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Switch to: References
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If philosophers held popularity contests, David Hume would be a perennial winner. Witty, a bon vivant, and champion of reason over bigotry and superstition, it is not surprising that many contemporary thinkers want to recruit him as an ally or claim his views as precursors to their own. In the debate over the moral content of artworks and its possible relevance for artistic and aesthetic value, the group whose views are known variously as “ethicism,” “moralism,” or “moderate moralism” has claimed (...) |
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This article examines what constitutes an ethical flaw in artworks and asks which ethical flaws are relevant in determining works. ethical and aesthetic values. I argue that while most of the discussion has simply taken for granted that it is intrinsic ethical flaws that should be taken into account, there are further important differences in the type of intrinsic ethical flaws that artworks display. I identify two different types of ethical defects in artworks, fictional and actual, and argue that this (...) |
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Are there limits to what it is morally okay to imagine? More particularly, is imaginatively inhabiting morally suspect perspectives something that is off-limits for truly virtuous people? In this paper, I investigate the surprisingly fraught relation between virtue and a familiar form of imaginative perspective taking I call empathy. I draw out a puzzle about the relation between empathy and virtuousness. First, I present an argument to the effect that empathy with vicious attitudes is not, in fact, something that the (...) |
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In this chapter, we identify and present predominant debates at the intersection of ethics and imagination. We begin by examining issues on whether our imagination can be constrained by ethical considerations, such as the moral evaluation of imagination, the potential for morality’s constraining our imaginative abilities, and the possibility of moral norms’ governing our imaginings. Then, we present accounts that posit imagination’s integral role in cultivating ethical lives, both through engagements with narrative artworks and in reality. Our final topic of (...) |
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This essay presents somaesthetics of discomfort as an extension of the field of somaesthetics as developed by Shusterman. Using the work of Peirce and Dewey as a foundation upon which Shusterman and Johnson have considered the body as the basis of aesthetics, I propose that somaesthetics of discomfort provides a means of enhancing bodily awareness and reflection useful for domains of inquiry, such as healthcare and design. Taking Peirce’s notion of the irritation of doubt in a literal sense, I explore (...) |
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Ethicism is the most comprehensively defended answer to the question regarding whether ethical properties determine aesthetic properties in artworks. According to ethicism, aesthetically relevant ethical flaws in artworks count as aesthetic flaws and aesthetically relevant ethical merits count as aesthetic merits. In this paper, I argue that ethicism’s most significant argument, the Merited Response Argument suffers from an ambiguity that makes it either unsound or uninteresting. Specifically, the notion of an artwork’s ‘prescribing’ a response, central to MRA, is ambiguous between (...) |
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The Platonic view that art is incapable of providing us with knowledge is sufficiently widely held as to merit a serious attempt at refutation. Once it is acknowledged that there are alternative forms of knowledge other than propositional, then it is possible to establish the truth of the claim that the knowledge which art affords has a value on a par with that provided by other disciplines. Art, it is argued, has a unique potential to provide imaginative insights by reference (...) |
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Narrative representations can change our moral actions and thoughts, for better or for worse. In this article, I develop a theory of fictions' capacity for moral education and moral corruption that is fully sensitive to the diversity of fictions. Specifically, I argue that the way a fiction influences our moral actions and thoughts importantly depends on its genre. This theory promises new insights into practical ethical debates over pornography and media violence. |
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According to what Robert Stecker dubs the “ethical-aesthetic interaction” thesis, the ethical defects of a literary work can diminish its aesthetic value. Both the thesis and the only prominent argumentative strategy employed to support it the affective response argument have been hotly debated; however, Stecker has recently argued that the failure of the ARA does not undermine the thesis, since the argument “fails to indentify the main reason [the thesis] holds, when it in fact does.” I critically examine Stecker’s objection (...) |
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We refine a line of feminist criticism of pornography that focuses on pornographic works' pernicious effects. A.W. Eaton argues that inegalitarian pornography should be criticized because it is responsible for its consumers’ adoption of inegalitarian attitudes toward sex in the same way that other fictions are responsible for changes in their consumers’ attitudes. We argue that her argument can be improved with the recognition that different fictions can have different modes of persuasion. This is true of film and television: a (...) |
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