J Hist Ideas. 2020;81(4):555-576. doi: 10.1353/jhi.2020.0029.
The oft-cited theatricality of Adam Smith's 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 Smith's spectatorship framework is rooted in French neoclassical dramaturgy. Smith's formulation of sympathy in the Theory of Moral Sentiments bolsters this view, as does the correspondence between Smith's 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 Smith's social theory of morals.
常被引用的亚当·斯密（Adam Smith）的公正旁观者的戏剧性备受争议，其基础是一种广义的戏剧观念。本文认为，斯密和情感道德哲学的前辈一样，从戏剧的角度思考观众，而且斯密的观众框架根植于法国新古典主义戏剧理论。《道德情操论》中对同情的表述支持了这一观点，而斯密对公正的定义与新古典主义将观众与主角利益隔离开来的形式上的隔离之间的对应关系也是如此。这些观众视角是斯密道德社会理论中普遍存在的非个人模式的基础。
