The goal of this paper is methodological. It offers a comprehensive mapping of the theoretical positions on the ethical criticism of art, correcting omissions and inadequacies in the conceptual framework adopted in the current debate. Three principles are recommended as general guidelines: ethical amenability, basic value pluralism, and relativity to ethical dimension. Hence a taxonomy distinguishing between different versions of autonomism, moralism, and immoralism is established, by reference to criteria that are different from what emerging in (...) the current literature. The mapping is then proved capable of (1) locating the various theories that have been proposed so far and clarifying such theories’ real commitments, (2) having the correct relationship with actual art making and art criticism practices, and (3) showing the real weight of the alleged counter-example to a moralist position of a work that succeeds artistically because of its immorality. (shrink)

My aim in this paper is to provide clarification of my view on ethical criticism of narrative art in order to respond to some of the concerns issued at it by Rafe McGregor. While McGregor and I share numerous assumptions regarding the cognitive and ethical value of art, we disagree with respect to certain practical concerns. To address his challenge, I argue for the necessity of joining philosophical research with research in other domains, primarily in cognitive sciences, (...) in order to determine the extent to which engagements with art can have positive or negative cognitive and moral impact on the spectators. I am particularly concerned with showing that philosophy needs support from other disciplines in order to ground its claims in scientifically supported theories and to avoid self-generating theoretical disagreements that are populating its debates. However, I also offer an array of reasons for the inclusion of philosophy into other disciplines, and I urge for the recognition of philosophy’s potential to respond to publically relevant issues. (shrink)

In this paper, I argue that since artworks cannot take moral responsibility, it is impossible to establish any sort of ethical criticism towards them for their own sake. Ethical criticism of art is inevitably directed at the artist(s), who can take moral responsibility for creating or performing the art in certain ways. Therefore, we should distinguish between two types of criticism towards art: (1) the ethical criticism should be contextualized within the author-work framework, (...) meaning that the extent to which the author can take moral responsibility will significantly affect the ethical criticism of art, while artworks can serve as acts or evidence of acts (of the author) in ethical criticism; (2) ‘ethical’ criticism of art for the work’s own sake should be excluded from the ethical issue and instead reconstructed in the causal issue. (shrink)

To the person unfamiliar with the wide variety of street art, the term “street artist” conjures a young man furtively sneaking around a decaying city block at night, spray paint in hand, defacing concrete structures, ears pricked for police sirens. The possibility of the ethical criticism of street art on such a conception seems hardly worth the time. This has to be an easy question. Street art is vandalism; vandalism is causing the intentional damage or destruction of someone (...) else’s property; causing destruction or damage is wrong. The only remaining question is which of two coarse-grained models of ethical criticism we choose. The ethicist model holds that a work of art that exhibits ethically bad properties is a work that is thereby aesthetically flawed. That is, the work is flawed as a work of art just because of its ethical flaws. Bad ethics make art worse than it otherwise would have been, although it may be aesthetically successful otherwise. The autonomist model, by contrast, holds that the ethical properties of a work of art have no bearing at all on its aesthetic success. One might suppose, therefore, that on either model, a criticism of street art would be relatively easy to undertake. In defacing public property, some street art exhibits and endorses ethically bad attitudes. On the ethicist model, such a work is thereby pro tanto aesthetically flawed because in the process of creating such works, they violate ethical norms concerning the use of public spaces; on the autonomous model, any ethical criticism of the aesthetics of street art would need to be set aside entirely in favor of criticism that focused purely on the aesthetic properties of street art. I will argue in this paper that neither the ethicist nor the autonomist model adequately captures the moral landscape of street art. Street art may indeed be criticized productively on aesthetic grounds for the destruction it does to public spaces, but the existing models of ethical criticism overlook the complex ethical landscape of street art that results from its use of public spaces. In the interplay of various forms of street art we can see the emergence of an ethical criticism of art that is accomplished by the material properties of related artwork, and consists in the creation of a dialogue over the proper use of contested public spaces. (shrink)

According to comic moralism, moral flaws make comic works less funny or not funny at all. In contrast, comic immoralism is the view that moral flaws make comic works funnier. In this article, I argue for a moderate version of comic immoralism. I claim that, sometimes, comic works are funny partly in virtue of their moral flaws. I argue for this claim—and artistic immoralism more generally—by identifying artistically valuable moral flaws in relevant actions undertaken in the creation of those works. (...) Underlying this argument is the idea that such generative actions are partly constitutive of a work's identity, and, therefore, they may affect the ethical value of an artwork either positively or negatively, and they are the proper objects of ethical appraisal. (shrink)

As James Harold notes in his generous and thoughtful commentary on Artistic Creation and Ethical Criticism (ACEC) (2020), there is much on which we agree, inclu.

This article brings together two prominent topics in the literature over the past few decades—the ethical criticism of art and art interpretation. The article argues that debates about the ethical criticism of art have not acknowledged the fact that they are tacitly underpinned by a number of assumptions about art interpretation. I argue that the picture of interpretation that emerges from the analysis of these assumptions is best captured by moderate actual intentionalism. Reflection upon the nature (...) of ethical criticism, I argue, offers new reasons to prefer moderate actual intentionalism to hypothetical intentionalism. I conclude by arguing for the necessity of broadening our conception of ethical criticism. (shrink)

I examine Jacques Maritain's views on the relationship between art and ethics or what is today called the ‘ethical criticism of art’, and examine what Maritain's thought can contribute to debates in contemporary aesthetics and wider society. In part I of the article, I approach Maritain's attempted reconciliation of artistic freedom and the demands of morality in three steps, first recalling Maritain's definition of art, second looking at Maritain's analysis of the extra-artistic concerns of the artist, and third (...) offering a critique of Maritain's views on why art is valued by the community and what justifiable moral claims of the community upon the artist might be—particularly regarding the method of production of artworks. Comparing Maritain's theories to those of contemporary writers in part II, I argue that Maritain's ethics of art can be used to complement Jacques Rancière's notions of the ‘distribution of the sensible’ and ‘artistic regimes’, and that, in the terminology of the ethical criticism of art, Maritain affirms a position which is a composite of ‘moderate moralism’ and ‘ethicism’—a position which is both explanatorily powerful in ascertaining how and why we recognise and value art, and flexible in accommodating changing artistic forms and practices. (shrink)

