Elizabeth Bucar has provided a service to the guild with her introduction to the emergent field of visual ethics. In this comment I undertake to expand the picture she presents. I argue that the visual dimension of ethics includes a “dark side” not addressed in her piece, and go on to consider a number of current avenues of inquiry in which religious ethics intersects with visual studies. After briefly considering some of the distinctive methodological challenges attending the visual turn in (...) ethics, I conclude my survey of this new field with some comments on the moral qualities of cinema. (shrink)

This essay addresses the questions, “what good is religious ethics for?” and “what justification exists for the field?” in three steps. First, it canvases how religious ethicists have offered reasons for carrying out work in the field to identify anAnti‐Reductive Paradigmthat is guided by anEgalitarian Imperative. That imperative functions as a thin, minimal morality of inclusivity and equal respect that guides work in the field. Second, the essay considers the field's ends. Here the focus shifts from values that shape the (...) field'smethodsto values that can describe the field'spurposes. That shift requires us to think in terms of a thick rather than a thin morality, one with substantive rather than procedural virtues in mind. The essay offers a constructive, substantive proposal under the rubric ofCritical Humanism. Critical Humanism justifies the study of religious ethics as an enterprise that can expand the moral imagination through its encounter with difference. It is shaped by four values: post‐critical reasoning, social criticism, cross‐cultural fluency, and environmental responsibility. Third, the essay brings the two parts of the argument together by explaining how to connect such purposes to the thin morality of inclusivity and equal respect. One upshot of the essay is to have us think not only about values, but also about power as it pertains to scholarship in the guild; hence the attention to the ethics and politics of religious ethics. (shrink)

Just as recognition and pursuit of the human good take place in language and action, so too do they unfold in encounter with the material and visual. The ethical crises, projects, and striving we see in everyday religious life are worked out not just in the intersubjective play and politics of language but also in encounter with, in dwelling with, material and visual substances and forms. This essay considers the material conditions that make possible the “ethical pleasures” sought by Indonesian (...) painter A. D. Pirous in making and displaying contemporary works of “Islamic art,” most especially works that make “visual recitation” of passages from the Qur'an. (shrink)