The Phillipsonian Enlightenment
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Recent Engagements with Adam Smith and the Scottish Enlightenment
Recent Engagements with Adam Smith and the Scottish Enlightenment Maria Pia Paganelli Trinity University [email protected] Abstract Recent literature on Adam Smith and other 18th Scottish thinkers shows an engaged conversation between the Scots and today’s scholars in the sciences that deal with humans—social sciences, humanities, as well as neuroscience and evolutionary psychology. We share with the 18th century Scots preoccupations about understanding human beings, human nature, sociability, moral development, our ability to understand nature and its possible creator, and about the possibilities to use our knowledge to improve our surrounding and standards of living. As our disciplines evolve, the studies of Smith and Scottish Enlightenment evolve with them. Smith and the Scots remain our interlocutors. 1 Recent Engagements with Adam Smith and the Scottish Enlightenment 1 Maria Pia Paganelli David Levy once told me: “Adam Smith is still our colleague. He's not in the office but he's down the hall.” Recent literature on Adam Smith and the Scottish Enlightenment shows Levy right. At the time of writing, searching Econlit peer review journal articles for “Adam Smith” in the abstract gives 480 results since year 2000. Opening the search to Proquest gives 1870 results since 2000 (see Appendix 2 to get a rough sense of the size of recent literature). We still pose questions to Adam Smith. And he still answers, even if both the questions and the answers change with time. (For previous survey of literature on Smith see, for example, Tribe (1999), Brown (1997), Recktenwald (1978).) The scholarly approach may be Skinnerian, non-Skinnerian, or post- Skinnerian, to adopt Lisa Herzog’s language (2013), meaning that the answers we receive may derive from a historical reconstruction of the context, from a lack of attention to the context, or from something in between. -
Scottish Art: Then and Now
Scottish Art: Then and Now by Clarisse Godard-Desmarest “Ages of Wonder: Scotland’s Art 1540 to Now”, an exhibition presented in Edinburgh by the Royal Scottish Academy of Painting, Sculpture and Architecture tells the story of collecting Scottish art. Mixing historic and contemporary works, it reveals the role played by the Academy in championing the cause of visual arts in Scotland. Reviewed: Tom Normand, ed., Ages of Wonder: Scotland’s Art 1540 to Now Collected by the Royal Scottish Academy of Art and Architecture, Edinburgh, The Royal Scottish Academy, 2017, 248 p. The Royal Scottish Academy (RSA) and the National Galleries of Scotland (NGS) have collaborated to present a survey of collecting by the academy since its formation in 1826 as the Scottish Academy of Painting, Sculpture and Architecture. Ages of Wonder: Scotland’s Art 1540 to Now (4 November 2017-7 January 2018) is curated by RSA President Arthur Watson, RSA Collections Curator Sandy Wood and Honorary Academician Tom Normand. It has spawned a catalogue as well as a volume of fourteen essays, both bearing the same title as the exhibition. The essay collection, edited by Tom Normand, includes chapters on the history of the RSA collections, the buildings on the Mound, artistic discourse in the nineteenth century, teaching at the academy, and Normand’s “James Guthrie and the Invention of the Modern Academy” (pp. 117–34), on the early, complex history of the RSA. Contributors include Duncan Macmillan, John Lowrey, William Brotherston, John Morrison, Helen Smailes, James Holloway, Joanna Soden, Alexander Moffat, Iain Gale, Sandy Wood, and Arthur Watson. -
Annual Report 1995
