Scholars of Shaftesbury generally consider his notion of disinterestedness as the beginning of modern aesthetics while connecting it questionably with a view of modernity as defined in terms of the segregation of truth, beauty, and goodness. To read Shaftesbury differently, it is necessary to look into the textual circumstances of his key aesthetic ideas. In particular, it is important to recognize his implicit use of Sir William Temple's discussion of the Chinese garden immediately before the few justly famous passages about (...) the beauty of the ocean, the vale, and the fruit trees and about the free and spontaneous response of the human character which constitutes the aesthetic experience. As well as a useful illumination for his new understanding of disinterestedness, this unusual involvement of a radically different artistic and philosophical tradition may also be his momentary revelation and acknowledgement of an otherwise hidden metaphysical inspiration for his revolutionary aesthetics. (shrink)

This paper argues that Shaftesbury differs from other moral sentimentalists (Hutcheson, Hume, Smith) because he conceives of the moral sentiments as partial and first-personal, rather than impartial and spectatorial. This difference is grounded in Shaftesbury’s distinctive notion that moral self-governance consists in the self-examination of soliloquy. Breaking with his Stoic influences, Shaftesbury holds that the moral sentiments play the role of directing and guiding soliloquy. Because soliloquy is first-personal reflection that is directed to achieving happiness, claiming that the moral sentiments (...) direct soliloquy leads Shaftesbury to conceive of the moral sentiments as arising from the internal perspective of an agent focused on her own happiness. This provides Shaftesbury with a stronger framework for understanding moral sentiments, for it avoids the difficulty of explaining why the sentiments of others or those arising from an imagined spectator’s perspective are motivating or authoritative for us. (shrink)

ABSTRACTThis paper explicates Shaftesbury’s idea that we ought to live our lives as though they are works of art. I show that this idea is central to many of Shaftesbury’s most important claims, and that an understanding of this idea enables us to answer some of the most contested questions in the scholarship on Characteristics.

Beauty is evil, a surreptitious diversion of earthly delights planted by the devil, according to the third century theologian-philosopher Tertullian. Beauty is a manifestation of the divine on earth, according to another third century philosopher, Plotinus. Could these two really be talking about the same thing? That beauty evokes an experience of pleasure is probably the only point on which all participants in the continuing debate on beauty agree. But what kinds of pleasure one considers relevant to an experience of (...) beauty, is the crux of the problem of beauty. In ancient, medieval and eighteenth century philosophy, the problem of beauty was framed by the larger concern of what constituted a good life. The question regarding the nature of beauty was answered with a view to its role in achieving the good life for those who cultivated its apprehension. In the twentieth century, philosophers framed the problem of beauty as a problem for conceptual analysis. The questions asked were: Is beauty subjective or objective? Are there properties in the object that count towards beauty in all cases; that are sufficient or necessary for an object to be judged beautiful? What kind of pleasure is the pleasure we experience of beauty? I will examine how these questions can be seen to have been answered by earlier philosophical traditions and then I will use these questions as a guide to developing an explanatory theory of beauty based on contemporary theories of perception. (shrink)