It is a fact that there is ethical criticism about art. Art critics, the general public and even artists point out moral flaws in artworks while evaluating them. Philosophers, however, have maintained a hot debate on the meaning of such criticism. This debate can be understood as a disagreement about the kind of relation between the artistic value of artworks and their alleged moral value. While some claim that moral value can contribute to artistic value (moralism), others (...) claim that there cannot be such a contribution (autonomism). Since at least some works of architecture are artworks, that debate also concerns architecture. A moderate moralist view claims that some works of architecture have moral flaws/merits that bear on their artistic evaluation. In an apparently promising version, the contention is that some moral flaws/merits are aesthetically relevant. In this paper I argue against such contention and defend an autonomist view. Following some taxonomy remarks I distinguish the views in the debate and present two points in favour of autonomism: its simplicity and not having the burden of proof. Then I discuss Carroll’s merited response argument for moralism and I argue that in its best interpretation either it begs the question against autonomism or it is compatible with it. I conclude with some possible objections that may help further investigations on the subject. (shrink)

Abstract:My aim in this article is to explore the role of perspectivism—roughly, the view that works of art prescribe a certain perspective—in aesthetic cognitivism and in the ethical evaluation of art, particularly as it features in the value-interaction debate. Although I am critical of perspectivism’s capacity to shoulder an artwork’s cognitive and ethical value, I find some of the arguments mounted against it, most notably those by Ted Nannicelli, misdirected, and I present several arguments against them. However, because (...) my aim is to show that both aesthetic cognitivism and ethical criticism should move beyond a concern for the perspective, I offer a different criticism of perspectivism to demonstrate how it should be modified if it is to make a more substantial contribution to the ethical evaluation of art. I conclude by providing a sketch of what I call ethically minded criticism of art, that is, one that is concerned not with a perspective that a work advances but with revealing work’s cognitive and ethical insights, that is thus better suited to promoting art’s educational and cultural value. (shrink)

Should we take into account an artist's personal moral failings when appreciating or evaluating the work? In this essay, I seek to expand Berys Gaut's account of ethicism by showing how moral judgment of an artist's private moral actions can figure in one's overall evaluation of their work. To expand Gaut's view, I argue that the artist's personal morality is relevant to our evaluation of their work because we may only come to understand the point of view of the work, (...) and therefore the work's prescribed attitude, by examining the values, attitudes, and behaviors of the artist. This view is defended against a rival account offered by Bernard Wills and Jason Holt, which holds that the artistic evaluation of an artist's work is independent from the moral evaluation of their life except in extreme cases. (shrink)

Much contemporary art seems morally out of control. Yet, philosophers seem to have trouble finding the right way to morally evaluate works of art. The debate between autonomists and moralists, I argue, has turned into a stalemate due to two mistaken assumptions. Against these assumptions, I argue that the moral nature of a work's contents does not transfer to the work and that, if we are to morally evaluate works we should try to conceive of them as moral agents. (...) class='Hi'>Ethical autonomism holds that art's autonomy consists in its demand that art appreciators take up an artistic attitude. A work's agency then is in how it merits their audiences' attitudinal switch. Ethical autonomism allows for the moral assessment of art works without giving up their autonomy, by viewing artistic merit as a moral category and art-relevant moral evaluation as having the form of art criticism. (shrink)

This book interprets relationships among art and ethics in the context of contemporary South African art. Nearly three decades after inaugurating political freedom in a democratic form, the infrastructure of South Africa faces palpable issues and challenges to the social fabric. The social tension involves painful struggles for decolonization and violent debates about the removal of colonial statues, change of colonial names, transformation of universities, and curriculum change. This book does critical work in art history, theory, criticism, and visual (...) culture by looking from and looking after social differences to interpret the potential impact of contemporary media and mediation. Artists examined include Zanele Muholi, Mohau Modisekeng, Dineo Seshee Bopape, Hasan and Husain Essop, and Kemang Wa Lehulere. The book will be of interest to scholars working in art history, contemporary art, visual culture, art theory, ethics, aesthetics, philosophy of art, and African studies. (shrink)

What grounds a judgment that a work of art is immoral? This book argues that we cannot judge artworks morally in the same way that we judge people. What>'s more, there is no direct influence from moral judgments to aesthetic judgments: it is possible for artworks to be both immoral and beautiful.

I defend the ethical fittingness theory (EFT), the thesis that whenever it is legitimate ethically to evaluate a representational artwork for the perspective it embodies, such evaluation systematically bears on the work's artistic value. EFT is a form of radical moralism, claiming that the systematic relationship between the selected type of ethical evaluation and artistic evaluation always obtains, for works of any kind. The argument for EFT spells out the implications of ethically judging an artwork for its perspective, (...) where such an ethical evaluation is understood as an assessment of how well the work's ethical perspective fits extra-fictional reality—how appropriate, correct, or true the perspective is. The argument shows that the ethical legitimacy of judging a work for its perspective ipso facto proves the judgment's art-critical relevance. Hence, the argument effectively amounts to a reductio ad absurdum of theories that admit the legitimacy of ethically judging artworks this way, but deny or qualify the judgment's relevance to artistic merit. Since EFT is stated conditionally, the argument need not indicate how often artworks are subject to this type of ethical evaluation. Nonetheless, I make a case for the relevance of EFT to actual art criticism and contemporary philosophical debate. (shrink)

