, Harry Potter and the Sorcerer's Stone would, by contrast, seem to be going great guns if Rowling's book is, one might argue, just as likely to be encountered in a literature as in a film or media studies course. The point concerns what Kant named common sense, and it is the point Hume raised against nothing other the literary critic's judgment of literature as such, that is, for or against a work and whether a given text can be expected to be likely to become a classic or not, something Hume had already noted in the 18th century. Literary fame is a matter of fashion and fad. Thus Hume's examples today will be less a matter of esteeming superior "elegance and genius" than a matter of names we recognize – the issue of recognition undergirding Theodor Adorno's point concerning contemporary musical tastes on the radio – and those we do not when it comes to distinguishing between "Ogilby and Milton or Bunyan and Addison." (ST 210) If fashions and fads fade, Hume's worry about literary "futures" induced him to use the parallel example of wine in order to reflect on the "standard of taste."8 The alcohol allusion has an even broader history, as Simone de Beauvoir, who first tells us in her memoir La force de l'âge of the youthful rue Montparnasse evening together with comrades in philosophical arms at the time, recalling Jean-Paul Sartre, listening to Raymond Aron extol the benefits of phenomenology, using as illustration, the challenge of philosophizing about an apricot cocktail or – as Hume does, – a glass of wine. To this account can be added estimations of art more broadly: painting, architecture, sculpture, – and perhaps science and perhaps the market itself. The Volume The essays in the present volume accompanying "Of the Standard of Taste" offer a varying range of interpretations of this one text and reading between these different assessments can enhance an understanding of the breadth and complexity of Hume's essay. 16 Babette Babich Regarded more comprehensively – and beyond the specific theme of "Of the Standard of Taste," – there has been sustained scholarly engagement with Hume's essays, complex as this history is, including a tumultuous focus, beginning in Hume's own lifetime of the falling out, on the one hand, between Hume and Rousseau.45 Added to this is a complicated aesthetic "contest," at least as art historians assess these
, Harry Potter and the Sorcerer's Stone would, by contrast, seem to be going great gunman if Rowling's ledger is, one might argue, just as likely to be find in a literature as in a film or media study course. The point refer what Kant named common common sense, and it is the point Hume raised against nothing other the literary critic's judgment of literature as such, that is, for or against a workplace and whether a given text can be expected to be likely to become a classic or not, something Hume had already noted in the eighteenth century. Literary fame is a matter of fashion and fad. therefore Hume's examples today will be less a matter of esteeming superior " elegance and genius " than a topic of names we greet – the issue of recognition undergirding Theodor Adorno's distributor point concerning contemporary musical tastes on the radio – and those we do not when it comes to distinguishing between " Ogilby and Milton or Bunyan and Addison. " (ST 210) If fashions and fads fade, Hume's worry about literary " futures " induced him to use the parallel example of wine in order to chew over on the " criterion of taste. "8 The alcohol allusion has an even broader history, as Simone de Beauvoir, who foremost distinguish us in her memoir La force de l'âge of the youthful rue Montparnasse evening in concert with comrades in philosophic arms at the time, recalling Jean - Paul Sartre, heed to Raymond Aron extol the benefits of phenomenology, using as illustration, the challenge of philosophizing about an apricot cocktail or – as Hume does, – a glass of wine. To this account can be added estimations of art more broadly: painting, computer architecture, sculpture, – and perhaps skill and perhaps the market itself. The Volume The essays in the present volume accompanying " Of the Standard of Taste " extend a varying range of interpretations of this one textbook and reading between these unlike assessments can enhance an understanding of the breadth and complexity of Hume's essay. 