19 9 5 ANNUAL REPORT 1995 Annual Report Copyright © 1996, Board of Trustees, Photographic credits: Details illustrated at section openings: National Gallery of Art. All rights p. 16: photo courtesy of PaceWildenstein p. 5: Alexander Archipenko, Woman Combing Her reserved. Works of art in the National Gallery of Art's collec- Hair, 1915, Ailsa Mellon Bruce Fund, 1971.66.10 tions have been photographed by the department p. 7: Giovanni Domenico Tiepolo, Punchinello's This publication was produced by the of imaging and visual services. Other photographs Farewell to Venice, 1797/1804, Gift of Robert H. and Editors Office, National Gallery of Art, are by: Robert Shelley (pp. 12, 26, 27, 34, 37), Clarice Smith, 1979.76.4 Editor-in-chief, Frances P. Smyth Philip Charles (p. 30), Andrew Krieger (pp. 33, 59, p. 9: Jacques-Louis David, Napoleon in His Study, Editors, Tarn L. Curry, Julie Warnement 107), and William D. Wilson (p. 64). 1812, Samuel H. Kress Collection, 1961.9.15 Editorial assistance, Mariah Seagle Cover: Paul Cezanne, Boy in a Red Waistcoat (detail), p. 13: Giovanni Paolo Pannini, The Interior of the 1888-1890, Collection of Mr. and Mrs. Paul Mellon Pantheon, c. 1740, Samuel H. Kress Collection, Designed by Susan Lehmann, in Honor of the 50th Anniversary of the National 1939.1.24 Washington, DC Gallery of Art, 1995.47.5 p. 53: Jacob Jordaens, Design for a Wall Decoration (recto), 1640-1645, Ailsa Mellon Bruce Fund, Printed by Schneidereith & Sons, Title page: Jean Dubuffet, Le temps presse (Time Is 1875.13.1.a Baltimore, Maryland Running Out), 1950, The Stephen Hahn Family p. -
1 Adam Smith, the Scottish Enlightenment, and 'Realistic'
1 Adam Smith, the Scottish Enlightenment, and ‘realistic’ Philosophy INET Conference Edinburgh October 2017 Craig Smith, The University of Glasgow Introduction Adam Smith’s modern fame as the founding father of economics has, until relatively recently, obscured the fact that he saw himself as a moral philosopher. The disciplinary boundaries that exist in the modern Academy were only beginning to form during Smith’s lifetime, and his Chair in Moral Philosophy at the University of Glasgow would cover subjects we now recognise as philosophy, economics, political science, sociology, jurisprudence, and literature. In what follows I want to make the case that the chief lesson that Smith can provide for modern economics lies in the realisation that his general method can be applied across intellectual inquiry. What I mean by this is that Smith did not conceive the moral philosophy of The Theory of Moral Sentiments as being detached from the political economy of the Wealth of Nations. Both of them are examples of Smith deploying the same ‘scientific’ mode of inquiry. Contrary to those German critics who saw the Adam Smith Problem in a supposed contradiction between the selfish actor of the Wealth of Nations and the sympathetic actor of The Theory of Moral Sentiments, Smith’s approach remains consistent as he tries to understand distinct aspects of human social life. To illustrate this I want to suggest that one can only really understand what he says about prudence by taking on board both TMS and WN. In recent years moral philosophers have re-discovered the work of Adam Smith and have begun to take more seriously the approach to moral philosophy that is to be found in his Theory of Moral Sentiments (Darwall 2009, Fleischacker 2003, Sen 2009). -
Raeburn, Life and Art
RAEBURN, LIFE AND ART VOLUME VI Plate Numbers 60~12i Plate 60. David Hunter of Blackness. Catalogue no. 414. Plate 61 . Mrs Margaret Hunter of Burnside. Catalogue no. 416. Plate 62. Sir Patrick Inglis, 5th Bt. of Cramond. Catalogue no. 423. Plate 63. S i.r Patrick Inglis, 5th Bt. of Cramond. Catalogue no. 423b. Plate 64. William Ing.lis. Catalogue no. 424. Plate 65. Lucv Johnston, later Mrs Oswald of Auchincruive. Catalogue no. 435. Plate 66. John Johnstone of Alva with his Sister, Dame Betty and his Niece. Miss Wedderburn. Catalogue no. 437. Plate 67. John Lamont of Lamont. Catalogue no. 4 5 5 . Plate 68. Jacobina Leslie. Catalogue no. 464. Plate 69. Mrs John Liddell, Catalogue no. 465. Plate 70. Dr Alexander Lindsay of Pinkieburn. A photograph of the painting before being cut into two fragments. Catalogue no. 466. Plate 71. Peter Van Brugh Livingston. Catalogue no. 469. Plate 72. Pe ter Van Br ugh Livingston. Catalogue no. 469b. Plate 73. Coronet George Lvon. Catalogue no. 474. Plate 74. Lieutenant-General Hay MacDowall. Catalogue no. 484(2) Plate 75. Captain George Makgill of Kemback and Fjngask, de ~iure 7th Bt. Catalogue no. '*87. Plate 76. Lady Katherine Mackenzie of Coul. Catalogue no. 499. Plate 77. Si r George Steuart Mackenzie Bt., as a Bov. Catalogue no. 500. Plate 78. Henry Mackenzie. Catalogue no. 501. Plate 79. Francis MacNab. 12th Laird of HacNab. Catalogue no. 513. Plate 80. Roderick MacNeill of Barra. Catalogue no. 514. Plate 81 . A llari Maconochie. 1st Lord Meadowbank. Catalogue no. 516. Plate 82. Sir Willaim Maxwell of Calderwood. -
