The "ethics of imagination" or the "ethics of fantasy" encompasses the various ways in which we can morally evaluate the imagination. This topic covers a range of different kinds of imagination: (1) fantasizing, (2) engaging with fictions, and (3) dreaming. The clearest, live ethical question concerns the moral value of taking pleasure in undeserved suffering, whether willfully imagined, represented, or dreamed. Much of this entry concerns general theoretical considerations and how they relate to the ethics of fantasy. In the final (...) sections I walk through the three types of imagination and point out some of the open questions concerning each type. (shrink)

In a Dutch weekly it was recently stated that man's moral powers are overestimated in the christian faith. The proponent of this belief, the Dutch–American philologist and philosopher Staal seems to me to be closer to the truth of this matter than his distinguished German colleague Nietzsche. The latter used to fascinate me as a young student with his devastating criticisms of christian culture and the christian view of life. According to Nietzsche, the christian religion has not too high, but (...) rather too low a view of mankind: it wanted man to be ugly and evil; in this way it has succeeded in making man so. The insignificance, ugliness and sinfulness of man is the outcome of a self-fulfilling prophecy. Someone who is being told again and again how insignificant, bad and sinful he is, will end up believing it and behave accordingly. A not implausible theory, I thought at that time. However, as I see the matter now, I would support Staal rather than Nietzsche . The christian faith has an optimistic view of man. Does it overestimate him? Does it attribute imaginary moral powers to him? Does it demand the morally impossible? A positive answer to these questions is not unreasonable if one does not want to go beyond a secular, evolutionist or sociobiological under-standing of man and does not take into consideration the affirmations of the Church. (shrink)

The bulk of the literature on the relationship between art and morality is principally concerned with an aesthetic question: Do moral flaws with works of art constitute aesthetic flaws?1 Much less attention has been paid to the ways in which artworks can be morally flawed. There are at least three promising contenders that concern aesthetic education: Artworks can be morally flawed by endorsing immorality, corrupting audiences, and encouraging responses that are bad to have. When it comes to works of fiction, (...) the third suggestion requires what Allan Hazlett calls response moralism—the position that audience reactions to artworks can be morally bad.2 Here, I will put aside issues of aesthetic.. (shrink)

What are the cognitive mechanisms that underlie selfless conduct, both ‘thinking’ and unthinking? We first consider deliberate selflessness, a manner of selecting acts in which, in evaluating options, one expressly chooses not to weigh the potential consequences for oneself (though this formulation is seen as needing some qualification). We then turn to unthinking behavior in general, and whether we are responsible for it, as the foundation for analyzing the unthinking variety of selflessness. Using illustrative cases (Grenade Gallantry, The Well-Meaning Miner, (...) Ignorant Ilya, Self-Disregarding Sally) we explore just what is involved in setting aside one's self-interests unthinkingly. Eventually, this account links up with work on mental compartmentalization, as it becomes apparent that unthinking selflessness encompasses both unthinking behavior (calling upon inexplicit cognitive utilization of stored images) that is selfless, and thinking behavior (calling upon reasoning with sentences) that is unthinkingly selfless (by virtue of an unreasoned, automatic shift of cognitive standpoint to a ‘compartment’ that omits information about one's self-interests). The analysis points toward a practical program for generating increased selflessness in ourselves and others. (shrink)

Is it ever bad to take pleasure in the suffering of fictional characters? I think so. I attempt to show when and why. I begin with two powerful objections to my view: (1) engaging with fiction is akin to morally unproblematic autonomous fantasy, and (2) since no one is harmed, it is morally unproblematic. I reply to the objections and defend a Moorean view on the issue: It is intrinsically bad to enjoy evil, actual (past, present, or future) and merely (...) imagined. In support, I offer four examples. Then I argue against Moore's claim that it is equally bad to delight in fictional suffering as it is to enjoy actual suffering. Finally, I argue that even though it is bad to enjoy imagined suffering, the power of fiction is often mitigating. The moral problems are more often with the works of fiction than with the audience. (shrink)