Pierre Bourdieu is now recognized as one of the key contemporary critics of culture and the visual arts. Art Rules analyses Bourdieu's work on the visual arts to provide the first overview of his theory of culture and aesthetics. Bourdieu's engagement with both postmodernism and the problem of aesthetics provides a new way of analyzing the visual arts. His interest is in how artistic fields function and the implications their processes have for art and artistic practice. Art Rules applies Bourdieu's (...) theory of practice to the three fields of museums, photography and painting. These practical examples are used as a springboard to address visual arts in the 21st Century and to establish Bourdieu's rules of art. (shrink)
Bourdieu and Education details the practical applications of Bourdieu's theories in a series of specific pedagogic research studies, showing how his ideas can be put into practice. Language, gender, career decision-making and the experience of higher education students are all covered. Questions are also raised concerning research methodology. The authors also examine Bourdieu's interest in the position of the researcher within the research process. Bourdieu's influence is traced in aspects of both theory and practice. Finally, principles, approaches, methods and techniques (...) that may be derived from Bourdieu are suggested, and assessed, for practical use in research. (shrink)
This study offers a comprehensive summary and critical discussion of Alice Crary’s Beyond Moral Judgment. While generally sympathetic to her goal of defending the sort of expansive vision of the moral previously championed by Cora Diamond and Iris Murdoch, concerns are raised regarding the potential for her account to provide a satisfactory treatment of both “wide” objectivity and moral disagreement. Drawing on the work of Jonathan Lear and Jonathan Dancy, I suggest possible routes by which her position could be (...) expanded and possibly strengthened. (shrink)
Moralists hold that art criticism can and should take stock of moral considerations. Though moralists disagree over the proper scope of ethical art criticism, they are unified in their acceptance of the consistency of valence thesis: when an artwork fares poorly from the moral point of view, and this fact is art critically relevant, then it is thereby worse qua artwork. In this paper, I argue that a commitment to moralism, however strong, is unattractive because it requires that we radically (...) revise our art critical practices in contexts where revision seems ill advised. I will consider two such cases, Pushkinâs Eugene Onegin and Balthusâ Alice. When we further reflect on our actual art critical practices in cases like these, we find that we do not have an unfailing commitment to the consistency of valence thesis. That is, some artworks are (artistically) good because they are (morally) bad. (shrink)
As the world watched the Fukushima reactors spew incalculable quantities of radionuclides into the sea and air and wondered what effect this would have on our health and that of generations to come, the warnings of Dr. Alice Stewart about low-dose radiation risk assumed a terrible timeliness. As industry, governments, and the media attempted to quiet the alarms, assuring us that radioactive releases will dilute and disperse and become too miniscule to matter, the reassurances of Sir Richard Doll, foremost (...) among Stewart's detractors, also became relevant. It is clear, as proponents and opponents of nuclear energy thrash it out, that there is not much more scientific consensus about the hazards of low-dose radiation .. (shrink)
According to Gilles Deleuze, the underground world of Alice in Wonderland has been strongly associated with animality and embodiment. Thus the need for Alice's eventual climb to the surface and her discovery that everything linguistic happens at that border. Yet, strangely, in spite of the claim that Alice disavows false depth and returns to the surface, it seems that it is precisely in the depths that she finally wakes from her sleepy, stupified surface state and investigates the (...) deep structures, the rules of logic. In this investigation, Alice questions many formal structures, such as causality, identity, reference and the rules of replacement. She discovers that Wonderland does not generate consequential conduct; in fact, it generates no conduct whatsoever! In other words, when it comes to consequences, Wonderland may not be all that wonderful. Yet, we do not live in Wonderland and therefore, our actions have consequences. The question this poses is, why organise language so as to escape causal relations and why choose the little girl as emblematic of this organisation? (shrink)
This study offers a comprehensive summary and critical discussion of Alice Crary’s Beyond Moral Judgment. While generally sympathetic to her goal of defending the sort of expansive vision of the moral previously championed by Cora Diamond and Iris Murdoch, concerns are raised regarding the potential for her account to provide a satisfactory treatment of both “wide” objectivity and moral disagreement. Drawing on the work of Jonathan Lear and Jonathan Dancy, I suggest possible routes by which her position could be (...) expanded and possibly strengthened. (shrink)
