, the Lungs to breathe, the Glands to separate juices, or other Intrails to perform their several Offices; however they may by particular Impediments... (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)

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)

Skeptische Philosophie versteht sich seit ihren Anfängen in der Antike mehr als kritische Denkmethode denn als dogmatisches System. Aus dieser genuin philosophischen Einsicht leitet der englische Philosoph Anthony Ashley Cooper, Third Earl of Shaftesbury (1671-1713), ein Skepsiskonzept im dialogisch-toleranten Sinne ab und rehabilitiert die skeptische Methode als kritisches und progressives Moment von Aufklärung. Diese Studie ist eine umfassende Analyse der Schriften Shaftesburys, wobei der Begriff einer dialogischen Skepsis im Vordergrund steht. Der Skepsisbegriff des englischen Philosophen wird (...) aus der sokratischen Tradition abgeleitet, begriffsgeschichtlich als konstitutives Element in die Theorie von Aufklärung eingebunden und im Hinblick auf die Weiterentwicklung zum Kritizismus und Ethikkonzept Kants analysiert. (shrink)

One of the most significant disputes in early modern philosophy was between the moral rationalists and the moral sentimentalists. The moral rationalists — such as Ralph Cudworth, Samuel Clarke and John Balguy — held that morality originated in reason alone. The moral sentimentalists — such as Anthony Ashley Cooper, the third Earl of Shaftesbury, Francis Hutcheson and David Hume — held that morality originated at least partly in sentiment. In addition to arguments, the rationalists and sentimentalists (...) developed rich analogies. The most significant analogy the rationalists developed was between morality and mathematics. The most significant analogy the sentimentalists developed was between morality and beauty. These two analogies illustrate well the main ideas, underlying insights, and accounts of moral phenomenology the two positions have to offer. An examination of the two analogies will thus serve as a useful introduction to the debate between moral rationalism and moral sentimentalism as a whole. (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)

Philosopher Daniel C. Fouke sheds the light of rhetorical analysis on a subversive thinker whose challenges to institutional authority have awakened recent scholarly interest. John Toland was a controversial Irish-born British freethinker, satirist, and critic of traditional Christianity. His work Christianity Not Mysterious, now considered a classic exposition of deism, provoked outrage in its time, but eventually led to a healthy skepticism regarding the historical reliability of the biblical canon. Though little known today, Toland was an acquaintance of Gottfried Wilhelm (...) Leibniz, John Locke, and Anthony Ashley Cooper, Third Earl of Shaftesbury, among others. Fouke argues that Toland's use of language in theology and philosophy represents a neglected current of early modern thought, in significant contrast to Locke, to whom Toland is often compared. Toland's practice of philosophy recognizes a social dimension to knowledge, which cannot be found in many of his contemporaries. Fouke analyzes Toland's "exoteric strategy" of speaking as others speak, but with a different meaning. He argues that Toland's philosophy and theology had little to do with positive expression of beliefs, and that his philosophical aim was not to develop an epistemology, a true metaphysical system, an ideal form of governance, or the basis of ethical obligation, but to find ways to participate in the discourses of others while undermining those discourses from within. Fouke traces Toland's practices to Shaftesbury's conception of a comic or "derisory" mode of philosophizing aimed at exposing pedantry, imposture, dogmatism, and folly. This important study adds new depth to our understanding of a neglected though influential British writer. (shrink)

The dissertation traces the development of what I call “the problem of partiality” through the work of certain key figures in the British Moralist tradition: John Locke, Catharine Trotter Cockburn, Anthony Ashley Cooper (the Third Earl of Shaftesbury), Francis Hutcheson, John Gay, David Hume, Joseph Butler, and Adam Smith. On the one hand, we are committed to impartiality as a constitutive norm of moral judgment and conduct. On the other hand, we are committed to the idea (...) that it is permissible, or even obligatory, to expend disproportionate resources promoting the good of our loved ones over the good of strangers. However, these two commitments conflict with one another. This problem challenges us to provide an account of the scope and limits of reasonable partiality that does justice to both commitments. I argue that confronting this tension is a central project of early modern ethics. I offer a rereading of the British Moralist tradition, centered on debates about partiality, and thereby shift discussion of the tradition away from concerns about meta-ethics and moral epistemology, to issues of practical ethics. The topic of partiality remains central in contemporary ethics, as is evident in ongoing debates about the place of empathy in moral judgment, and the role of love in shaping our moral commitments. Though the aim of the dissertation is not to settle questions about the scope and limits of reasonable partiality, the focus here remains fixed on how the concept of partiality was problematized in our ethical thought, and how it informs our discussions in normative ethics and moral psychology. Alongside building a bridge between early modern scholarship and recent work in ethics, the dissertation casts light on two understudied figures in the British Moralist tradition – Cockburn and Gay – who contributed greatly to debates about partiality. By examining their contributions, I reconsider their place in the history of modern ethics and therefore provide a more contextualized account of philosophical thought in the period. (shrink)

