![]() ![]() “Art and Ethics.” In The Routledge Companion to Aesthetics. Oxford: Blackwell, 2004.Īnother introduction to the debate by a defender of moderate moralism. “Art and the Moral Realm.” In The Blackwell Guide to Aesthetics. Introduces radical and moderate versions of autonomism and moralism.Ĭarroll, Noël. Identifies key positions and arguments in the contemporary debate. “Art and Ethical Criticism: An Overview of Recent Directions of Research.” Ethics 110.2 (2000): 350–387. The author argues that architectural evaluations must always be informed by moral considerations, given the functional nature of buildings.Ĭarroll, Noël. Lagueux 2004 is an introduction to the debate on the connection between architecture and morality. ![]() Giovannelli 2007 presents a novel and more sophisticated mapping of the various positions on ethical criticism. Peek 2005 focuses on the ethical criticism of art, literature and moral education, and censorship. Gaut 2005 individuates five distinct ways in which art and ethics are connected from an ethicist point of view. Kieran 2003 introduces the debate in terms of the value of works of art from an immoralist perspective. Both introductions are focused on narrative works. Carroll 2004 covers much of the same ground but outlines various philosophical theories in relation to three objections to ethical criticism. Other issues at the intersection of art and morality are the concept of the obscene, the value of pornography, and censorship.Ĭarroll 2000 is the most influential introduction to the contemporary debate. The great majority of recent works on the topic, however, are focused on an assessment of the arguments in favor or against ethical criticism, with a particular emphasis on the criticism of representational works of art. They are also interested in the role played by art in contributing to our well-being and flourishing as human beings. Contemporary philosophers are also interested in the role of imagination in fictional immoral contexts (can we engage with immoral works of art and be justified in so doing?). Other philosophers, from Aristotle to more recent advocates of the value of the humanities, have argued in favor of the positive role that truly great works of art may have in our moral education. Plato was the first in the Western tradition to evaluate in a systematic way whether, as a consequence of the previous considerations, we should supervise the storytellers who are supposed to educate our youth. More specifically, thinkers from different traditions and ages have remarked that works of art are clearly able, first, to stir our emotions in a particularly effective way, and, second, to invite us to act following certain ideas that have been made appealing by their beauty or other aesthetic qualities. The following questions thus arise: Does the alleged immorality of these works count as an aesthetic or artistic defect? Can an immoral movie or novel ever be a great example of its kind? In addition to these concerns related to art evaluation, the connection between various forms of art and morality has been investigated by discussing the capacity of works of art to move us emotionally. Even worse, they even seem to make immoral situations delightful and appealing. However, some of these artworks display or invite us to adopt an immoral point of view. Some philosophers have even argued that providing an aesthetically pleasing experience is their only proper function. A great number of works of art, it is commonly claimed, are aesthetically valuable. ![]()
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