Allan Ramsay and the Edinburgh Enlightenment
30 The Scottish How did all this come about? In 1560, for his own readily identifiable reasons, Knox’s “Book of Discipline” called for a national system of education. In 1640 the first statute to this effect was pursued and in 1676 the “Act for the Setting of Schools” set out to ensure every parish in Scotland not already with such should have one with a suitable building and salaried teacher (with a pay scale!). Hence, Knox’s intention of all being able to read (at least) Holy Scripture was to be met. So by the early 1700s virtually every parish did have Enlightenment some sort of school served by a regular teacher. Education was therefore available and in large measure free. By 1750 or so literacy had reached some 75% of the population. Thus Scotland became Europe’s first modern literate society, not until 1880 did England catch up. As religious and other constraints became less onerous in the 18th century, the availability of books and tracts, beyond “We look to Scotland for all our ideas of civilisation.” – Voltaire the Bible and religious, rapidly became commonplace. Virtually any town of even modest size had a local lending library open to all with little restriction. Library records show that more than half the books borrowed were secular in theme and content. Printing and publishing flourished, so even with relatively modest means, almost anyone could have a personal book collection, as many did. In Edinburgh, with a population around 60,000 by 1760 or so, there were six publishing houses, by 1790 there were sixteen. -
Enlightened Scotland: How the Age of Reason Made an Impact on the Country's Thinkers
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Enlighten Riach, A. (2017) Enlightened Scotland: How the Age of Reason made an impact on the country's thinkers. National, 2017, 21 Apr. This is the author’s final accepted version. There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. http://eprints.gla.ac.uk/161602/ Deposited on: 01 May 2018 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk The Enlightenment Alan Riach From the moment in 1660 when Thomas Urquhart dies laughing to the publication of Walter Scott’s first novel Waverley in 1814, Scottish literature becomes increasingly aware of itself. That is, Scottish writers – some of them – become increasingly self-conscious of their own literary ancestors. This is brought about centrally in the work of Allan Ramsay (1684-1758), in his anthologies of earlier poets, and in the edition of Gavin Douglas’s translation of Virgil’s Aeneid (1710) published by Thomas Ruddiman (1674-1757), which was probably what Burns was quoting from in the epigraph to “Tam o’ Shanter”: “Of Brownyis and Bogillis full is this Buke.” The evolutionary turn towards greater self-awareness, the process of questioning the formation of national identity, the position of that identity in an ongoing struggle for economic prosperity and international colonial and imperial power, is central in the history of Scotland from around 1660 to 1707. It underlies and suffuses the writing of philosophers, politicians, dramatists, novelists, poets, and travel writers. -
Raeburn : English School
