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)

Studie má za cíl představit strukturu Hayekova evolucionismu. Argumentace postupuje v několika krocích: Východiskem je historicko- systematická expozice způsobu, jakým evoluční teorie ovlivnila Hayekovu filosofii, především s ohledem na periodizaci vývoje jeho myšlení a systematické odlišení explanans a explanandum v rámci jeho teorie vědy. Dále je rozebírán způsob, jakým Hayek rozvíjí svoji metodologii vědy. V této souvislosti je argumentováno ve prospěch teze, že Hayekovo pojetí metodologického dualismu je důsledkem ovlivnění evoluční teorií. Zároveň je evoluční teorie představena jako nástroj vysvětlení, konkrétně (...) pak tzv. vysvětlení vzorce. Následně je představeno Hayekovo pojetí společnosti v kontextu kulturní evoluce. Společnost je interpretována jako řád jednání a je kladen důraz na Hayekovo vnímání společnosti jako řádu vyvíjejícího se společně s lidskou myslí. Na základě těchto předpokladů je v poslední části rozvinuto Hayekovo pojetí mysli. Toto pojetí vychází z konekcionistické pozice. Dále argumentuji proti tradičnímu pohledu na Hayekovu filosofii jako rozvíjení Kantovy filosofie. Závěr rekapituluje základní body Hayekova evolucionismu. (shrink)

American History X (hereafter AHX) has been accused by numerous critics of a morally dangerous cinematic seduction: using stylish cinematography, editing, and sound, the film manipulates the viewer through glamorizing an immoral and hate-filled neo-nazi protagonist. In addition, there’s the disturbing fact that the film seems to accomplish this manipulation through methods commonly grouped under the category of “fascist aesthetics.” More specifically, AHX promotes its neo-nazi hero through the use of several filmic techniques made famous by Nazi propagandist Leni (...) Riefenstahl. Now most critics admit that, in the end, the film claims to denounce racism and attempts to show us the conversion of the protagonist to the path of righteousness, but they complain that nonetheless the film (perhaps unintentionally) ends up implicitly promoting the immoral worldview it rather superficially professes to reject in its final act. This charge of hypocrisy is connected to another worry: the moral conversion in the film is said to fall flat because the intellectual resources on display to support the character’s racism are not counterbalanced by equally explicit (but superior) arguments for the anti-racist position ultimately embraced by the character. In other words, just as the devil is said to get all the good lines in Milton’s Paradise Lost, in AHX the racists get all the arguments. This has been taken to be a morally problematic flaw of the film. Critics lament that Derek’s conversion seems to result not from relevant logical inferences and valid rational argumentation but from overly simplistic and arguably egoistic insights (e.g., “has anything you've done made your life better?”) combined, perhaps, with a hackneyed cliché (in prison, one of his best friends is a black person!) In this paper I’ll attempt to rebut these charges and defend the film as a powerful, and powerfully moral, work of art. I’ll be suggesting that the seductive techniques employed allow for many viewers a degree of sympathy towards the protagonist that is crucial, both for making that character’s more horrific actions especially unsettling, and also for making his eventual conversion plausible and ultimately compelling. I’ll also argue that the manner in which his conversion is presented is in fact subtler than many critics have allowed: Derek’s transformation is not artificial or implausible but is depicted as resulting from a cumulative series of emotionally powerful life events and personal engagements. It is certainly true that it is not represented in the way some would seemingly have preferred, i.e. as straightforwardly resulting from a process of gradual intellectual improvement in Derek’s reasoning on questions of race and politics. However, I’ll argue that the decidedly emotional basis of his moral evolution is both refreshingly realistic and no hindrance to accepting his conversion as rational. Finally, properly understanding the legitimacy of the emotional foundations of much moral thought will also allow us to appreciate the ways in which our initial worries about this film’s (not insignificant) ability to persuade viewers through the engagement of emotions need not, in itself, be seen as a barrier to endorsing the film as a morally praiseworthy work. (shrink)

