_Philosophy of Art_ is a textbook for undergraduate students interested in the topic of philosophical aesthetics. It introduces the techniques of analytic philosophy as well as key topics such as the representational theory of art, formalism, neo-formalism, aesthetic theories of art, neo-Wittgensteinism, the Institutional Theory of Art. as well as historical approaches to the nature of art. Throughout, abstract philosophical theories are illustrated by examples of both traditional and contemporary art including frequent reference to the avant-garde in this way enriching (...) the readers understanding of art theory as well as the appreciation of art. Unique features of the textbook are: * chapter summaries * summaries of major theories of art and suggested analyses of the important categories used when talking and thinking of art * annotated suggested readings at the ends of chapters. Also available in this series: _Epistemology_ Pb: 0-415-13043-3: £12.99 _Ethics_ Pb: 0-415-15625-4: £11.99 _Metaphysics_ Pb: 0-415-14034-X: £12.99 _Philosophy of Mind_ Pb: 0-415-13060-3: £11.99 _Philosophy of Religion_ Pb: 0-415-13214-2: £12.99. (shrink)

Environmentalists can make individuals more eco-friendly by dispelling many of the myths and misconceptions about the natural world. By learning what in nature is and is not dangerous, and in what contexts the danger is real, individuals can come to aesthetically appreciate seemingly unappreciable nature. Since aesthetic attraction can be an extremely valuable tool for environmentalists, with potentialbeyond that of scientific education, the quest for an eco-friendly is neither unnecessary nor redundant. Rather, an eco-friendly aesthetic ought to be pursued in (...) conjunction with other efforts to protect nature. (shrink)

Emily Brady provides a systematic account of aesthetics in relation to the natural environment, offering a critical understanding of what aesthetic appreciation ...

The Critique of the Power of Judgment (a more accurate rendition of what has hitherto been translated as the Critique of Judgment) is the third of Kant's great critiques following the Critique of Pure Reason and the Critique of Practical Reason. This entirely new translation of Kant's masterpiece follows the principles and high standards of all other volumes in The Cambridge Edition of the Works of Immanuel Kant. This volume includes: for the first time the indispensable first draft of Kant's (...) introduction to the work; the only English edition notes to the many differences between the first (1790) and second (1793) editions of the work; and relevant passages in Kant's anthropology lectures where he elaborated on his aesthetic views. All in all this new edition offers the serious student of Kant a dramatically richer, more complete and more accurate translation. (shrink)

I propose that the appropriate appreciation of nature must include the moral capacity for acknowledging the reality of nature apart from humans and the sensitivity for listening to its own story. I argue that appreciating nature exclusively as design is inappropriate to the extent that we impose upon nature a preconceived artistic standard as well as appreciation based upon historical/cultural/literary associationsinsofar as we treat nature as a background of our own story. In contrast, aesthetic appreciation informed by our attempt to (...) make sense of nature, such as science, mythology, and folklore, is appropriate because it guides our experience toward understanding nature’s own story embodied in its sensuous surface. (shrink)

British writers of the eighteenth century such as Shaftesbury and Hutcheson are widely thought to have used the notion of disinterestedness to distinguish an aesthetic mode of perception from all other kinds. This historical view originates in the work of Jerome Stolnitz. Through a re-examination of the texts cited by Stolnitz, I argue that none of the writers in question possessed the notion of disinterestedness that has been used in later aesthetic theory, but only the ordinary, non-technical concept, and that (...) they did not use this notion to define a specifically aesthetic mode of perception or a specifically aesthetic mode of anything else. The nearest thing that they had to the Stolnitzian conception of “the aesthetic” was their conception of taste, which differs from the former in some essential respects. (shrink)

Taking the title of his book from Isaiah Berlin's famous essay distinguishing a negative concept of liberty connoting lack of interference by others from a positive concept involving participation in the political realm, Samuel Fleischacker explores a third definition of liberty that lies between the first two. In Fleischacker's view, Kant and Adam Smith think of liberty as a matter of acting on our capacity for judgment, thereby differing both from those who tie it to the satisfaction of our desires (...) and those who translate it as action in accordance with reason or "will." Integrating the thought of Kant and Smith, and developing his own stand through readings of the Critique of Judgment and The Wealth of Nations, Fleischacker shows how different acting on one's best judgment is from acting on one's desires--how, in particular, good judgment, as opposed to mere desire, can flourish only in favorable social and political conditions. At the same time, exercising judgment is something every individual must do for him- or herself, hence not something that philosophers and politicians who reason better than the rest of us can do in our stead. For this reason advocates of a liberty based on judgment are likely to be more concerned than are libertarians to make sure that government provides people with conditions for the use of their liberty--for example, excellent standards of education, health care, and unemployment insurance--while at the same time promoting a less paternalistic view of government than most of the movements associated for the past thirty years with the political left. (shrink)