This guide accompanies the following article: Matthew Kieran, ‘Art, Morality and Ethics: On the (Im)moral Character of Art Works and Inter‐Relations to Artistic Value’. Philosophy Compass 1/2 (2006): pp. 129–143, doi: 10.1111/j.1747‐9991.2006.00019.x Author’s Introduction Up until fairly recently it was philosophical orthodoxy – at least within analytic aesthetics broadly construed – to hold that the appreciation and evaluation of works as art and moral considerations pertaining to them are conceptually distinct. However, following on from the idea that artistic value is (...) broader than aesthetic value, the last 15 years has seen an explosion of interest in exploring possible inter‐relations between the appreciative and ethical character of works as art. Consideration of these issues has a distinguished philosophical history but as the Compass survey article suggests (‘Art, Morality and Ethics: On the (Im)Moral Character of Art Works and Inter‐Relations to Artistic Value.’Philosophy Compass 1.2 (2006): 129–43), it is only very recently that figures in the field have returned to it to develop more precisely what they take the relationships to be and why. Consensus is, unsurprisingly, lacking. The reinvigoration of the issues has led sophisticated formalists or autonomists to mount a more considered defence of the idea that aesthetic and literary values are indeed conceptually distinct from the justification or otherwise of the moral perspective or views endorsed in a work (Topic I). The challenges presented by such a defence are many but amongst them are appeals to critical practice (Lamarque and Olsen), scepticism about whether or not art really can give us bona fide knowledge (Stolnitz) and the recognition that truth often seems to be far removed from what it is we value in our appreciation of works (Lamarque). One way to motivate consideration of the relevance of a work’s moral character to its artistic value concerns the phenomena of imaginative resistance. At least sometimes it would seem that, as Hume originally suggested, we either cannot or will not enter imaginatively into the perspective solicited by a work due to its morally problematic character (Topic II). In some cases, it would seem that as a matter of psychological fact, we cannot do so since it is impossible for us to imagine how it could be that a certain attitude or action is morally permissible or good (Walton). The question then is whether or not this is a function of morality in particular or constraints on imaginative possibility more generally and what else is involved. At other times, the phenomena seem to be driven by a moral reluctance to allow ourselves to enter into the dramatic perspective involved (Moran) or evaluation of the attitude expressed (Stokes). Nonetheless, it is far from obvious that this is so of all the attitudes or responses we judge to be morally problematic. After all, it looks like we can and indeed often do suspend or background particular cognitive and moral commitments in engaging with all sorts of works (Nichols and Weinberg). If the moral character of a work interacts with how we appreciate and evaluate them, then the pressing question is this: is there any systematic account of the relationship available to us? One way is to consider the relationship between our emotional responses to works and their moral character (Topic III). After all, art works often solicit various emotional responses from us to follow the work and make use of moral concepts in so doing (Carroll). Indeed, whether or not a work merits the sought for emotional responses often seems to be internally related to ethical considerations (Gaut). Yet, it is not obvious that we should apply our moral concepts or respond emotionally in our imaginative engagement with works as art as we should in real life (Kieran, Jacobson). A different route is via the thought that art can convey knowledge (Topic IV). There might be particular kinds of moral knowledge art distinctively suited to conveying (Nussbaum) or it may just be that art does so particularly effectively (Carroll, Gaut, Kieran). Either way where this can be tied to the artistic means and appreciation of a work it would seem that to cultivate moral understanding contributes to the value of a work and to betray misunderstanding is a defect. Without denying the relevance of the moral character of a work some authors have wanted to claim that sometimes the immoral aspect of a work can contribute to rather than lessen its artistic value (Topic V). One route is to claim that there is no systematic theoretical account of the relationship available and what the right thing to say is depends on the particular case involved (Jacobson). Another involves the claim that this is so when the defect connects up in an appropriate way to one of the values of art. Thus, it has been claimed, only where a work reveals something which adds to intelligibility, knowledge or understanding in virtue of its morally problematic aspect can this be so (Kieran). The latter position looks like it could in principle be held whilst nonetheless maintaining that the typical or standard relationship is as the moralists would have it. Yet perhaps allowing valence change for such reasons is less a mark of principled explanation and more a function of downright inconsistency or incoherence (Harold). The topics themselves and suggested readings given below follow the structure articulated above as further amplified in the Compass survey article. The design and structure given below can be easily compressed or expanded further. Author Recommends 1 Carroll, Noël. ‘Art, Narrative and Moral Understanding.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 126–60. 2 This article develops the idea that engaging with narrative art calls on moral concepts and emotions and can thereby clarify our moral understanding. 2 Carroll, Noël. Beyond Aesthetics: Philosophical Essays. Cambridge: Cambridge UP, 2009. 4 Part IV consists of six distinct essays on questions concerning the inter‐relations between art and morality including the essay cited above and the author’s articulation and defence of moderate moralism. 3 Gaut, Berys. ‘The Ethical Criticism of Art.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 182–203. 4 Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. 7 This monograph provides the most exhaustive treatment of the issues and defends the claim that, where relevant, whenever a work is morally flawed it is of lesser value as art and wherever it is morally virtuous the work’s value as art is enhanced. Chapters 7 and 8 defend concern ethical knowledge and chapter 10 is a development of the article cited above concerning emotional responses. Chapter 3 also gives a useful conceptual map of the issues and options in the debate. 5 Jacobson, Daniel. ‘In Praise of Immoral Art.’Philosophical Topics 25 (1997): 155–99. 9 A wide ranging and extended treatment of relevant issues which objects to generalising moral treatments of our responses to art works and defends the idea that particular works can be better because of rather than despite their moral defects. 6 Kieran, Matthew. ‘Forbidden Knowledge: The Challenge of Cognitive Immoralism.’Art and Morality. Ed. Sebastian Gardner and José Luis Bermúdez. London: Routledge, 2003. 56–73. 11 A general argument for immoralism is elaborated by outlining when, where and why a work’s morally problematic character can contribute to its artistic value for principled reasons (through enhancing moral understanding). 7 Kieran, Matthew. Revealing Art. London: Routledge, 2005. Chapter 4. 