17 ideas
| 20327 | Modern attention has moved from the intrinsic properties of art to its relational properties [Lamarque/Olson] |
| 18545 | The disinterested attitude of the judge is the hallmark of a judgement of beauty [Shaftesbury, by Scruton] |
| 22687 | Maybe literary assessment is evaluating the artist as a suitable friend [Gaut] |
| 20326 | Early 20th cent attempts at defining art focused on significant form, intuition, expression, unity [Lamarque/Olson] |
| 22686 | Formalists say aesthetics concerns types of beauty, or unity, complexity and intensity [Gaut] |
| 20330 | The dualistic view says works of art are either abstract objects (types), or physical objects [Lamarque/Olson] |
| 22690 | 'Moralism' says all aesthetic merits are moral merits [Gaut] |
| 22684 | Good ethics counts towards aesthetic merit, and bad ethics counts against it [Gaut] |
| 22689 | If we don't respond ethically in the way a work prescribes, that is an aesthetic failure [Gaut] |
| 22685 | Good art does not necessarily improve people (any more than good advice does) [Gaut] |
| 6237 | Fear of God is not conscience, which is a natural feeling of offence at bad behaviour [Shaftesbury] |
| 6234 | If an irrational creature with kind feelings was suddenly given reason, its reason would approve of kind feelings [Shaftesbury] |
| 6233 | A person isn't good if only tying their hands prevents their mischief, so the affections decide a person's morality [Shaftesbury] |
| 6236 | People more obviously enjoy social pleasures than they do eating and drinking [Shaftesbury] |
| 6235 | Self-interest is not intrinsically good, but its absence is evil, as public good needs it [Shaftesbury] |
| 6232 | Every creature has a right and a wrong state which guide its actions, so there must be a natural end [Shaftesbury] |
| 5642 | For Shaftesbury, we must already have a conscience to be motivated to religious obedience [Shaftesbury, by Scruton] |