As J. Baird Callicott has argued, Adam Smith's moral theory is a philosophical ancestor of recent work in environmental ethics. However, Smith's "all important emotion of sympathy" (Callicott, 2001, p. 209) seems incapable of extension to entities that lack emotions with which one can sympathize. Drawing on the distinctive account of sympathy developed in Smith's Theory of Moral Sentiments, as well as his account of anthropomorphizing nature in "History of Astronomy and Physics," I show that sympathy with non-sentient nature is (...) possible within a Smithian ethics. This provides the possibility of extending sympathy, and thereby benevolence and justice, to nature. (shrink)

(2005). Wonder in the face of scientific revolutions: Adam Smith on Newton's ‘Proof’ of Copernicanism. British Journal for the History of Philosophy: Vol. 13, No. 4, pp. 697-732. doi: 10.1080/09608780500293042.

I propose that the appropriate appreciation of nature must include the moral capacity for acknowledging the reality of nature apart from humans and the sensitivity for listening to its own story. I argue that appreciating nature exclusively as design is inappropriate to the extent that we impose upon nature a preconceived artistic standard as well as appreciation based upon historical/cultural/literary associationsinsofar as we treat nature as a background of our own story. In contrast, aesthetic appreciation informed by our attempt to (...) make sense of nature, such as science, mythology, and folklore, is appropriate because it guides our experience toward understanding nature’s own story embodied in its sensuous surface. (shrink)

Here Samuel Fleischacker undertakes an ambitious task. Primarily he aims to develop and defend an account of political liberty importantly distinct from the alternatives Isaiah Berlin made famous. Moreover, he promises to enunciate this account by appeal to Kant and Adam Smith and to demonstrate its practical strengths by comparison with the work of several contemporary political theorists, Rawls most significant among them.

Charles Griswold has written a comprehensive philosophical study of Smith's moral and political thought. Griswold sets Smith's work in the context of the Enlightenment and relates it to current discussions in moral and political philosophy. Smith's appropriation as well as criticism of ancient philosophy, and his carefully balanced defence of a liberal and humane moral and political outlook, are also explored. This 1999 book is a major philosophical and historical reassessment of a key figure in the Enlightenment that will be (...) of particular interest to philosophers and political and legal theorists, as well as historians of ideas, rhetoric, and political economy. (shrink)

Introduction -- Note on the texts -- An inquiry into the original of our ideas of beauty and virtue -- Treatise I -- An inquiry concerning beauty, order, & c. -- Treatise II -- An inquiry concerning the original of our ideas of virtue or moral good.

One of the more striking aspects of Adam Smith's moral theory is the degree to which it depends on and appeals to aesthetic norms. By considering what Smith says about judgments of propriety – the foundational type of judgment in his system – and by tying what he says in The Theory of Moral Sentiments to certain of his other writings, I argue that Smith ultimately defends an aesthetic morality. Among the challenges that any aesthetic morality faces is that it (...) seems to entail moral relativism. This problem is magnified by Smith's reliance on the judgments of the impartial spectator, which also seems to make his theory more vulnerable to a Euthyphro-type objection. I suggest that Smith can potentially get around these problems, given his presumption of aesthetic naturalism. While there is certainly some variation in our aesthetic judgments, Smith claims that we naturally find certain actions and sentiments odious, while others we find agreeable. The reason, he argues, is that any society that judged otherwise would not survive. (shrink)

Adam Smith's ethics have long been thought to be much closer to the Stoic school than to any other school of the ancient world. Recent scholarship however has focused on the fact that Smith also appears to be quite close to Aristotle. I shall attend to Smith's deployment of a version of the doctrine of the mean, shall show that it is quite close to Aristotle's, shall demonstrate that in its detailed application it is seriously at odds with Stoic teaching (...) on the passions, and particularly with their teachings on anger, and shall conclude that on a central issue of ethics Smith is a good deal closer to Aristotelian than to Stoic thinking. (shrink)

A scholarly edition of a work by Adam Smith. The edition presents an authoritative text, together with an introduction, commentary notes, and scholarly apparatus.

Enth.: Dugoald Stewart's account of Adam Smith / ed. by I.S. Ross.