13 This chapter argues against both aestheticism and straightforward moralism about art, elaborating a defence of immoralism in relation to visual art whilst ranging over issues from pornographic art to the nature and demands of different genres in art. 8 Lamarque, Peter. ‘Cognitive Values in the Arts: Marking the Boundaries.’ Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006, 127–39. 15 This article concisely outlines and defends a sophisticated aestheticism that denies the importance of truth to artistic value. 9 Stolnitz, Jerome. ‘On the Cognitive Triviality of Art.’British Journal of Aesthetics 32.3 (1992): 191–200. 17 This article articulates and defends the claim that no knowledge of any interesting or significant kind can be afforded by works appreciated and evaluated as art. 10 Walton, Kendall. ‘Morals in Fiction and Fictional Morality, I.’Proceedings of the Aristotelian Society, Suppl. 68 (1994): 27–51. 19 This article builds on some comments from Hume to develop the idea that when engaging with fictions it seems impossible imaginatively to enter into radically deviant moral attitudes. Online Materials ‘Aesthetics and Ethics: The State of the Art.’American Society of Aesthetics online (Jeffrey Dean):. ‘Art, Censorship and Morality’ downloadable podcast of Nigel Warburton interviewing Matthew Kieran at Tate Britain (BBC/ou Open2.net as part of the Ethics Bites series):. ‘Art, Morality and Ethics: On the (Im)Moral Character of Art Works and Inter‐Relations to Artistic Value.’Philosophy Compass 1.2 (2006): 129–43 (Matthew Kieran):. ‘Ethical Criticism of Art.’Internet Encyclopedia of Philosophy (Ella Peek):. ‘Fascinating Fascism.’New York Review of Books Piece Discussing Leni Riefenstahl (Susan Sontag):. ‘The Beheading of St. John the Baptist (1450s), Giovanni de Paolo’ (Tom Lubbock):. Vladimir Nabokov and Lionel Trilling discuss Lolita (CBS):. Sample Syllabus Topic I Autonomism/aestheticism • Anderson, James C. and Jeffrey T. Dean. ‘Moderate Autonomism.’British Journal of Aesthetics 38.2 (1998): 150–66. • Beardsley, Monroe. Aesthetics: Problems in the Philosophy of Criticism. New York: Harcourt, Brace and World, 1958. Chapter 12. • Kant, Immanuel. The Critique of Judgement.Trans. James Creed Meredith. Oxford: Oxford UP, 1952 [1790]. • Lamarque, Peter. ‘Cognitive Values in the Arts: Marking the Boundaries.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006, 127–39. • ——. ‘Tragedy and Moral Value.’Australasian Journal of Philosophy 73.2 (1995): 239–49. • Lamarque, Peter and Stein Olsen. Truth, Fiction and Literature. Oxford: Clarendon Press, 1994. Chapter 10. • Stolnitz, Jerome. ‘On the Cognitive Triviality of Art.’British Journal of Aesthetics 32.3 (1992): 191–200. Topic II Imaginative Capacities, Intelligibility and Resistance • Moran, Richard. ‘The Expression of Feeling in Imagination.’Philosophical Review 103.1 (1994): 75–106. • Nichols, Shaun. ‘Just the Imagination: Why Imagining Doesn’t Behave Like Believing’. Mind & Language 21.4 (2006): 459–74. • Stokes, Dustin. ‘The Evaluative Character of Imaginative Resistance’. British Journal of Aesthetics 46.4 (2006): 387–405. • Tanner, Michael. ‘Morals in Fiction and Fictional Morality, II’. Proceedings of the Aristotelian Society, Suppl. Vol. 68 (1994): 51–66. • Walton, Kendall (1994). ‘Morals in Fiction and Fictional Morality, I’. Proceedings of the Aristotelian Society, Suppl. Vol. 68 (1994): 27–51. • Weinberg, Jonathan. ‘Configuring the Cognitive Imagination.’New Waves in Aesthetics. Eds. K. Stock and K. Thomson‐Jones. London: Palgrave Macmillan, 2008. 203–23. Topic III Moralism and Emotions • Carroll, Noël. ‘Moderate Moralism.’British Journal of Aesthetics 36.3 (1996): 223–37. • Carroll, Noël. ‘Art, Narrative and Moral Understanding.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998.126–60. • Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. Chapter 10. • ——. ‘The Ethical Criticism of Art.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 182–203. • Hume, David. ‘Of the Standard of Taste.’Selected Essays. Oxford: Oxford UP, 1993 [1757]. 133–53. • Kieran, Matthew. ‘Emotions, Art and Immorality.’Oxford Handbook to the Philosophy of Emotions. Ed. Peter Goldie. Oxford: Oxford UP, 2009. 681–703. • Tolstoy, Leo. What is Art?. London: Penguin, 2004. Chapters 5 and 15. Topic IV Moralism and Knowledge • Aristotle. Poetics. Trans. M. Heath. London: Penguin, 1996 [367–322 BC]. • Carroll, Noël. ‘The Wheel of Virtue: Art, Literature and Moral Knowledge.’Journal of Aesthetics and Art Criticism 60.1 (2002): 3–26. • Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. Chapters 7 and 8. • Gaut, Berys. ‘Art and Cognition.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 115–26. • Kieran, Matthew. ‘Art, Imagination and the Cultivation of Morals.’Journal of Aesthetics and Art Criticism 54.4 (1996): 337–51. • Nussbaum, Martha. ‘Finely Aware and Richly Responsible: Literature and the Moral Imagination.’Love’s Knowledge. New York: Oxford UP, 1990. 148–68. • Plato. The Republic. Trans. D. Lee. Harmondsworth: Penguin, 1974. Book 10. Topic V Immoralist Contextualism • Harold, James. ‘Immoralism and the Valence Constraint.’British Journal of Aesthetics 48.1 (2008): 45–64. • Jacobson, Daniel. ‘In Praise of Immoral Art.’Philosophical Topics 25 (1997): 155–99. • ——. ‘Ethical Criticism and the Vices of Moderation.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 342–55. • John, Eileen. ‘Artistic Value and Moral Opportunism.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 331–41. • Kieran, Matthew. ‘Forbidden Knowledge:The Challenge of Cognitive Immoralism.’Art and Morality. Ed. Sebastian Gardner and José Luis Bermúdez. London: Routledge, 2003. 56–73. • Kieran, Matthew. Revealing Art. London: Routledge, 2005. Chapter 4. • Patridge, Stephanie. ‘Moral Vices as Artistic Virtues: Eugene Onegin and Alice.’Philosophia 36.2 (2008): 181–93. Focus Questions 1 What is the strongest argument for the claim that the moral character of a work is not relevant to its artistic value? Does artistic or literary criticism tend to concern itself with the truth or morality of works? If so, in what ways? If not, why do you think this is? 2 What different explanations might there be for difficulty with or resistance to imaginatively entering into attitudes you take to be immoral? How might this relate to the way our imaginings work as contrasted with belief? How might different literary or artistic treatments of the same subject matter make a difference? 3 How do narrative works draw on our moral concepts and responses? Can we suspend our normal moral commitments or application of moral concepts in responding emotionally to art works? Should we respond emotionally to art works as we ought to respond to real world events we witness? Why? Why not? 4 How, if at all, do art works convey moral understanding? How, if at all, is this related to the kinds of moral knowledge art works can teach or reveal to us? When, where and why might this be tied to the artistic value of a work? How can we tell where a work enhances our moral understanding as opposed to misleading or distorting it? 5 What art works do you value overall as art which commend or endorse moral values and attitudes that you do not? Is appreciation of them always marred or lessened by the morally dubious aspect? If not, what explains the differences in evaluation? What, if anything, might you learn by engaging with works which endorse moral attitudes or apply moral concepts different from those you take to be justified? How, if at all, might this connect up with what makes them valuable as art? (shrink)

