读大卫·休谟的《品味的标准》。巴贝特·巴比奇主编(书评)

IF 0.3 4区 哲学 0 PHILOSOPHY Hume Studies Pub Date : 2023-11-01 DOI:10.1353/hms.2023.a910751
Tina Baceski
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Parts III–V are organized around different general themes, with each part containing from three to five essays. In total the book contains twelve essays. Hume’s “Of the Standard of Taste” is a “classic” work in aesthetics today, but what entitles it to this appellation? Indeed, why do we judge any work to be of “classical value?” “Taste” plays a central role in evaluations of this sort, particularly the “taste” of modern scholars. But, as Hume knew, the historical sensibilities of judges are liable to change over the years, and so “some things that appear in their day to be sure classics, things that have until then withstood the test of time, can undergo a shift in value for another era” (13). In her Introduction, Babich tells an engaging, if not always easy to follow, story about Hume’s “deathbed readings” to illustrate the point. From final conversations with Adam Smith, we know that Hume was reading Lucian’s Dialogues of the Dead. 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Ironically, this fact is, itself, further evidence of Babich’s point: yesterday’s literary gems have dimmed in value today because modern scholars are not conversant with their works. I have already ordered my copy of Lucian. The book’s rationale is explained as follows: “The entire concern of this volume is all about the critical basis for such claims [which works have “classical” value]. How can we determine a standard for estimating tomorrow’s likely classic, whether in the literary domain or other areas where taste plays a role” (14)? There is more at stake with respect to Hume’s “Of the Standard of Taste,” however, than merely predicting “literary futures.” The question concerning a standard of taste has important consequences for improving judgments in a much wider arena: art more broadly (painting, architecture, sculpture, etc.), but perhaps also science and even economics, to mention but a few. Only one of the essays collected here takes up the topic of “classical value” and “literary futures” per se: the editor’s own. The reader is left to make out what they can from the various contributions. But the essays can all advance the discussion insofar as each one attempts to shed light on an important related concern, e.g., the nature of taste, the nature of a standard, influences on taste, and so on. In what follows, I will offer a brief account of some of the essays in parts III–V, so the reader can get an overall flavor (taste) of the volume. 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引用次数: 0