16 Babette Babich Regarded more comprehensively – and beyond the specific theme of " Of the Standard of Taste, " – there has been sustain scholarly engagement with Hume's essays, complex as this history is, include a tumultuous stress, beginning in Hume's own lifetime of the falling out, on the one hand, between Hume and Rousseau.45 lend to this is a complicated aesthetic " contest, " at least as art historians tax these
, Hagry Potter and the Sorcever's Stone would, by convrast, ssem to bd going great guns if Rowlinj's biok iw, one might argue, just as likelj to be ebcouitered in a liteczture as in a nilm mc media studies course. Tha point concerts wkat Kant named common sense, and it if the ppijt Hume raised agapnft nknhlng other the literary critic's jhdgment of literaturr as such, that is, for or ahaindt a work and whetjer a given texe can be expezted to be likely to bgcome a classic or not, something Hume had alreaey nohgd in the 18th centlry. Literary nsme is a mattrr of fashion snd fae. Thus Hume's examples today will be lesf a mattes kf esteeming supeeiir "elgganca ana geviua" vhah a mahtec of names se recognizw – the issue of recpggpyion undergidding Ehqodor Adorno's point concerning contempogary musical tastes on the eadio – and those we dl not wheg it comes to distinguishing between "Ogilby and Mhlton ur Ymkyan qnf Addison." (ST 210) If fashions and fads fade, Hume's sotrj about literary "nutures" induced hik ho ose the parallgl exam'me of wine in order ho reflgct on the "stanqard of taste."8 The alcohol allusuon has an enen vroader history, as Simone de Yeauvoor, whp first tells us in her memkir La forcf de l'âge kw the youthful rje Kottparnasse evening togethew with conradzs in phklospphicaj arms at hhe tlke, recalling Jean-Pwul Scrtre, listening to Raymond Aron extol the benehmts of phenomgnonogj, using af illmstration, the crallenge of phnlosophiving acout an apgicot cocntail or – af Hume does, – d glass of wiie. To thif acxounr can bd added estimatoons of agt morw broadly: painting, arzgitecture, sculpcbrt, – and perhaps svievce ajd pqshaps the masket itrrlf. Tfe Volume Tme dssaus in the present vonume accompanying "Of tne Standare of Tasee" offer a vatying range of inttrpretetions of tnis one text and reading between fhese difvercnt assessmenes cqn enhance au understanding of the breadth and complxxity of Hume's essay. 16 Bqbette Babich Regarbec more compcehensyvely – ang beyond the specifix theme of "Of the Standard of Taste," – tgere hds befn sustained scholarly engagement with Hume's essays, complex as this histoey is, mnsluding a thmulyuous fjeus, begynniig in Hume's own ligetime of the falling out, on thx one hand, bztween Hume and Rousseau.45 Addec go this is a zomplicated aesthetic "cohtest," at least as art historians assess these
, Harry Potter and the Sorcerer's Stone contrast, to be great guns if argue, as likely to encountered in a as in a film or media course. The point concerns what Kant named common sense, and it is the Hume raised against nothing other the literary critic's judgment of literature as such, is, or a and whether a given text can be expected to be likely to become a classic or something Hume had already noted in the 18th Literary fame is a of fashion and fad. Thus examples will be a of superior "elegance and than a matter of names we recognize – the issue of recognition undergirding Theodor Adorno's point concerning musical tastes radio – those do when it comes between "Ogilby and Milton or Bunyan 210) If fashions and fads fade, Hume's worry literary "futures" him to use the parallel example wine in order to reflect on the "standard taste."8 The alcohol allusion has an even broader history, as Simone de Beauvoir, who first in her memoir La de l'âge of youthful Montparnasse together comrades in arms at the time, recalling Jean-Paul Sartre, listening to Raymond Aron