Does the ethical value of a work of art ever contribute to its aesthetic value? I argue that when conventionally interpreted as a request for a conceptual analysis the answer to this question is indeterminate. I then propose a different interpretation of the question on which it is understood as a substantial and normative question internal to the practice of aesthetic criticism.

Artistic Creation and Ethical Criticism investigates an idea that underpins the ethical criticism of art but is rarely acknowledged and poorly understood - namely, that the ethical criticism of art involves judgments not only of the attitudes a work endorses or solicits, but of what artists do to create the work. The book pioneers an innovative production-oriented approach to the study of the ethical criticism of art, one that will provide a refined (...) philosophical account of this important topic as well as conceptual tools that can guide future philosophizing and criticism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Against Ethical CriticismRichard A. PosnerOscar Wilde famously remarked that “there is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all.” He was echoed by Auden, who said in his poem in memory of William Butler Yeats that poetry makes nothing happen (though the poem as a whole qualifies this overstatement), by Croce, and by formalist critics such (...) as Cleanth Brooks, a doyen of the New Critics, who insisted that edification was the function of religion but not of poetry. 1 George Orwell, though himself a didactic novelist, was of this view as well, 2 and it is one that most critics adopt when the issue is censorship. I accept Wilde’s thesis—the creed of aestheticism, of art for art’s sake—if understood to mean that the moral content and consequences of a work of literature are irrelevant to its value as literature; or as the critic Helen Vendler has put it, that “treating fictions as moral pep-pills or moral emetics is repugnant to anyone who realizes the complex psychological and moral motives of a work of art.” 3 This is not to deny that reading can have consequences, including moral and political ones. Information affects people’s outlook and behavior, and reading is a source of information. Imaginative literature conveys ideas, opinions, and information, often with great power. Think of the role that novels by Turgenev (Fathers and Sons), Dostoevsky (The Possessed), Conrad (The Secret Agent, Under Western Eyes), Koestler (Darkness at Noon), Orwell (Animal Farm, Nineteen Eighty-Four), and, of course, Solzhenitsyn played in exposing the horrors of anarchism and communism. Of A Passage to India it has been said that “as an account of the social conditions of British India it was powerful enough to have influenced events.” 4 Upton Sinclair’s novel The Jungle is thought to have incited federal regulation of food processing; and few doubt the effect of Uncle Tom’s Cabin (1852) on the abolitionist cause. [End Page 1]At the core of the aesthetic tradition, which I shall be defending in this essay particularly against its opponents in the “law and literature” movement, are three theses. First, immersion in literature does not make us better citizens or better people. One might be able to pick out some works of literature that would have such an effect because of the information they convey or the emotional state they induce, but they would constitute a skewed sample of literary works. Second, we should not be put off by morally offensive views encountered in literature even when the author appears to share them. A work of literature is not to be considered maimed or even marred by expressing unacceptable moral views; by the same token, a mediocre work of literature is not redeemed by expressing moral views of which we approve. The proper criteria for evaluating literature are aesthetic rather than ethical. Third, authors’ moral qualities or opinions should not affect our valuations of their works.The insistence, in short, is on the separation of the moral from the aesthetic—but with two qualifications. Some literature has little interest or value apart from the didactic and for it the proper criticism is didactic. And the separation of moral from aesthetic values is not a rejection of the former. The aesthetic outlook is a moral outlook, one that stresses the values of openness, detachment, hedonism, curiosity, tolerance, the cultivation of the self, and the preservation of a private sphere—in short, the values of liberal individualism.The counter tradition in literary criticism to the aesthetic originates with Plato and insists upon the importance, in some versions to the near or even total exclusion of anything else, of the ethical or political content and effects of works of literature, and less commonly of the author’s own morality. Martha Nussbaum, for example, deems Greek tragedies and Anglo-American realistic novels a part of moral philosophy. 5 Reading novels, she argues, “develops moral capacities without which citizens will not succeed in making reality out of the normative conclusions of any moral or political theory, however excellent.” 6 Wayne Booth, disagreeing with his illustrious... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:On the Way to Ethical CultureThe Meaning of Art as Oscillating between the Other, Il y a, and the ThirdRossitsa Varadinova Borkowski (bio)Who can suppose that a poet capable of effectively introducing into his scenes rhetoricians, generals and various other characters, each displaying some peculiar excellence, was nothing more than a droll or juggler, capable only of cheating or flattering his hearer, and not of instructing him?Are we (...) all agreed that the chief merit of a poet consists in his accurate representation of the affairs of life? Can this be done by a mere driveller, unacquainted with the world?The excellence of a poet is not to be measured by the same standard as that of a mechanic or a blacksmith, where honor and virtue have nothing to do with our estimate. But the poet and the individual are connected, and he only can become a good poet who is in the first instance a worthy man.— Strabo, The Geography of StraboAfter Emmanuel Levinas showed the need for radically positing the Ethical as the original structure of human inwardness and as art is a fundamental aspect of being human, a reexamination of the meaning of the Artistic and its relation with the Ethical is necessary.1 Throughout [End Page 195] the history of Western thought and culture, the meaning of art has been regarded either as imitation of the world and nature (Plato and Aristotle), objective self-expression of the Absolute Spirit (Hegel) or Being (Heidegger), a subjective “free play of imagination” and judgment (Kant and the Romanticists), or as inevitable engagement with social issues and political position (the Marxists and Sartre). In spite of the variety of theories and views about the essence and value of art, it is unquestionable that the Artistic has transformational power over humans, which points to art’s connection with ethics. Therefore, following Levinas, instead of asking the general ontological questions about the gist of art “What is art?” or “Why is there art instead of something else?” we should seek an answer to the ethical question about the meaning of art: “How can the existence of art be justified?”The answers could be sought in two directions. The first already quite well beaten path explores Levinas’s own vision on art, which most critics find hesitant or even ambiguous.2 The impression of this hesitation is significant on the background of Levinas’s rigorous clarity about the Ethical. Overlooking this impression would lead to conclusions that would deviate our attention from the main question about how the existence of art can be justified. A possible explanation would be that Levinas’s seemingly fragmentary thoughts about art are woven into the fabric of his ultimate meta-ethical project — that is, his approach to art is instrumental, subjected to the Ethical. For example, commentators agree that Levinas’s early article “Reality and Its Shadow” (1948) is the only one exclusively focused on art and use it as a starting point to assemble the fragments of his aesthetic views into an aesthetic theory. Although this move might be justified methodologically, Levinas is clear that the discussion of art in this article is subordinated to the more general (and more serious) question about the nontruth of being (LR 132). Positing art as mythological and mystical, thus incapable of transmitting a meaningful message if separated from philosophical criticism (142), Levinas puts “in brackets” the discussion about the artistic and focuses on the reason qua knowledge (philosophy) and its relation with the Other. The impression of his hesitation about art’s [End Page 196] independent capability to dephase the instant, to breach the ontological gravity, and to expose the human spirit to the Ethical comes from those texts where Levinas applies his own vision about the integrative role of philosophical criticism — i.e., texts that work as philosophical criticism of art: “Transcendence through poetry — is this serious?”3 (PN 175n12), “if poetry can contain teachings” (165; emphasis added). Therefore, on one hand, Levinas exhaustively scrutinizes all possibilities of ethics of philosophy and comes to the clear position that in order for reason to function humanly it should be dethroned by the Other. He is... (shrink)

This chapter contains sections titled: Is There a Problem about Ethical Criticism? The Sensible Representation of the Moral The Theory of Disinterestedness Coda: The Beautiful as that which is Complete in itself.