摘要

书评人:阅读大卫·休谟的《品味标准》。巴贝特·巴比奇编辑,阅读大卫·休谟的《品味的标准》。柏林:deGruyter, 2020。第VII + 333页。ISBN: 978-3-11-058564-3,纸质版,24.99美元。阅读大卫·休谟的《品味标准》,一本由巴贝特·巴比奇编辑的文集,旨在为读者提供休谟的著名文章及其相关问题的“集体研究”。几乎所有的贡献都曾以期刊文章或书籍章节的形式发表过。《品味的标准》被很有帮助地收录在这本书的开头,尽管休谟研究的读者应该已经熟悉了这篇文章。这本书分为五个部分。编辑导言由第一部分组成。休谟的文章构成第二部分的全部。第三至第五部分围绕不同的一般主题组织,每个部分包含三到五篇文章。这本书总共有十二篇散文。休谟的《品味标准》在今天的美学中是一部“经典”作品,但它有什么资格获得这个称号呢?事实上,我们为什么要评判任何作品具有“古典价值”?“品味”在这类评价中起着核心作用,尤其是现代学者的“品味”。但是,正如休谟所知,法官的历史敏感性随着时间的推移而变化,因此“一些在他们那个时代被认为是绝对经典的东西,那些直到那时才经受住时间考验的东西,可能会在另一个时代经历价值的转变”(13)。在她的导言中,巴比奇讲述了一个关于休谟“临终读物”的引人入胜的故事,如果不总是容易理解的话,来说明这一点。从与亚当·斯密的最后对话中,我们知道休谟正在阅读卢西安的《亡灵对话录》。但他读的是卢西恩的哪一段对话呢?当安妮特·拜尔(Annette Baier)被问到这个问题时(她当时正在写关于休谟和“最后的事情”的文章),她承认自己对这个问题感到困惑(6)。拜尔最初的困惑和随后为解决这个困惑而进行的调查表明,她自己的情感与休谟那个时代的人有多大的不同。巴比奇观察到:“卢西恩在休谟的时代,甚至一直到20世纪初都很受欢迎,今天他的“古典”价值已经如此之低,以至于像拜尔这样的休谟学者很难找到他”(13)。我自己最初读《导论》时的困惑,在某种程度上可能是由于我也不熟悉卢西恩。具有讽刺意味的是,这一事实本身就进一步证明了巴比奇的观点:昨天的文学瑰宝在今天已经失去了价值,因为现代学者不熟悉他们的作品。我已经订了我的《卢西安》这本书的基本原理解释如下:“这本书的全部关注点都是关于这些主张的关键基础[哪些作品具有“经典”价值]。我们如何确定一个标准来评估未来可能的经典,无论是在文学领域还是在品味发挥作用的其他领域?然而,休谟的《品味标准》所涉及的利害关系远不止预测“文学的未来”。关于品味标准的问题对提高在更广泛领域的判断有重要影响:更广泛的艺术(绘画、建筑、雕塑等),但也许也包括科学,甚至经济,仅举几例。在这里收集的文章中,只有一篇文章本身涉及“古典价值”和“文学未来”的主题:编辑自己的文章。读者可以从各种各样的贡献中找出他们所能找到的东西。但只要每篇文章都试图阐明一个重要的相关问题,例如,品味的本质,标准的本质,对品味的影响,等等,这些文章都可以推进讨论。接下来,我将简要介绍第三至第五部分的一些文章,以便读者对本书有一个整体的了解。第三部分……
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Reading David Hume’s “Of the Standard of Taste.” ed. by Babette Babich (review)
Reviewed by: Reading David Hume’s “Of the Standard of Taste.” ed. by Babette Babich Tina Baceski Babette Babich, ed. Reading David Hume’s “Of the Standard of Taste.” Berlin: deGruyter, 2020. Pp. VII + 333. ISBN: 978-3-11-058564-3, paper, $24.99. Reading David Hume’s “Of the Standard of Taste,” a volume of essays edited by Babette Babich, purports to offer the reader a “collective stud[y]” of Hume’s famous essay and its related concerns. Almost all the contributions have previously been published, either as journal articles or book chapters. “Of the Standard of Taste” is helpfully included at the beginning of the volume, though Hume Studies readers will already be familiar with the text. The book is divided into five parts. The editor’s introduction comprises part I. Hume’s essay makes up the entirety of part II. Parts III–V are organized around different general themes, with each part containing from three to five essays. In total the book contains twelve essays. Hume’s “Of the Standard of Taste” is a “classic” work in aesthetics today, but what entitles it to this appellation? Indeed, why do we judge any work to be of “classical value?” “Taste” plays a central role in evaluations of this sort, particularly the “taste” of modern scholars. But, as Hume knew, the historical sensibilities of judges are liable to change over the years, and so “some things that appear in their day to be sure classics, things that have until then withstood the test of time, can undergo a shift in value for another era” (13). In her Introduction, Babich tells an engaging, if not always easy to follow, story about Hume’s “deathbed readings” to illustrate the point. From final conversations with Adam Smith, we know that Hume was reading Lucian’s Dialogues of the Dead. But which of Lucian’s several such dialogues was he reading? When the question was put to Annette Baier (who was at that time herself writing about Hume and “last things”), she confessed to being puzzled by the very [End Page 341] question (6). Baier’s initial puzzlement and subsequent investigations to resolve this confusion revealed just how much her own sensibilities diverged from those of Hume’s day. Babich observes: “[T]he Lucian who was popular in Hume’s own day and even through to the beginning of the twentieth century, has today so diminished in “classical” value that he is sufficiently esoteric that Hume scholars like Baier have trouble tracking him down” (13). My own initial confusions reading the Introduction are likely attributable, in part, to the fact that I, too, was unfamiliar with Lucian. Ironically, this fact is, itself, further evidence of Babich’s point: yesterday’s literary gems have dimmed in value today because modern scholars are not conversant with their works. I have already ordered my copy of Lucian. The book’s rationale is explained as follows: “The entire concern of this volume is all about the critical basis for such claims [which works have “classical” value]. How can we determine a standard for estimating tomorrow’s likely classic, whether in the literary domain or other areas where taste plays a role” (14)? There is more at stake with respect to Hume’s “Of the Standard of Taste,” however, than merely predicting “literary futures.” The question concerning a standard of taste has important consequences for improving judgments in a much wider arena: art more broadly (painting, architecture, sculpture, etc.), but perhaps also science and even economics, to mention but a few. Only one of the essays collected here takes up the topic of “classical value” and “literary futures” per se: the editor’s own. The reader is left to make out what they can from the various contributions. But the essays can all advance the discussion insofar as each one attempts to shed light on an important related concern, e.g., the nature of taste, the nature of a standard, influences on taste, and so on. In what follows, I will offer a brief account of some of the essays in parts III–V, so the reader can get an overall flavor (taste) of the volume. Part III...
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