Building on eighteenth-century philosophical traditions, Victorian aesthetics were often posed as an antidote to the vicissitudes of the industrial revolution and the political and economic demands of the marketplace, and in most cultures undergoing modernization the Beautiful has often functioned in opposition to the forces of power ...
Building on eighteenth-century philosophical traditions, Victorian aesthetics were often posed as an antidote to the vicissitudes of the industrial revolution and the political and economic demands of the marketplace, and in most cultures undergoing modernization the Beautiful has often functioned in opposition to the forces of power and instrumentality and their corrosive effects on social life. Readers of Nineteen will be familiar with the Victorian environment—the workhouses, the poverty, the invention and technology, the urbanization, the empire. By the last decades of the nineteenth century, the Islamic world saw the dissolution of the Ottoman empire and the effects of European colonization, and modernizing forces in China led to the greatest rejection of a 3000-year-old tradition in world history. This Forum contribution compares western, Islamic, and Chinese aesthetics. My argument is that since the nineteenth century, modern aesthetics have typically functioned dialectically against the constraints of scarcity, exploitation, and tyranny, and that within them Nature and the natural world play a particularly valuable role, one that is threatened today in the market failure of global warming and unsustainability.
