Roger Scruton
Roger Scruton
Sir Roger Vernon Scruton, FBA, FRSLis an English philosopher who specialises in aesthetics. He has written over thirty books, including Art and Imagination, The Meaning of Conservatism, Sexual Desire, The Philosopher on Dover Beach, The Aesthetics of Music, Beauty, How to Think Seriously About the Planet: The Case for an Environmental Conservatism, Our Church, and How to Be a Conservative. Scruton has also written several novels and a number of general textbooks on philosophy and culture, and he has composed...
names kitsch emotion
There is a sort of mystery to kitsch. When did it begin? If it is just simply another name for faking emotions, it ought to have been a permanent part of the human condition.
loss emotional addiction
Cognitive states of mind are seldom addictive, since they depend upon exploration of the world, and the individual encounter with the individual object, whose appeal is outside the subject's control. Addiction arises when the subject has full control over a pleasure and can ponder it at will. It is primarily a matter of sensory pleasure, and involves a kind of short-circuiting of the pleasure network. Addiction is characterized by a loss of the emotional dynamic that would otherwise govern an outward-directed, cognitively creative life.
mean emotion virtue
[T]o teach virtue we must educate the emotions, and this means learning "what to feel" in the various circumstances that prompt them.
bottle gentle great pity proof regret regrets though
It is a great pity we had only one bottle not enough to revive that proof of the afterlife, though enough to revive some gentle regrets
party views imagination
In literary representation, the distinction between the genuinely erotic and the licentious is a distinction not of subject-matter, but of perspective. The genuinely erotic work is one which invites the reader to re-create in imagination the first-person point of view of someone party to an erotic encounter. The pornographic work retains as a rule the third-person perspective of the voyeuristic observer.
house soul body
The relation of the soul to the body is like that of a house to its bricks. The soul is a principle of organisation, which governs the flesh and endows it with meaning. It is no more separable from the flesh than is the house from its bricks, even if the soul may survive the gradual replacement of every bodily part.
sacrifice culture demand
The core of common culture is religion. Tribes survive and flourish because they have gods, who fuse many wills into a single will, and demand and reward the sacrifices on which social life depends.
firsts sometimes boring
Sometimes the intention is to shock us. But what is shocking first time around is boring and vacuous when repeated.
sex people desire
In all the areas of life where people have sought and found consolation through forbidding their desires-sex in particular, and taste in general-the habit of judgment is now to be stamped out.
hands knowing purpose
This "knowing what to do"... is a matter of having the right purpose, the purpose appropriate to the situation in hand... The one who "knows what to do" is the one on whom you can rely to make the best shot at success, whenever success is possible.
gratitude government apathy
The welfare state that is built upon this conception seems to prove precisely away from the conservative conception of authoritative and personal government, towards a labyrinthine privilege sodden structure of anonymous power, structuring a citizenship that is increasingly reluctant to answer for itself, increasingly parasitic on the dispensations of a bureaucracy towards which it can feel no gratitude.
sex smell body
The sexual parts are not only vivid examples of the body's dominion; they are also apertures whose damp emissions and ammoniac smells testify to the mysterious putrefaction of the body.
views partnership unborn
Conservatives resonate to Burke's view of society, as a partnership between the living, the unborn and the dead.
artist kitsch way
In the attacks on the old ways of doing things on word in particular came into currency. That word was "kitsch." Once introduced, the word stuck. Whatever you do, it musn't be kitsch. This became the first precept of the modernist artist in every medium.