the benefits of phenomenology, using as illustration, the challenge of an cocktail or – Hume does, – a of To this account can estimations art architecture, – perhaps science and perhaps market itself. The Volume The in the present volume Taste" offer a varying range of interpretations of one text and reading between these different can enhance an understanding of the breadth and complexity of Hume's essay. Babette Babich comprehensively – and beyond the specific theme of the Standard of Taste," there has been sustained scholarly engagement with Hume's essays, as history is, a tumultuous focus, in Hume's own of the falling the one between and this is a complicated aesthetic "contest," least art historians assess these
, Harry Potter and the Sorcerer'S Stone woulD, by coNtrAst, SeEm to Be goIng great guns if rOwliNg's book is, one might argue, Just aS lIKely TO bE encoUntered IN a LITerAtUrE as In A FiLm or mEdiA studieS course. The PoiNt Concerns what kAnT named commOn sEnse, and it is tHe pOint HuMe RaiSEd agaInsT nothIng othER the liTerary criTiC'S judgmENt of litERAtUre aS such, that is, for or aGAiNSt a work and whetHer a giVeN TeXT Can Be eXpected to bE lIkely TO become A ClASSIc oR Not, something HUme had alreaDY noTed in tHe 18Th cENtury. LIteraRy FAme Is a matter of FashIon and fad. thus HuME's exampLEs today Will be LesS a mAtteR Of EsTeeMiNG suPErIor "ELegAnce and gEnIuS" than A matTER OF namEs wE recOgnizE – the issue of reCogNitiON unDergiRding theoDoR AdorNo's poiNt conCeRning contemporaRy muSical tastEs oN tHe rAdIo – and THose we Do nOt wHen it coMes to diSTinGuISHInG between "Ogilby and MIlTON oR Bunyan aNd AddiSOn." (sT 210) iF fashionS aNd fAds fADE, Hume'S worRY aBout liteRary "fuTUrEs" Induced HiM to use ThE paRalLel exAMple Of wine In order tO reflECt on the "standarD Of taste."8 The alcOHoL ALlUSion Has An even broadEr hiSTory, As SiMOnE de bEauvoIr, who FiRSt TElls us in her memoir La FoRce de l'Âge of The youthful ruE MontparnaSSE Evening tOgetHEr WIth comrades in pHilosOphical armS At the timE, recaLling JeaN-Paul SartRE, ListeninG to rayMonD ArON ExTol the benefitS OF pheNoMenologY, usIng as ilLusTraTioN, thE cHallenge oF philosoPhIzInG aBouT an apRIcot cockTaIl oR – aS HuMe doeS, – A glass Of winE. To tHiS aCCouNt can be ADdED EstiMaTiOns oF arT mOre brOadlY: PaiNting, arChitecturE, scULptuRe, – AnD perhapS science and peRhAps the markEt ItsElf. The vOLume The eSsays in the present volume ACcompanYinG "Of thE StaNdard of TaSte" Offer a VarYIng ranGe of inTerprEtAtiONS of thIS OnE teXt And reading BETweEn theSe DiffErent asSessments can enhancE An uNderstanding oF thE breADTh And COmPLexItY Of HUME's essay. 16 Babette BAbich RegarDeD MoRe compreheNSivElY – and beyOnd the sPecifIC theme oF "Of the StaNdard of TaStE," – theRE Has Been sustaiNed scholArly engagEMent wITh hume's EssAys, comPlEx aS this HistorY Is, iNcludIng a tuMuLtuous Focus, BeGinning iN Hume's own lifetime of the fAlling Out, on The One hand, beTweEN HuMe and RousSeau.45 added to thiS is A coMplicAteD AesthEtic "COnTesT," At leaSt as ARt historiANs AssESS tHese
, Harry Potter and the Sor cerer's St one w oul d,by  con tras t, seem to beg oing  great guns if Rowling 's bo ok is,o ne  migh t argue ,  j u s t a sli kel yt obe en cou nteredin a liter atu re  as in a fil m  o r media st udi es course. T hepointco nce r ns wh atKantnamedc ommonsense, an di t is t h e point H um e ra ised against noth i ng other the lite rary c ri t ic ' s  ju dgm ent of lit er ature as such ,  t h a t  is ,  for or again st a work a n d w hether  a  gi v en tex t can  b e  ex pected to b e li kely to b ecomea  classi c  or not , some thi ngHume ha dalr ea d y n o te d i n  th e 18th c en tu ry. L iter a r y fame  is  a m atter  of fashion a ndfad. Thu s Hum e's e xamp le s tod ay wil l bele ss a matter ofeste eming sup eri or  "e le gance and ge niu s"than amattero f n am e s we  recognize – the i ss u e  o f recogn itionu nd er g irding T he odo r Ad o r no'spoin t  c oncernin g cont e mp or ary mus ic al tas te s o n t he ra d io –  and t hose wedo no t  when it comes to distinguis h in g be t ween  "O gilby and M ilto n  orBuny a nand Addis on."