In the following essay, I argue that in the case of some works of art, moral evaluation should not play a role in artistic appraisal. While I reject the strong ethicist’s view—the view that moral evaluation may inform the artistic evaluation of any artwork—I will not do so in favor of the aestheticist’s position. The aestheticist argues for a rigid distinction between the moral and aesthetic evaluation of an artwork. On this view, the moral status of the work is independent (...) of and irrelevant to artistic value. This view would allow us, for example, to evaluate Leni Reifenstahl’s film The Triumph of the Will as a superior work of cinematic art, while at the same time condemning it on moral grounds. Rather than support a strict separation of aesthetic and moral elements in an artwork, I will suggest that in the case of certain types of artwork, it is inappropriate to use moral criteria in their artistic evaluation—even though the work’s moral content contributes to its artistic value. This is the case in artworks that (1) are “interrogative” in form and (2) have moral dilemmas as their principal theme. Briefly put, an interrogative artwork is one that poses a question or problem that remains unresolved in the work. I will begin by explaining in more detail what I mean by an interrogative artwork. Using the example of Duchamp’s “ready-made” sculpture Fountain, I will argue that it is inappropriate to artistically evaluate such works by appeal to criteria that they themselves call into question. I will then turn to the specific issue of morally interrogative artworks. I will consider Mark Twain’s The Adventures of Huckleberry Finn as a paradigmatic case of an interrogative artwork that poses an unresolved moral problem, and will contrast my own rejection of the moral appraisal of the novel to Wayne Booth’s attempt to provide a morally informed positive assessment of the novel. (shrink)

Článek se zabývá způsobem, jakým vnímá vztah vědecké metody a demokracie Karl Popper. Toto sepětí je jedním ze základních atributů Popperova myšlení. Pro jeho pochopení je třeba zasadit Poppera do historického kontextu vývoje liberálního myšlení a poukázat na možné souvislosti se Schumpeterovou redefinicí demokracie. Výchozím bodem je však interpretace základních episte- mologických předpokladů Popperova myšlení - konceptů provizornosti vědeckého poznání a ratio negativa. Primárním cílem článku je kontextualizace těchto předpokladů s politologickými a sociologickými důsledky. Ty lze spatřovat nejen s odmítnutím (...) positivismu a esencialismu, ale také v Popperově preferenci volebních a stranických systémů. Na závěr je rozpracována problematika kritického racionalismu, hodnot a otevřené společnosti na základě možných námitek vůči Popperově teorii. (shrink)

The Catholic Church never officially endorses political candidates but rather respects the freedom of its faithful to vote according to the dictates of their conscience. However, in the last presidential elections, some Catholic bishops and priests in the Philippines publicly and openly supported the presidential candidacy of Vice President Leni Robredo while urging the rest of the faithful to do the same. These bishops and priests anchored their position on their shared belief that voting for Robredo was the only (...) rightful and moral option because of her clean track record, non-involvement in any act of corruption, and principled approach in governance. In contrast, her political archnemesis Ferdinand “Bongbong” Marcos, Jr. had long been embroiled in several allegations of corruption, non-payment of taxes, and fakery of educational attainments. Hence, for these bishops and priests, voting for Marcos Jr. was both wrong and immoral. And yet, the election results hit them with a big “slap in the face,” as more than 31 million Filipinos (majority of whom are Catholics) cast their votes for Marcos Jr., while only 15 million voted for Robredo. This outcome, no doubt, raises the question: Why did the repeated calls of these bishops and priests go unheeded? In this paper, I will attempt to answer this question by subjecting the political moralism of these Catholic leaders to some objective postmodern evaluation. To do this, I will employ the postmodern thoughts of Nietzsche, Lyotard, and Rorty as a lens to examine why many Filipino Catholics today no longer buy the political moralism of their religious leaders. (shrink)