Alice Gonzi’s Zarathustra a Parigi analyzes the complex reception of Nietzsche’s work in French culture between 1877 and 1930. In the first chapter, she shows how French academic philosophy, generally of neo-Kantian orientation, and the Wagnerian circles in Paris in this period did not consider Nietzsche a canonical philosopher, but rather stigmatized his thought and minimized its importance. As early as 1891, Téodor de Wyzewa, in his F. Nietzsche, le dernier metaphysician, praised Nietzsche as a writer while criticizing him (...) as a radical nihilist and pessimist. Although authors such as Daniel Halévy and Fernand Gregh treated Nietzsche as a philosopher of health and joy as well as a promoter of optimism and amor .. (shrink)
The author proposes the development of systems learning guidebooks to accompany famous children's classic books. Children's classic books can make excellent bases for children's learning guidebooks on systems thinking and global ecology, because they are fun to read and well known worldwide. If such learning guidebooks are properly designed with humor and entertaining aspects, they could stimulate children to learn more about systems thinking. Lewis Carroll's Alice's Adventures in Wonderland is chosen as a pilot case for developing such a (...) children's guidebook. The systems learning guidebook that accompanies Alice's Wonderland shall be entitled Alice in Systems Wonderland and will help its readers look at the Alice's Wonderland story with a systems perspective. (shrink)
The relationships between logic and natural language are multiverse. On the one hand, logic is a theory of argumentation, proving and giving reasons, and such activities are primarily carried out in natural language. This means that logic is, in a certain loose sense, about natural language. On the other hand, logic has found it useful to develop its own linguistic means which sometimes in a sense compete with those of natural language. This has led to the situation where the systems (...) of logic can be taken as interesting "models" of various aspects of natural language. Â Â Â Â Â Â Â The alliance of logic and linguistics has flowered especially from the beginning of the seventies, when scholars like Montague, Lewis, Cresswell, Partee and others showed how semantics of natural language can be explicated with the help certain suitable logical calculi and the corresponding model theory. (Montague went so far as to claim that in view of this, there is no principal difference between natural and formal languages - but this is, as far as I can see, rather misguiding.) Since that time, the interdisciplinary movement of formal semantics (associating not only linguists and logicians, but also philosophers, computer scientists, cognitive psychologists and others) has yielded a rich repertoire of formal theories of natural language, some of them (like Hintikka's game-theoretical semantics or the dynamic logic of Groenendijk and Stokhof) being based directly on logic, others (like the situation semantics of Barwise and Perry or DRT of Kamp) exploiting different formal strategies. Â Â Â Â Â Â Â Moreover, although the enterprise of formal semantics (i.e. of modeling natural language semantics by means of certain formal structures) seems to be the principal point of contact between linguistics and logic, there are also other cooperative enterprises. One of the most fruitful ones seems to be the logical analysis of syntax, which has resulted from elaboration of what was originally called categorial grammar. (However, even this enterprise can be seen as importantly stimulated by Montague.) Â Â Â Â Â Â Â All in all, the region in which logic and theoretical linguistics overlap has grown both in size and fertility.. (shrink)
To the Editor: Conflicts of interest pervade medicine with sometimes profound repercussions. The unethical recruitment of oocyte donors, for example, reported by Aaron Levine in “Self-Regulation, Compensation, and the Ethical Recruitment of Oocyte Donors” (Mar–Apr 2010) threatens medical professionalism, societal trust in medicine, and possibly the health of young women. Levine shows that in violation of fertility industry standards, donors with high SAT scores are often paid more than those with lower scores. Such payments are deceptive and ethically problematic because (...) neither intelligence nor SAT score is proven to be genetically transmitted. Moreover, some question the value of aptitude and intelligence tests .. (shrink)
