Amajor shift in critical attitudes toward the arts took place in
the eighteenth century. The fine arts were now looked upon as a
group, divorced from the sciences and governed by their own rules.
The century abounded with treatises that sought to establish the
overriding principles that differentiate art from other walks of
life as well as the principles that differentiate them from each
other. This burst of scholarly activity resulted in the
incorporation of aesthetics among the classic branches of
philosophy, heralding the cognitive turn in epistemology. Among the
writings that initiated this turn, none were more important than
the British contribution. "The Arts in Mind" brings together an
annotated selection of these key texts.
A companion volume to the editors' "Tuning the Mind," which
analyzed this major shift in world view and its historical context,
"The Arts in Mind" is the first representative sampling of what
constitutes an important school of British thought. The texts are
neither obscure nor forgotten, although most histories of
eighteenth-century thought treat them in a partial or incomplete
way. Here they are made available complete or through
representative extracts together with an editor's introduction to
each selection providing essential biographical and intellectual
background. The treatises included are representative of the
changed climate of opinion which entailed new issues such as those
of perception, symbolic function, and the role of history and
culture in shaping the world.
Contents include: Anthony Ashley Cooper, Third Earl of
Shaftesbury, "Characteristics"; Francis Hutcheson, "Inquiry
Concerning Beauty, Harmony and Design"; Hildebrand Jacob, "Of the
Sister Arts: An Essay"; James Harris, "On Music, Painting and
Poetry"; Charles Avison, "An Essay on Musical Expression"; James
Beattie, "Essay on Poetry and Music as They Affect the Mind";
Daniel Webb, "Observations on the Correspondence between Poetry and
Music"; Thomas Twining, "On Poetry Considered as an Imitative Art,"
"On the Different Senses of the Word Imitative as Applied to Music
by the Ancients and by the Moderns"; Adam Smith, "Of the Nature of
that Imitation which Takes Place in What are Called the Imaginative
Arts."
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