The ethical criticism of art has received increasing attention in contemporary aesthetics, especially with respect to the evaluation of narratives. The most prominent philosophical defenses of this art-critical practice concentrate on the notion of response , specifically on the emotional responses a narrative requires for it to be correctly apprehended and appreciated. I first investigate the mechanisms of emotional participation in narratives ; then, I address the question of the legitimacy of the ethical criticism of narratives (...) and advance an argument in support of such a practice . ;Chapter 1 analyzes different modes of emotional participation in narratives, distinguishing between: emotional inference, affective mimicry, empathy, sympathy, and concern. Chapter 2 first critically discusses Noel Carroll's objections to identificationism and to an empathy-based account of character participation, and then analyzes the sorts of imaginative activities involved in narrative engagement, by investigating the distinctions introduced by Richard Wollheim between central and acentral imagining, and iconic and non-iconic imagination. ;Chapter 3 offers a taxonomy of the possible views on the relationship between the ethical and the artistic values of a narrative, distinguishing between reductionist and non-reductionist views, and sorting the latter ones into autonomism and moralism, radical and moderate. Chapter 4 analyzes the ethical assessment of narratives for their consequences on their perceivers and the means of their production, and indicates the evaluation in terms of the ethical perspective a narrative embodies as the kind of ethical evaluation on which an argument for the ethical criticism of narratives ought to concentrate. Chapter 5 critically assesses the accounts of "imaginative resistance" to fiction offered by Kendall Walton, Richard Moran, and Tamar Gendler, and concludes that none of them is adequate to ground an argument for the ethical criticism of narratives. Chapter 6 looks at Carroll's argument for moderate moralism and Berys Gaut's "merited-response" argument for "ethicism," and finds both arguments wanting. Chapter 7 proposes a version of moralism grounded in the notion of a narrative's ethical perspective, and defended on the grounds of narratives' commitments to provide a realistic representation of reality. (shrink)

What role does race play in the moral judgment of character? None, ideally, philosophers insist, contending that the proper assessment of an action requires that we disregard any social values associated with the body performing it. What rightly comes under evaluation, they assert, is the neutral, abstract deed irrespective of the race of the agent. Only under these conditions, presumably, can we gauge true moral worth. Reading together Immanuel Kant and Frantz Fanon on ethics and race, I propose instead that (...) embodied values such as those accorded by race do not distort the portrait of the ethical subject but rather bring that subjectivity into being. Key Words: blackness • embodiment • ethics • Frantz Fanon • Immanuel • Kant • morality • race • value. (shrink)

Bill Cosby’s immorality has raised intriguing aesthetic and ethical issues. Do the crimes that he has been convicted of lessen the aesthetic value of his stand-up and, even if we can enjoy it, should we? This article first discusses the intimate relationship between the comedian and audience. The art form itself is structurally intimate, and at the same time the comedian claims to express an authentic self on stage. After drawing an analogy between the question of the moral character (...) of comedians and the aesthetic value of their stand-up and the debate over the ethical criticism of art, this article argues that it is reasonable to find a comedian’s performance less funny, because stand-up’s artistic success relies on this intimacy. It contrasts the comedy of Bill Cosby with that of Louis C.K. C.K.’s moral flaws are much more present in his comedy, and it is therefore more difficult to find him funny. Last, it is ethically permissible to enjoy their comedy, if no harm to others results, both because it does not corrupt the audience’s character and because amusement is valuable. (shrink)

Homer is universally praised for the clarity of his style. Yet even to sympathetic or perceptive readers, if their critical remarks really express their judgments, his poetical intention has been singularly opaque: invited to leave town by Plato, as if he were a bad ethical philosopher; lauded by Aristotle for his dramatic unity, as if he were a pupil of Sophocles; criticised by Longinus for composing an Odyssey without Iliadic sublimity; abused in more recent times by Scaliger as indecorous, (...) irrational, improper and undisciplined, as if he were seeking to portray the perfect exemplar of a renaissance prince; defended by Dacier as a sublime primitive, innocent of taste and art, who achieved perfection ‘par la seule force de son genie’. Some of these judgments are no more than the stock responses of their age to epic poetry. The critic regards the poems from his own point of view; he discovers what he expects to find; and he passes a judgment that illuminates the workings of his own mind but sheds nothing but darkness upon Homer's. The announcement, therefore, of a new criticism by Notopoulos and Lord, a criticism based on the results of comparative study and free from the old prejudices of Analysts and Unitarians, is an event of importance. It may even be the case that the despised anachronistic ‘singer’, that unwashed, mendicant figure lurking in the coffee houses of the Balkans, has something to say. But whatever he says, it will be applicable to Homer only by analogy, and will require verification. (shrink)

If I had read Ted Nannicelli’s (2020) thoughtful and wide-ranging book before writing my own, I would not have written the same book that I did, and my book almost certainly would have been better for it. Ted Nannicelli’s 2020 book has many keen insights, and I learnt much from reading it.There is a great deal of overlap in our philosophical interests as well as in our views. Our books were written at the same time—at least, our writing times overlapped (...) significantly—and by the time Nannicelli's was published, mine was already finalized, and it was too late for me to incorporate his insights into my own book. So I welcome the opportunity, however belated, to think carefully about Nannicelli’s ideas in conversation with my own.The first and most important thing to emphasize is my agreement with Nannicelli on many significant matters. Both Nannicelli and I are critical of the overwhelming focus in the ethical criticism of art on what Nannicelli calls ‘perspectivism’, the view that works of art should be judged morally on the basis of the perspective they take up (or attitude they prescribe, or similar). We are also both sceptical about the strength of the arguments concerning the moral-cognitive benefits of art. Both of us think that we need a more expansive toolkit for thinking about art and morality, including attention to the circumstances under which an artwork is produced. (The latter is something that I discuss only briefly, but Nannicelli is right that it is deserving of more careful attention.) Both of us are neutral about specific normative ethical theories. Nannicelli and I are both worried about the problem of relativism and how that affects how we think about moral judgements of artworks. And I think Nannicelli shares my scepticism about the search for easy answers to hard moral questions about the value of art. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Art as Symptom:Žižek and the Ethics of Psychoanalytic CriticismTim Dean (bio)This paper tackles a problem that is exemplified by, but not restricted to, Slavoj Žižek's work: the tendency to treat aesthetic artifacts as symptoms of the culture in which they were produced. Whether or not one employs the vocabulary and methods of psychoanalysis to do so, this approach to aesthetics has become so widespread in the humanities that it (...) qualifies as a contemporary critical norm. As a norm, it may be subject to debate and even contestation. Today it is normative to read literature, film, and other cultural texts primarily as evidence about the societies that made them—evidence that necessarily requires our hermeneutic labor in order to yield its significance. This methodological protocol remains in place whether one inhabits critical perspectives as ostensibly disparate as historicist, materialist, or psychoanalytic modes of thinking; it is also a grounding assumption of cultural studies, irrespective of how one defines that critical practice. Indeed, the issue I want to address is quite as much a Marxist problem as it is a psychoanalytic one, and therefore the way in which Žižek articulates Lacan with Marx makes his work especially fertile terrain on which to engage this matter. As Žižek reminds us in The Sublime Object of Ideology, Lacan claimed that Marx invented the symptom [SO 11]—an observation that Žižek has been keen to exploit from the very beginning of his work.Žižek's combining psychoanalysis with Marxism in novel ways has helped make Lacan more palatable to contemporary critical sensibilities by politicizing psychoanalysis, demonstrating how it offers less an account of the individual than of society and culture. In Žižek's hands psychoanalytic theory appears less vulnerable to the standard criticisms that it is ahistorical and apolitical. While a number of critiques of Žižek have reiterated these common objections, nevertheless his politicizing of psychoanalysis has been particularly important during a period that witnessed the rise of new historicism, the institutionalization of cultural studies, and the escalating importance of "the political" as a sign—perhaps the sign—of humanities professors' seriousness.1 Žižek's work has gone a long way toward making Lacan seem indispensable to cultural studies, just as Juliet Mitchell's and Jacqueline Rose's work a decade earlier made Lacan seem indispensable to theoretically rigorous feminism. At a moment when the poststructuralist variant of Lacanian theory was being displaced by historicist modes of thought, Žižek emerged on the scene to revivify psychoanalysis and make it exciting again. Thus his work's appeal has an historical basis quite apart from Žižek's own personal charisma and his remarkable productivity. It is his politicizing of psychoanalysis, as much as his [End Page 21] rendering Lacan newly accessible, that has made Žižek popular. I want to argue, however, that his style of politicizing psychoanalysis carries a significant ethical cost, one that follows partly as a consequence of Žižek's failure to work through his theoretical relation to Althusser, from whom he derives the practice of symptomatic reading while claiming to displace the latter's version of psychoanalytic Marxism. Thus I shall be arguing for a significant distinction between a political and an ethical psychoanalysis, suggesting that we have been cultivating the former at the expense of the latter.Spaghetti PsychoanalysisThe notion of the symptom is central to Žižek's thinking about politics and culture. Although in his work and in psychoanalytic theory more generally the term symptom carries a range of conceptual meanings, symptomatology remains the governing trope of Žižek's oeuvre. Following Lacan, who continued to modify the concept of the symptom throughout his career, Žižek argues that just about anything can be understood as symptomatic:[I]n the final years of Lacan's teaching we find a kind of universalization of the symptom: almost everything that is becomes in a way symptom, so that finally even woman is determined as the symptom of man. We can even say that "symptom" is Lacan's final answer to the eternal philosophical question "Why is there something instead of nothing?"—this "something" which "is... (shrink)

