By José Luis Bermúdez, Sebastian Gardner
Paintings and Morality is a set of groundbreaking new papers at the topic of aesthetics and ethics, and the hyperlink among the 2 topics. a gaggle of world-class members take on the real query that come up while one thinks concerning the ethical dimensions of artwork and the classy measurement of ethical lifestyles.
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 themes explored comprise the relation of aesthetic to moral judgment; the relation of inventive adventure to ethical realization; the ethical prestige of fiction; the suggestions of sentimentality and decadence; the ethical measurement of serious perform, pictorial artwork and song; the ethical value of tragedy; and the connections among creative and ethical matters elaborated within the writings of vital figures in smooth philosophy corresponding to Kant, Schopenhauer and Nietzsche.
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Extra resources for Art and Morality (International Library of Philosophy)
Philosophy and the Arts (London: Macmillan, 1973). 13 Aldous Huxley, On Art and Artists, ed. Morris Philipson (London: Chatto and Windus, 1960), p. 53. 32 Michael Tanner uniqueness. Whatever we decide is the best formulation, it is clear that we do have, and therefore any philosophical account must be able to provide for, a distinction between the achievement of an adequate expression of a given emotion, and the process of development and growth which emotions sometimes undergo. It is characteristic of one moral ideal, or cluster of related ideals, that it has as some of its key terms ‘sincerity’, ‘depth’, ‘integrity’, ‘purity’ and some term opposed to ‘sentimentality’ (it is interesting to note that ‘sentimental’ doesn’t appear to have any one term as its opposite).
It goes without saying that motives enter in a much more intimate way in assessing someone as a good, moral man; but without venturing further onto the treacherous territory where this issue beckons, it can safely be said that many, if not most of the correct or good acts which people perform are not done from a sense of duty or conformity to, or reverence for, the moral law, nor does it seem desirable, in many cases, that they should be, but from habit, or the desire for the quiet life, or fear of disapprobation, or what Kant calls ‘pathological affection’.
At some point strain begins to arise between what the child enjoys and what he is told is worthwhile working at if he is to gain greater enjoyment. ) The discrepancy between what is found immediately and genuinely attractive, and what one is told one ought to enjoy, notoriously widens for many people during adolescence, and if the rift becomes wide enough artistic interests are abandoned, or a deﬁant low-brow stance is struck. But for those for whom the gap narrows and who consequently develop serious tastes, the judgements they make will be founded on sustained ﬁrsthand contact with works of art, and an order of preferences – not, of course, a straightforward linear order or anything like that – will be established.