According to what I call the Merit Principle, roughly, works of art that attempt to elicit unmerited responses fail on their own terms and are thereby aesthetically flawed. A horror film, for instance, that attempts to elicit fear towards something that is not scary is to that extent aesthetically flawed. The Merit Principle is not only intuitive, it is also endorsed in some form by Aristotle, David Hume, and numerous contemporary figures. In this paper, I show how the principle leads (...) to a novel paradox when applied to an undertheorized class of artworks I call ‘seductive works’. These artworks necessarily invite an unmerited response in order to invite a (merited) repudiation of that response. Thus, according to the Merit Principle, they are necessarily aesthetically flawed, which is counter-intuitive. I consider a number of unsuccessful solutions to the paradox that aim to preserve the Merit Principle, before rejecting that principle as it stands. I discuss what is challenging about seductive artworks, before briefly defending a new principle that appeals to a general way that a work’s aesthetic value is conditioned by the constraints under which it operates. This principle not only resolves the paradox, but explains the competing intuitions that give rise to it. (shrink)

This entry surveys issues at the intersection of art and morality. Particular emphasis is placed on whether, and in what way, the moral character of a work of art influences its artistic value. Other topics include the educational function of art and artistic censorship.

Alcune opere d'arte manifestano (o suggeriscono di assumere) prospettive morali dubbie e, in certi casi, chiaramente deprecabili. Ad esempio, il documentario propagandista Il Trionfo della Volontà di Leni Riefensthal esprime (e cerca di evocare) ammirazione nei confronti di Adolf Hitler. Nonostante ciò, Il Trionfo della Volontà è considerato un capolavoro nel genere dei documentari. Questo e molti altri esempi simili suggeriscono le seguenti domande: É possibile considerare un'opera d'arte un capolavoro artistico e, allo stesso tempo, un esempio di immoralità? La (...) valutazione morale di un'opera d'arte influisce o dovrebbe influire sulla valutazione artistica dell'opera? (shrink)

Gendler reformulated the so-called imaginability puzzle in terms of authorial breakdown. The main idea behind this move was to isolate the essential features displayed by the alleged problematic cases and to specify a puzzle general enough to be applied to a variety of different types of imaginative resistance. I offer various criticisms of Gendler’s approach to imaginative resistance that also raise some more general points on the recent literature on the topic.