This paper argues that debates over art exhibitions that make use of live animals, such as the Guggenheim Museum's 2017 Art and China After 1989: Theater of the World, are reflective of a schism between two general approaches to the ethico-political criticism of art. One of these approaches, the interpretation-oriented approach, is dominant in the art world and its adjacent institutions. The other, the production-oriented approach, is tacitly adopted by art-interested non-specialists. This rift explains why the use of animals (...) in contemporary art—a practice that many art-interested people outside of the art world find bizarre and prima facie unethical—is so rarely discussed critically within art world institutions such as museums and journals. In an attempt to redress this oversight, the paper argues that the production-oriented approach is not only conceptually sound, but rationally preferable to the interpretation-oriented approach in many such cases. (shrink)

Abstract In this paper I suggest a way that an already promising view on ethical art criticism can account for the value of mediocre artworks which endorse morally commendable perspectives. In order for the view I call prescriptive ethicism to deal with such cases of critical ambivalence, it must take account of the interaction between moral content and form in art. Such interaction is seen in the way the aesthetic features of an artwork partly determine its moral value, (...) or success in providing ethical insight. I argue that if a work lacks the kind of moral value which is determined by the interaction between form and content, then we have little reason to engage with that work. When a work expresses an otherwise commendable moral attitude in a clumsy or trite manner, while it is clearly compromised aesthetically, it is also compromised ethically. For such a work forfeits the ability to reveal new aspects of ethical life. (shrink)

What, if anything, has art to do with the rest of our lives, and in particular with those ethical and political issues that matter to us most? Will art created today be likely to play a role in our lives as profound as that of the best art of the past? A Theory of Art shifts the focus of aesthetics from the traditional debate of "what is art?" to the engaging question of "what is art for?" Skillfully describing the (...) social and historical situation of art today, author Karol Berger argues that music exemplifies the current condition of art in a radical, acute, and revealing fashion. He also uniquely combines aesthetics with poetics and hermeneutics. Offering a careful synthesis of a wide breadth of scholarship from art history, musicology, literary studies, political philosophy, ethics, and metaphysics, and written in a clear, accessible style, this book will appeal to anyone with a serious interest in the arts. (shrink)

Advocates of interactionism in the ethical criticism of art argue that ethical value impacts aesthetic value. The debate is concerned with “the intrinsic question”: the question of whether ethical flaws/merits in artworks’ manifested attitudes affect their aesthetic value (Gaut 2007: 9). This paper argues that the assumption that artworks have intrinsic ethical value is problematic at least in regards to a significant subset of works: fictional artworks. I argue that, insofar as their ethical value (...) emerges only from attitudes attributable to actual agents, fictional artworks only have extrinsic ethical value. I show that what is at stake for interactionism is whether ethical judgements concerning artists’ attitudes in a context, rather than manifested attitudes, are ever aesthetically relevant. I conclude that, without buying into extreme actual intentionalism, a still controversial theory of interpretation that ties artworks’ meaning to actual artists, interactionism fails to show that ethical flaws/merits are aesthetic flaws/merits. (shrink)

Christian B. Miller has noted a “realism challenge” for virtue ethicists to provide an account of how the character gap between virtuous agents and non-virtuous agents can be bridged. This is precisely one of Han Feizi’s key criticisms against Confucian virtue ethics, as Eric L. Hutton argues, which also cuts across the Aristotelian one: appealing to virtuous agents as ethical models provides the wrong kind of guidance for the development of virtues. Hutton, however, without going into detail, notes that (...) the notion of rituals in the Confucian tradition may be able to sidestep Han Feizi’s criticism. In this essay, I wish to explore not only how the notion of rituals, alongside its corollaries in Xunzi’s Confucian program for ethical cultivation, indeed addresses Han Feizi’s criticism, but also observe that Aristotle’s tragic poetry plays functionally equivalent roles in his own understanding of ethical upbringing. I will begin by considering Han Feizi’s critique of ethical cultivation in virtue ethics as such and how it poses a specific problem for the acquisition of the ‘constitutive reasoning’ shared by Aristotle and Xunzi. I will then briefly note that this problem trades on the synthetic structure of human nature found in both Aristotle and Xunzi (the rational/irrational parts of the soul and the heartmind/five faculties), which grounds the way they understand ethical action and agency. Finally, I will suggest how both Aristotle and Xunzi understand the role of the arts in their extensive programme of ethical cultivation, allowing them to respond to Han Feizi’s attack as too narrow a construal of their respective ethical projects. It is hoped that, through this, we may gain a better sense of how more recent virtue ethicists may similarly draw on aesthetic resources for ethical development. (shrink)