NOVEMBER, 1905 RAEBURN PRICE, 15 CENTS anxa 84-B 5530 Jjpueiniipntljlu. RAEBURN J3atK^anO*<iuU&C[ompany, Xtybligfjerg 42<H)auncji^treEt MASTERS IN ART A SERIES OF ILLUSTRATED MONOGRAPHS: ISSUED MONTHLY PART 71 NOVEMBER, 1905 VOLUME 6 a 1 1 u t* 1X CONTENTS Plate I. Portrait of Mrs. Strachan Worcester Art Museum, Worcester, Mass. Plate II. Portrait of Lord Newton National Gallery of Scotland, Edinburgh Plate III. Mrs. Ferguson and Children Owned by R. C. Munroe-Ferguson, Esq. Plate IV. Portrait of Sir Walter Scott Collection of the Earl of Home Plate V. Portrait of Sir John Sinclair Owned by Sir Tollemache Sinclair Plate VI. Portrait of Mrs. Campbell of Balliemore National Gallery of Scotland, Edinburgh Plate VII. Portrait of John Wauchope National Gallery of Scotland, Edinburgh Plate VIII. Portrait of Mrs. Scott-Moncrieff National Gallery of Scotland, Edinburgh Plate IX. Portrait of James Wardrop of Torbanehill Owned by Mrs. Shirley Plate X. The Macnab Owned by Hon. Mrs. Baillie Hamilton Portrait of Raeburn by Himself : Owned by Lord Tweedmouth Page 22 The Life of Raeburn Page 23 ’ Abridged from Edward Pinnington's ‘ Sir Henry Raeburn The Art of Raeburn Page 30 Criticisms by Armstrong, Pinnington, Brown, Van Dyke, Cole, Muther, Stevenson The Works of Raeburn : Descriptions of the Plates and a List of Paintings Page 36 Raeburn Bibliography Page 42 Photo-angravings by C. J. Ptttrs Son: Boston. Prass-work by tht Evantt Prass : Boston complata pravious ba ba consultad library A indax for numbars will found in tba Rtadar's Guida to Pariodical Litaratura , which may in any PUBLISHERS’ ANNOUNCEMENTS SUBSCRIPTIONS: Yearly subscription, commencing with any number of the 1905 volume, $1.50, payable in advance, postpaid to any address in the United States or Canada. -
Annual Review 2017–18 National Galleries of Scotland Annual Review
Annual Review 2017–18 national galleries of scotland annual review annual of scotland galleries national 2017–18 www.nationalgalleries.org froNt cover reverse Back cover reverse Facts and Figures visitor nuMBers NatioNal Galleries of s cotlaNd Board of t rustees Total visitors to National Galleries of 2,533,611 Benny Higgins Chairman Scotland sites in Edinburgh Tricia Bey Alistair Dodds 1,601,433 Scottish National Gallery Edward Green Lesley Knox 562,420 Scottish National Gallery of Modern Art Tari Lang Catherine Muirden Professor Nicholas Pearce Scottish National Portrait Gallery 369,758 Willie Watt Nicky Wilson virtual v isitors seNior MaNaGeMeN t t eaM www.nationalgalleries.org website visits 1,989,101 Sir John Leighton Director-General educational v isits Chris Breward 33,210 Total number of participants from schools, Director of Collection and Research higher and further education Nicola Catterall Chief Operating Officer 19,479 Total number of adult participants at talks, Jo Coomber lectures and practical workshops Director of Public Engagement Jacqueline Ridge 4,333 Total number of community and Director of Conservation and Collections Management outreach participants Elaine Anderson 6,919 Total number of families with children at Head of Planning and Performance drop-in events fiNaNce friends Full Annual Accounts for 2017–18 are available on the National Galleries of Scotland website: 13,188 Friends at 31 March 2018 www.nationalgalleries.org volunteers froNt cover The Road Through the Rocks, Total number of volunteers Detail from Scottish National Gallery Scottish National Portrait Gallery Scottish National Gallery 166 Port-Vendres, 1926–27 by Charles of Modern Art One Rennie Mackintosh The Scottish National Gallery comprises The Scottish National Portrait Gallery is Back cover three linked buildings at the foot of the about the people of Scotland – past and Home to Scotland’s outstanding national The Road Through the Rocks, Port-Vendres, Mound in Edinburgh. -
Did the Scottish Enlightenment Emerge in an English Cultural Province? Roger Emerson
Document generated on 09/24/2021 11:17 p.m. Lumen Selected Proceedings from the Canadian Society for Eighteenth-Century Studies Travaux choisis de la Société canadienne d'étude du dix-huitième siècle Did the Scottish Enlightenment Emerge in an English Cultural Province? Roger Emerson Volume 14, 1995 URI: https://id.erudit.org/iderudit/1012505ar DOI: https://doi.org/10.7202/1012505ar See table of contents Publisher(s) Canadian Society for Eighteenth-Century Studies / Société canadienne d'étude du dix-huitième siècle ISSN 1209-3696 (print) 1927-8284 (digital) Explore this journal Cite this article Emerson, R. (1995). Did the Scottish Enlightenment Emerge in an English Cultural