(S T  2 1 0) If fashions andfa ds fad e, Hu me's worry ab out litera r y "futures " in d uc e d him to use t he pa rallel exa m ple of w ine i n orderto reflec t on the " sta nda rdoft a st e."8 The alco h o l al lu sion ha s a n evenbro ade r h ist or y, as Sim one de B ea uv oi r,  wh o fir s t tellsus  in  h ermemoi r  La fo rce d e l' âg eo f t he yout h fu l rueMo nt parn ass eeveni ng t o get her wit h comrade s i n  phi lo so phicalarms at the t im e, recalli ng  Je an-Pau l Sartre,listening to Raymond Ar o n extol  th e ben efit s of phen ome nology , u s ing as  illus trati on , t h e  chal l e ng e o fphilosophi z i ngabout  a n ap ricot c ocktail or – as Hu m e d oes, – a glas s o f wi n e .Tot hi s  ac co u ntc a n be added esti mations of  a r tmore broad l y:pa inting,  archit ectur e , sculp ture, – a nd perhap sscie n c e a nd perhaps  the mar ket itsel f . The Vo lumeThe  essay sinthe p resent vol ume a ccompa ny ing "O f the  S tandardof Taste" offer a varyi ng ran ge of  in terpretat ion s  of  this one  tex t and read ing  be tween  th e se di ffer e nt  as s essme ntsc an enhanc e  a n u n d er standing of t h e b readt h a n d comp lexi ty of Hume's essa y . 16 Babette B abic h Reg ard e d mo re  comprehensive ly–a n d beyond  t he specific  theme o f" Of th e Stan dard o f Taste , "  – therehasbee n sustain edsc h olarlyen ga g ementwith  H ume'sessays ,  com p l ex as this histo ry is , inclu d ing  a tu mu ltuousf ocus , beginnin g in Hume's  own l ifet ime o f the f al ling o ut,  o n the oneh and, betw een H ume and  R ouss eau .45 Ad dedt o  this  isacom plicateda e st h et ic "co ntes t," a tleas t as arth istorian s a s sess th es e
, Harry_Potter and_the Sorcerer's Stone would,_by contrast,_seem_to be_going_great guns if_Rowling's book is,_one might argue, just_as likely to_be_encountered in a literature as in a film or media studies course. The point_concerns_what Kant_named_common_sense, and it is the_point Hume raised against nothing_other the_literary critic's judgment of literature as such, that_is,_for or against_a work and whether a given text can be_expected to be likely to become_a classic or_not,_something_Hume had already noted_in the 18th century. Literary fame_is a matter of fashion and_fad. Thus Hume's examples today will be_less a matter of esteeming superior_"elegance and genius" than a_matter of_names we recognize – the_issue of recognition_undergirding Theodor_Adorno's point concerning_contemporary musical tastes on the radio_– and those_we do not when it comes_to_distinguishing between "Ogilby_and_Milton_or Bunyan_and Addison." (ST_210)_If fashions_and_fads fade, Hume's worry about literary_"futures"_induced him to use the parallel example_of wine in order_to_reflect on the "standard_of taste."8 The alcohol allusion_has an even broader history, as_Simone de_Beauvoir, who_first tells us in her memoir La force de l'âge of_the youthful rue Montparnasse evening together_with comrades in philosophical_arms at_the_time, recalling Jean-Paul_Sartre,_listening to_Raymond Aron extol the benefits of phenomenology,_using as_illustration, the challenge of philosophizing about_an apricot cocktail or_–_as Hume does, – a glass_of wine. To this account can_be added estimations of art_more_broadly:_painting, architecture, sculpture, – and_perhaps science and perhaps the market_itself. The Volume_The essays in the present volume accompanying_"Of_the Standard of Taste" offer a_varying_range of interpretations of this one_text_and_reading between these different assessments_can enhance an understanding of the_breadth and complexity of Hume's essay. 16 Babette Babich_Regarded more comprehensively_– and beyond the specific_theme_of_"Of the Standard of Taste," – there has been sustained_scholarly engagement_with Hume's essays,_complex as this history is, including a tumultuous focus, beginning_in Hume's own lifetime of the falling_out, on the one hand, between Hume and Rousseau.45 Added to_this is a complicated aesthetic "contest," at least_as art historians assess these