Rather than reading Shaftesbury in anticipation of later forms of disinterestedness, this essay seeks to unpack the larger significance of his aesthetics by tracing his ideas back to their ancient sources. This essay looks to the venerable tradition of world contemplation. It argues that Shaftesbury advances a specifically Stoic model of world contemplation in The Moralists. The text’s principal concern is not with this or that beautiful object but with the whole of which it and the viewer are indivisibly a (...) part; its aim is not so much to account for how we perceive beauty as to foster a characteristically Stoic orientation toward the world, one in which we overcome our egocentric view of things and align ourselves with the natural workings of the world or universe in its entirety. Far from being ‘autonomous’ from the rest of life, the Stoic world contemplation Shaftesbury advocates entails a robust affirmation of existence, clear-eyed gratitude for being part of the universe, whatever the challenges and however fleeting our time in it may be. (shrink)

According to a historically popular view, emotions are normative experiences that ground moral knowledge much as perceptual experiences ground empirical knowledge. Given the analogy it draws between emotion and perception, sentimental perceptualism constitutes a promising, naturalist-friendly alternative to classical rationalist accounts of moral knowledge. In this paper, we consider an important but underappreciated objection to the view, namely that in contrast with perception, emotions depend for their occurrence on prior representational states, with the result that emotions cannot give perceptual-like access (...) to normative properties. We argue that underlying this objection are several specific problems, rooted in the different types of mental states to which emotions may respond, that the sentimental perceptualist must tackle for her view to be successful. We argue, moreover, that the problems can be answered by filling out the theory with several independently motivated yet highly controversial commitments, which we carefully catalogue. The plausibility of sentimental perceptualism, as a result, hinges on further claims sentimental perceptualists should not ignore. (shrink)

The aim of this paper is to show that Shaftesbury’s thinking about liberty is best understood in terms of self-mastery. To examine his understanding of liberty, I turn to a painting that he commissioned on the ancient theme of the choice of Hercules and the notes that he prepared for the artist. Questions of human choice are also present in the so-called story of an amour, which addresses the difficulties of controlling human passions. Jaffro distinguishes three notions of self-control that (...) are present in the story of an amour. Although I agree with many aspects of Jaffro’s interpretation, I question his conclusion that self- control in the Stoic sense is best reserved for ‘moral heroes.’ I propose an alternative developmental interpretation, according to which all human beings are on an intellectual journey aimed at personal and moral improvement. My interpretation takes seriously that for Shaftesbury philosophy is meant to be practical and help improve our lives. I end by arguing that rather than trying to situate Shaftesbury’s concept of liberty within debates among compatibilists and incompatibilists it is more promising to understand it in terms of self- mastery and thus regard it as a version of positive liberty. (shrink)