By José Luis Bermúdez, Sebastian Gardner
Artwork and Morality is a suite of groundbreaking new papers at the subject of aesthetics and ethics, and the hyperlink among the 2 topics. a bunch of world-class members take on the $64000 query that come up whilst one thinks concerning the ethical dimensions of artwork and the cultured size of ethical existence.
The quantity is an important contribution to the philosophical literature, beginning up unexplored questions and laying off new mild on extra conventional debates in aesthetics. the subjects explored contain the relation of aesthetic to moral judgment; the relation of inventive adventure to ethical awareness; the ethical prestige of fiction; the techniques of sentimentality and decadence; the ethical size of severe perform, pictorial artwork and tune; the ethical value of tragedy; and the connections among inventive and ethical matters elaborated within the writings of relevant figures in glossy philosophy reminiscent of Kant, Schopenhauer and Nietzsche.
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Additional resources for Art and Morality (International Library of Philosophy)
Carroll’s easy assumption that the play helps us see the value of one type of prudence and the worthlessness of another seems to me quite implausible. Furthermore, even where a work of art does effect a clariﬁcation in our moral thinking, I can see no good reason why this must be one which is friendly to morality. It could make one more hostile to morality. For example, a work of art might help one to see that one does not really value something or other which one thought one valued or thought one ought to value.
7 Cf. George Steiner, ‘To civilize our gentlemen’, in Language and Silence (London: Faber and Faber, 1967), pp. 81–2. In Truman Capote’s In Cold Blood there is a character, Lowell Lee Andrews, a fat, bespectacled, respectable college boy who, as Capote puts it, harbours 40 Christopher Hamilton Moreover, even if, say, a novel gives insight into the inner life of those characters whose lives it explores, such insight could be recruited to serve evil. As Nietzsche emphasised, a cruel person needs, in order that his cruelty be effective, to have a subtle and reﬁned insight into the subjectivity of the person on whom he exercises his cruelty: we all know the way in which the very possibility of a certain kind of cruelty increases as we get to understand the inwardness of a given individual in all its richness and detail.
Furthermore, even where a work of art does effect a clariﬁcation in our moral thinking, I can see no good reason why this must be one which is friendly to morality. It could make one more hostile to morality. For example, a work of art might help one to see that one does not really value something or other which one thought one valued or thought one ought to value. Thus, a play like Georg Büchner’s Dantons Tod, with its image of human beings driven by circumstance, unable to understand one another even when they want to, and ﬁnding release from this only in the hope of cultivating and satisfying a boundless longing for a pleasure so deep that they can forget both themselves and everyone else, might help one see that one had hitherto been paying only lip-service to the idea of the dignity of each human being and help one to the recognition that one does not really believe in this dignity at all.
Art and Morality (International Library of Philosophy) by José Luis Bermúdez, Sebastian Gardner