The New Wittgenstein offers a major reevaluation of Wittgenstein's thinking. This stellar collection of original essays by the "third wave" of Wittgenstein critics presents a significantly different portrait of the philosopher, not as a proponent of metaphysical theories but as an advocate of philosophy as therapy--a means of helping us grasp the essence of thought and language by attending to our everyday forms of expression. Boldly criticizing standard interpretations and offering unorthodox perspectives, these controversial essays will change the way we (...) look at Wittgenstein's entire body of work. Contributors: Stanley Cavell, David Cerbone, James Conant, Alice Crary, Cora Diamond, David Finkelstein, Juliette Floyd, P.M.S. Hacker, John McDowell, Hilary Putnam, Rupert Read, Martin Stone, Edward Witherspoon. (shrink)
Alongside Richard Rorty, Hilary Putnam and Jacques Derrida, Stanley Cavell is arguably one of the best-known philosophers in the world. In this state-of-the-art collection, Alice Crary explores the work of this original and interesting figure who has already been the subject of a number of books, conferences and Phd theses. A philosopher whose work encompasses a broad range of interests, such as Wittgenstein, scepticism in philosophy, the philosophy of art and film, Shakespeare, and philosophy of mind and language, Cavell (...) has also written much about Henry Thoreau and Ralph Waldo Emerson. Including contributions from Hilary Putnam, Cora Diamond, Jim Conant and Stephen Mulhall, this book is a must-have for libraries and students alike. (shrink)
Some omissions seem to be causes. For example, suppose Barry promises to water Alice’s plant, doesn’t water it, and that the plant then dries up and dies. Barry’s not watering the plant – his omitting to water the plant – caused its death. But there is reason to believe that if omissions are ever causes, then there is far more causation by omission than we ordinarily think. In other words, there is reason to think the following thesis true.
0. Relativistic Content In standard semantics, propositional content, whether it be the content of utterances or mental states, has a truth-value relative only to a possible world. For example, the content of my utterance of ‘Jim is sitting now’ is true just in case Jim is sitting at the time of utterance in the actual world, and the content of my belief that Alice will give a talk tomorrow is true just in case Alice will give a talk (...) on the day following the occurrence of my belief state in the actual world. Let us call propositional content which has a truth-value relative only to a possible world ‘non-relativistic content’. Non-relativistic content can be treated as either structured or unstructured. On the unstructured-content view, non-relativistic content is a set of possible worlds and bears the truth-value true just in case the actual world is a member of that set. For example, the content of my utterance of ‘Jim is working now’ at time t is the set of worlds in which Jim is working at t, and this content is true just in case the actual world is among those worlds. On the structured-content view, non-relativistic content is a set or conglomeration of properties and/or objects, where properties are features which objects possess regardless of who considers or observes them and regardless of when they are being considered or observed. Such properties are said to be (or represent) functions from possible worlds to extensions. Relative to a possible world they determine a set of objects instantiating the property. For example, relative to the actual world the property of being human determines the set of actual humans. Not all content is non-relativistic. Let us say that propositional content is relativistic just in case it possesses a truth-value only relative to a centered world. A centered world is a possible world in which an individual and a time are marked, where the marked individual.. (shrink)
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. 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. 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. 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. 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. 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. 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. 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. 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. 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): http://www.aesthetics-online.org/articles/index.php?articles_id=15 >. '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): http://www.open2.net/ethicsbites/art-censorship-morality.html >. '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): http://www3.interscience.wiley.com/journal/118557779/abstract >. 'Ethical Criticism of Art.' Internet Encyclopedia of Philosophy (Ella Peek): http://www.iep.utm.edu/a/art-eth.htm >. 'Fascinating Fascism.' New York Review of Books Piece Discussing Leni Riefenstahl (Susan Sontag): http://www.nybooks.com/articles/9280 >. 'The Beheading of St. John the Baptist (1450s), Giovanni de Paolo' (Tom Lubbock): http://www.independent.co.uk/arts-entertainment/art/great-works/great-works-the-beheading-of-st-john-the-baptist-1450s-giovanni-di-paolo-1684900.html >. Vladimir Nabokov and Lionel Trilling discuss Lolita (CBS): http://www.listal.com/video/3848698 >. 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)