Schiller’s interests in theology, poetry, and literature influenced the way he responded to the ethics and aesthetics of the British philosopher the Third Earl of Shaftesbury (Anthony Ashley-Cooper), and the German philosophers Moses Mendelssohn and Immanuel Kant. Often Schiller’s most significant philosophical contributions are those which represent alternatives to more influential views, such as his rejection of Kant’s understanding of the relation between the sensuous and rationality in the moral person. In what follows, Schiller’s key concepts (...) within their eighteenth-century context are presented, and their significance within this context is discussed by showing how he relates the sensuous to the rational through the following: “pleasure and morality” (Sects. “Introduction”, “Locating Schiller in His Intellectual Milieu” and “Pleasure and Morality”), “form and beauty” (Sect. “Form and Beauty”), and “freedom or nature” (Sects. “Freedom or Nature” and “Concluding Remarks”). (shrink)

Amajor shift in critical attitudes toward the arts took place in the eighteenth century. The fine arts were now looked upon as a group, divorced from the sciences and governed by their own rules. The century abounded with treatises that sought to establish the overriding principles that differentiate art from other walks of life as well as the principles that differentiate them from each other. This burst of scholarly activity resulted in the incorporation of aesthetics among the classic branches of (...) philosophy, heralding the cognitive turn in epistemology. Among the writings that initiated this turn, none were more important than the British contribution. The Arts in Mind brings together an annotated selection of these key texts. A companion volume to the editors' Tuning the Mind, which analyzed this major shift in world view and its historical context, The Arts in Mind is the first representative sampling of what constitutes an important school of British thought. The texts are neither obscure nor forgotten, although most histories of eighteenth-century thought treat them in a partial or incomplete way. Here they are made available complete or through representative extracts together with an editor's introduction to each selection providing essential biographical and intellectual background. The treatises included are representative of the changed climate of opinion which entailed new issues such as those of perception, symbolic function, and the role of history and culture in shaping the world. Contents include: Anthony Ashley Cooper, Third Earl of Shaftesbury, "Characteristics"; Francis Hutcheson, "Inquiry Concerning Beauty, Harmony and Design"; Hildebrand Jacob, "Of the Sister Arts: An Essay"; James Harris, "On Music, Painting and Poetry"; Charles Avison, "An Essay on Musical Expression"; James Beattie, "Essay on Poetry and Music as They Affect the Mind"; Daniel Webb, "Observations on the Correspondence between Poetry and Music"; Thomas Twining, "On Poetry Considered as an Imitative Art," "On the Different Senses of the Word Imitative as Applied to Music by the Ancients and by the Moderns"; Adam Smith, "Of the Nature of that Imitation which Takes Place in What are Called the Imaginative Arts." Ruth Katz is Emanuel Alexandre Professor of Musicology at the Hebrew University in Jerusalem. She is co-editor with Carl Dahlhaus of Contemplating Music, a four-volume study of the philosophy of music. Ruth HaCohen is Clarica and Fred Davidson Senior Lecturer of Musicology at the Hebrew University. (shrink)

This chapter focuses on sentimentalism – the view that morality is based on sentiment – in particular, the sentiment of sympathy. Sentimentalism was historically articulated in opposition to two positions: Hobbesian egoism, in which morality is based on self-interest; and Moral Rationalism, which held that morality is based on reason alone. The Sentimentalists challenged both views, arguing that there is more to what motivates human beings than simple self-interest and that reason alone is insufficient to motivate our actions, including our (...) moral actions. The philosophies of Anthony Ashley Cooper, the Third Earl of Shaftesbury, Francis Hutcheson, David Hume, and Adam Smith are considered. The discussion then turns to sympathy, moral realism, moral virtue, and psychological realism. (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)

The third Earl of Shaftesbury was a pivotal figure in eighteenth-century thought and culture. Professor Klein 's study is the first to examine the extensive Shaftesbury manuscripts and offer an interpretation of his diverse writings as an attempt to comprehend contemporary society and politics and, in particular, to offer a legitimation for the new Whig political order established after 1688. As the focus of Shaftesbury's thinking was the idea of politeness, this study involves the first (...) serious examination of the importance of the idea of politeness in the eighteenth century for thinking about society and culture and organising cultural practices. Through politeness, Shaftesbury conceptualised a new kind of public and critical culture for Britain and Europe, and greatly influenced the philosophical and cultural models associated with the European Enlightenment. (shrink)