The ethical criticism of art has recently begun to address the subject of immoral artists, with two questions seeming to dominate discussion. How does moral misconduct on the part of artists affect their work’s aesthetic value? How should the art world respond to cases of artists who have been accused of morally outrageous behaviour? Such value and policy debates are important, but they leave aside a pressing question towards which this article proposes a reorientation: What is the possible (...) impact of an artist’s moral ill repute on how we understand the meaning of their work? I argue in this paper that an artist’s bad moral reputation can lead (i) to participatory resistance to an art work, as viewers abstain from a response to the work’s illocutionary force, (ii) to the isolation of the work from the ‘quality context’ that normally allows propositions expressed by the work to be taken as sincere, (iii) to the reinterpretation of the work’s propositional content against the background of new knowledge about the author, and (iv) to the perception of the work as a lie. To illustrate, I look at works by Chuck Close and Jan Fabre, contemporary artists whose reputation has been affected by a scandal. (shrink)

The aim of this paper is to analyse the critical interpretation of Greek art and religion provided by Hegel in the “Religion in the form of art” section of Chapter VII of his Phenomenology of the Spirit. The study will, thus, commence with an overview of the role played by art in the religion of ancient Greece, and then examine the reasons for the historical decline of this special phenomenon and the rise of Christianity, a religion referred to by Hegel (...) as a “visible religion” as it is required to “disclose” and manifest its contents: the spirit. Having focused special attention on the relationship between the people of ancient Greece and their gods and the role played by the concept of the ethical life, the paper will then proceed to investigate the relationship between the individual, the population and the ancient polis or Greek State as illustrated in the early works of Hegel and in the Phenomenology of the Spirit, in which Hegel develops his theory of ethical relations in ancient Greece as exemplified in the model of sibling relations within the family. The paper continues with an examination of Hegel’s criticism of Greek rituals and the inability of the modern world to understand such practices from the perspective of the life of the time, concluding, in line with Hegel, that our experience is now an external process as we no longer embrace the interiority of the ethical life of the past. Indeed, as Hegel considers the “spirit of destiny offered by those [ancient] works of art” to go beyond the ethical life of a nation, the fact that those works of art are no more considered useful and important is a tragic event, even though this destiny has shown us the spirit within them, and thanks to this tragic end, we have finally been able to reunite all the Greek gods in a single Pantheon in which “the spirit is conscious of itself as a spirit”. (shrink)

In this paper, I critically examine Berys Gaut’s proposals regarding ethical criticism, that is, regarding the question of whether, and if so how, an ethical evaluation of a work of art can be considered amongst the determinants of the work’s value as art. I critically examine Gaut’s proposed taxonomy on the possible positions on the ethical criticism question as well as his own influential answer to such question: ethicism. My critique focuses on one missing element, (...) I argue, in Gaut’s overall approach and in ethicism as he formulates and defends it: reference to artistic categorization and to the aims and commitments artworks have in virtue of the artistic categories they belong to. I show how reference to artistic categorization facilitates the generation of a more fine-grained taxonomy of positions than the one Gaut proposes. Such taxonomy makes it possible to distinguish between two very different types of positions within what Gaut dubs ‘contextualism’: what I call limited or restricted ethicism and particularism. As an application of this more fine-grained taxonomy, I show how Noël Carroll’s ‘moderate moralism’, which Gaut convincingly claims to be incomplete, need not reduce to either ethicism or contextualism as Gaut claims: the view can also be completed in the direction of a limited or restricted ethicism. As for Gaut’s own proposal, surprisingly it itself proves to have leanings towards particularism, in so far as it delegates the question of the artistic (or aesthetic) relevance of ethical features to case-by-case decisions. Again, reference to artistic categorization would offer Gaut grounds to be less sceptical on the possibility of finding general philosophical principles governing the relevance of ethical features to artistic worth. Further, lack of reference to artistic categorization can be shown to affect Gaut’s claims within all three the arguments he puts forward in defence of ethicism—the moral beauty, the cognitive, and the merited-response argument. I show such claims to be ill founded when not implausible. (shrink)

Does art have ethical possibilities? Can literature disclose our responsibilityfor other people? This short text aims to unfold some nuances of responsible and irresponsible art as they appear in Emmanuel Levinas's sparse remarks on aesthetics. We examine some common ways of conceiving Levinas's thoughts in literary studies, followed by a closer discussion of his ideas on the possibilities of art in "Reality and Its Shadow" and his late interviews on Vasily Grossman and Sacha Sosno.

Is it ever morally wrong to enjoy fantasizing about immoral things? Many video games allow players to commit numerous violent and immoral acts. But, should players worry about the morality of their virtual actions? A common argument is that games offer merely the virtual representation of violence. No one is actually harmed by committing a violent act in a game. So, it cannot be morally wrong to perform such acts. While this is an intuitive argument, it does not resolve the (...) issue. -/- Focusing on why individual players are motivated to entertain immoral and violent fantasies, Video Games, Violence, and the Ethics of Fantasy advances debates about the ethical criticism of art, not only by shining light on the interesting and under-examined case of virtual fantasies, but also by its novel application of a virtue ethical account. Video games are works of fiction that enable players to entertain a fantasy. So, a full understanding of the ethical criticism of video games must focus attention on why individual players are motivated to entertain immoral and violent fantasies. -/- Video Games, Violence, and the Ethics of Fantasy engages with debates and critical discussions of games in both the popular media and recent work in philosophy, psychology, media studies, and game studies. (shrink)

This article advances and defends three claims: that the proper ethical criticism of environmental art requires a production-oriented approach-an approach that appraises the ethical merits or flaws of the work in terms of how the artwork is created as well as the consequences of its creation; that, depending on contextual factors, ethical flaws in environmental artworks may, but do not necessarily, constitute aesthetic flaws in those works; that, because environmental artworks appropriate part of the environment as (...) an aspect of their identity, an aesthetic flaw in an environmental artwork necessarily also creates aesthetic disvalue in the environment-disvalue that exists in virtue of the creation of the artwork. I conclude with one further, more speculative claim, which deserves further investigation: the aesthetic flaws of an environmental artwork, which result in aesthetic flaws in the natural environment itself, are always ethical flaws of the artwork. This seems to make environmental art distinctive; in the case of non-environmental art, aesthetic flaws do not necessarily constitute ethical flaws. (shrink)

Introduction: Adorno and Barthes on the question of the right (di)stance -- The pathos of distances in "a world of banished people" -- George Orwell's critique of sincerity and the obligation of tactlessness -- The inferno of saviors: notes in the margin of Elias Canetti's lifework -- A socialism of distances, or on the difficulties of wise love: Iris Murdoch's secular community -- "The world in me": the distantiality of everyday life -- In search of a whole self: Benjamin's childhood (...) fragments -- Annie Ernaux's diaries of the outside -- Gunter Grass's century -- Damon Galgut on emptying oneself for sleep -- Conclusion. (shrink)