In mid-eighteenth-century Paris, the encyclopedists launched a
campaign to radically redefine the public dimension of all
'imaginative' arts, starting with music - with the querelle des
bouffons - then theatre, the novel and finally the visual arts.
Diderot, Rousseau and the Politics of the Arts in the Enlightenment
exposes the correlation between the prejudices and hierarchies of
the political and social system of the time and what d'Alembert
calls 'literary superstitions'. The book reconstructs the role of
Diderot and Rousseau, freres ennemis, as they engaged in a dispute
that was above all else political, despite revolving entirely
around forms of artistic expression. Throwing a light on this
important cultural event is all the more necessary because the
essentially political dimension of Diderot's Salons has since the
nineteenth-century been completely obscured from view. Indeed, at
first misunderstood and then totally neglected, for over two
centuries their true significance has been systematically ignored
by the aesthetic-idealist school of criticism.
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