By Leslie Ellen Brown
Through the Scottish Enlightenment the connection among aesthetics and ethics grew to become deeply ingrained: good looks used to be the practical manifestation of advantage; the fantastic arts represented the activities of a virtuous brain; to deeply comprehend crafty and common attractiveness was once to spot with ethical good looks; and the classy event was once quintessential in making worth judgments. This e-book unearths the background of ways the Scots utilized the colossal panorama of ethical philosophy to the explicit territories of attractiveness - in nature, aesthetics and ethics - within the eighteenth century. the writer explores a large choice of assets, from educational lectures and institutional list, to extra well known texts corresponding to newspapers and pamphlets, to teach how the concept attractiveness and paintings made members and society extra virtuous used to be increased and understood in Scottish society.
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Extra resources for Artful Virtue: The Interplay of the Beautiful and the Good in the Scottish Enlightenment
We tend to believe the orator, or are more greatly influenced by him, if we admire the qualities of his heart, even more so than admiring his intellect. It is obligatory to be a good person if one wants to succeed in oratory. 58 It’s understandable why the literati would readily turn to moral painting and heroic characters in dramatic oratory or literature and less often to forms as abstract as music for evidence. Nonetheless the role of virtue in the musical arts proved fertile ground and was served up in some lesser known writings from later in the century.
70 What Kames says about perception, consciousness, internal sense, and external sense in general further expands our understanding of how the postHutcheson theorists dissected the operations of the mind and the role of the senses within these processes. The internal and external senses, when designated as active powers of the mind as Reid did, cause him some uneasiness, though Kames himself had once subscribed to this very categorization. Rather, he ascertains no active process here but the passive effects produced in the mind.
It cannot surprise that, like his teacher, he grounds an entire discussion of a single art form on a sense of ethics, assuming a strong corollary between the beautiful and the good. The internal senses are laid out in the context of consciousness, which is one type of intuitive reasoning. Consciousness considers the truth of original feelings or impressions and also the judgments of the mind formed from drawing comparisons of those things taken in through the senses. 56 Campbell’s analysis is especially valuable in that it offers a thorough discussion of moral evidence, the process of seeing the actual yet often changeable connections that exist among ideas and qualities.
Artful Virtue: The Interplay of the Beautiful and the Good in the Scottish Enlightenment by Leslie Ellen Brown