Economy, Polity, and Society: British Intellectual History by Stefan Collini, Richard Whatmore, Brian Young

By Stefan Collini, Richard Whatmore, Brian Young

Economic system, Polity and Society and its better half quantity heritage, faith and tradition objective to compile new essays through the various major highbrow historians of the interval. The essays in financial system, Polity and Society start through addressing points of the eighteenth-century try, really within the paintings of Adam Smith, to return to grips with the character of "commercial society" and its certain notions of the self, of political liberty, and of financial development. They then discover the variations of and responses to the Enlightenment legacy within the paintings of such early nineteenth-century figures as Jeremy Bentham, Tom Paine, Maria Edgeworth and Richard Whately. eventually, in discussions that diversity as much as the center of the 20th century, they discover rather telling examples of the clash among financial considering and ethical values.

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14 The principal merit of the drama, he argues, consists in the imitation of just those objects which excite our passions. It is the specific business of the actor to revive these passions within himself in order more effectively to convey their natural signs to the audience. Spectators are moved in the theatre when ‘artificial’ (as opposed to naturally occurring) passions are aroused; and in providing the best representation of the ‘symptoms and nature’ of the passions, drama serves as a vehicle of moral instruction and emotional refinement.

A prominent line of eighteenth-century moral argument regarding the theatricality of public life derived from the conventions of the London stage. 7 Dennis argued that the theatre should be understood as at once entertaining and moving, yet essentially harmless and even possessing the potential for moral instruction. Because the passions evoked in the theatre are inspired under conditions in which the audience remains aware of its self-imposed distance from the dramatic action, even the arousal of painful feelings could be controlled and so rendered pleasurable.

E. J. Hundert neurophysiological history. A conception of the self necessarily rests upon these processes, which function within histories so diverse that the indigenous psychology of other or earlier societies may be nearly inaccessible to us. Nevertheless, any plausible account of modern selfawareness must acknowledge Mauss’s claim that an individualist mode of self-understanding has become distinctive of contemporary Western European cultures and their extensions in the Americas. These cultures are characterised on the one hand by role distance – the assumption that persons are in principle able to adopt or abandon roles with some freedom – and on the other by autonomy – the assumption of a capacity and responsibility to decide between actions and plans of life.

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