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<p>Abstract:</p><p>The oft-cited theatricality of Adam Smithâs impartial spectator is contentious and rests on a generalized notion of theatre. This essay argues both that Smith, like his predecessors in sentimental moral philosophy, thought of spectatorship theatrically and that Smithâs spectatorship framework is rooted in French neoclassical dramaturgy. Smithâs formulation of sympathy in the <i>Theory of Moral Sentiments</i> bolsters this view, as does the correspondence between Smithâs definition of impartiality and the neoclassical formal isolation of spectators from the interests of protagonists. These facets of spectatorship are the basis of an impersonal mode that prevails in Smithâs social theory of morals.</p>
Journal of the History of Ideas – University of Pennsylvania Press
Published: Nov 6, 2020
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