The Oxford Companion to Philosophy Part 4. The book is alphabetized by the whole headings of entries, as distinct from the first word of a heading. Hence, for example, abandonment comes before a priori and a posteriori. It is wise to look elsewhere if something seems to be missing. At the end of the book there is also a useful appendix on Logical Symbols as well as the appendices A Chronological Table of Philosophy and Maps of Philosophy. | 10 aesthetics history of agree with one another Hume s essay is a clear exposition of the issues surrounding aesthetic judgement. The now familiar concept of art also has its roots in the eighteenth century. In the work of such French authors as Dubos and especially Batteux there formed the concept of the beaux arts music poetry painting sculpture and dance. New at this time was the separation of the arts as such from other human accomplishments notably the sciences and the idea that there were systematic resemblances that united all the arts. In Germany where rationalist philosophy predominated Baumgarten s innovation was to claim that the sense experience provided by a poetic work could be analysed as having its own kind of perfection a perfection that must be distinguished from that of intellectual thinking. He thus showed the way to theorize the arts as human attainments distinct from science and rational thought. The Enlightenment figures Moses Mendelssohn and Lessing were much influenced by this. The grouping of the arts under a single heading allowed also for work on the differences between them of which a striking example is Lessing s analysis of representation in poetry and the visual arts in his essay Laokoon. Immanuel Kant s Critique ofJudgement 1790 begins by pursuing essentially the same question as Hume though in different terminology. Kant s central notion is that of judgements of taste or judgements of some particular object s beauty which he is concerned to demarcate from judgements of the good or judgements of the merely of taste though similar to these other judgements in being associated with pleasure have distinct characteristics the pleasure they are founded upon is disinterested they claim universal assent but without basing that claim upon concepts they arise out of a consciousness of purposiveness in the object without its being assigned any determinate purpose and they regard pleasure in the object as necessary for all