Province? Lumen, 14, 1–24. https://doi.org/10.7202/1012505ar All Rights Reserved © Canadian Society for Eighteenth-Century Studies / Société This document is protected by copyright law. Use of the services of Érudit canadienne d'étude du dix-huitième siècle, 1995 (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ 1. Did the Scottish Enlightenment Emerge in an English Cultural Province? When I sat down to write this paper I had in mind a rather straightfor• ward piece on Robert Wodrow and Cotton Mather as virtuosi in distinc• tive but comparable towns. I thought that Wodrow and Mather, Boston and Glasgow, Massachusetts and Scotland all might be usefully com• pared to shed light on the origins and differences of two quite dissimilar enlightenments emerging in what John Clive and Bernard Bailyn in 1954 described as 'England's cultural provinces/1 As I worked on this essay, I realized that what I was doing was mainly setting out my reasons for believing Clive and Bailyn were wrong. -
1 Ex E M Pt Sir Henry Raeburn, R.A. PORTRAIT of SIR WILLIAM
1 Sir Henry Raeburn, R.A. Ex PORTRAIT OF SIR WILLIAM FORBES 6TH BT. OF e PITSLIGO [1739-1806] m Half length, wearing black and the order of pt Novascotia Inscribed u.l.: Sir Wm Forbes Bt/of Pitsligo/Ad 1806 and no.: 13, and later inscribed l.l. Oil on canvas 29¼in by 24¼in EXHIBITED Edinburgh, Royal Scottish Academy, Exhibition of the Works of Sir Henry Raeburn, 1876, no. 288 LITERATURE Sir Walter Armstrong, Sir Henry Raeburn, 1901, p.102 Guide Price: £8,000 2 David Martin PORTRAIT OF ALEXANDER, 7TH EARL OF LEVEN AND 5TH EARL OF MELVILLE [1749-1826] Half length, wearing a green coat and waistcoat, white stock and holding his hat in his left hand Oil on canvas, in a later carved wood frame 29¼in by 24¼in Guide Price: £6,000 3 David Martin PORTRAIT OF DAVID, 6TH EARL OF LEVEN AND 4TH EARL OF MELVILLE [1722-1801] Three-quarter length, seated, wearing a red coat, a book in his left hand resting on his leg Signed l.l.: Martin Pinxt:/1782. Oil on canvas, in a later carved wood frame, 35½in by 29½in Guide Price: £8,000 4 David Martin PORTRAIT OF MARY BELSCHES Half length, wearing a pink dress, her right arm resting on a green cushion Oil on canvas, in a later carved wood frame 29in by 24½in Guide Price: £4,000 5 David Martin PORTRAIT OF A LADY Half length, wearing a white dress with blue ribbons and a black lace scarf Oil on canvas, in a later carved wood frame 29½in by 24¼in Guide Price: £4,000 6 David Martin PORTRAIT OF GENERAL, THE HON. -
Historic Memorials & Reminiscences of Stockbridge
Historic Memorials & Reminiscences of Stockbridge THE DEAN, AND WATER OF LEITH WITH NOTICES ANECDOTAL, DESCRIPTIVE, AND BIOGRAPHICAL. BY CUMBERLAND HILL, CHAPLAIN TO THE COMBINATION WORKHOUSE OF ST CUTHBERT's AND CANONGATE, EDINBURGH. ILLUSTRATED WITH SIX FULL-PAGE DRAWINGS. SECOND EDITION, ENLARGED. EDINBURGH: ROBERT SOMERVILLE, 10 SPRING GARDENS. RICHARD CAMERON, i ST DAVID STREET. 1887. <?W(fi1 5 ' •*- ' i i IC Lin TY university ui uullph PKEFACE TO THE FIEST EDITION. The substance of the following pages was delivered first as a lecture at the opening of the Working Men's Institute, Stockbridge, in March 1866. It was after- wards re-delivered, with additional notes, as two lectures, in Dean Street United Presbyterian Church, on the evenings of the 24th and 26th January 1871. At the close of the last lecture, I was requested to publish what I had delivered. Circumstances have prevented me from complying with this request until now. In the interval I have been enabled to add a good deal of curious matter connected with the locality that did not appear in any of the lectures. It will be remembered that I speak of the Stockbridge of the past more than of the present. In the course of the narrative I have mentioned the sources from whence the most material parts of my information have been derived. I may add that the subject is by no means exhausted. ;; IV ntEFACE. In most cases the source of my information has been acknowledged, but I have specially to mention the following works : —Ballantine's Life of David Roberts Cunningham's Lives of the British Painters.