Search results for 'Art and morals' (try it on Scholar)

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  1. Eliseo Vivas (1935). Art, Morals, and Propaganda. International Journal of Ethics 46 (1):82-95.score: 150.0
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  2. Matthew Kieran (1996). Art, Imagination, and the Cultivation of Morals. Journal of Aesthetics and Art Criticism 54 (4):337-351.score: 130.0
  3. Babette Babich, The Genealogy of Morals and Right Reading: On the Nietzschean Aphorism and the Art of the Polemic.score: 126.0
    In: Christa Davis Acampora, ed., Nietzsche’s On the Genealogy of Morals: Critical Essays. (Lanham, Md., Rowman & Littlefield, 2006), pp. 177-190.
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  4. Radhakamal Mukerjee (1950). Morals, the Art of Symbolic Living. Journal of Philosophy 47 (16):453-465.score: 120.0
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  5. T. E. Wilkerson (1983). Uniqueness in Art and Morals. Philosophy 58 (225):303 - 313.score: 120.0
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  6. Matthew Kieran (2010). Teaching & Learning Guide For: Art, Morality and Ethics: On the (Im)Moral Character of Art Works and Inter-Relations to Artistic Value. Philosophy Compass 5 (5):426-431.score: 96.0
    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 (...)
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  7. Ana Hontanilla (2010). El Gusto de la Razón: Debates de Arte y Moral En El Siglo Xviii Español. Vervuert.score: 88.0
    Aproximación teórica al buen gusto y a los significados que este concepto adquiere en los tratados, más o menos teóricos, de autores españoles y de extranjeros traducidos al español a lo largo del siglo XVIII.
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  8. José Luis Bermúdez & Sebastian Gardner (eds.) (2003). Art and Morality. Routledge.score: 84.0
    Art and Morality is a collection of groundbreaking new papers on the theme of aesthetics and ethics, and the link between the two subjects. A group of world-class contributors tackle the important question that arise when one thinks about the moral dimensions of art and the aesthetic dimension of moral life. The volume is a significant contribution to the philosophical literature, opening up unexplored questions and shedding new light on more traditional debates in aesthetics. The topics explored include the relation (...)
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  9. Skaidra Trilupaityte (2007). Totalitarianism and the Problem of Soviet Art Evaluation: The Lithuanian Case. Studies in East European Thought 59 (4):261 - 280.score: 84.0
    By taking into account dissident/political and art historical interpretations of Soviet art, I analyze how polemics about totalitarianism in the West, which generally corresponded with Cold War debates and Eastern European dissident thought, shaped the post-Soviet evaluations of national artistic legacies. It is argued that the political relationship with the totalitarian past, like in many post-socialist areas where the immediate past was subjected to radical re-evaluation, affected Lithuanian artists’ and critics’ attitude towards local Soviet art. Because of an obvious lack (...)
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  10. Otfried Höffe (2010). Can Virtue Make Us Happy?: The Art of Living and Morality. Northwestern University Press.score: 84.0
    Ethics plus theory of action -- Thinking the good through -- Fallacious conclusions -- Animal morabile -- Action -- The principle of happiness: eudaimonia -- The happiness of aspiration -- The art of living -- Four life goals -- Virtue -- Prudence, composure, selflessness -- Wisdom rather than calculation -- Does virtue make one happy? -- Euthanasia of morals? -- From an ethic of teleological aspiration to an ethic of the will -- The principle of freedom: autonomy -- Locating (...)
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  11. Joseph H. Kupfer (2013). Extreme Makeover: Art and Morality in The Shape of Things. Film-Philosophy 17 (1):296-314.score: 84.0
    Many of us might welcome a makeover in our appearance, but how would we feel if it involved being emotionally manipulated in the name of art? The story of a young woman’s reshaping of her boyfriend encourages us to consider whether the creation of art could justify what would otherwise be immoral behavior. For example, do moral considerations always take precedence over other values, such as the aesthetic? The subordinate themes of gender and narrative inform Neil LaBute’s cinematic portrayal of (...)
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  12. Noël Carroll (2002). The Wheel of Virtue: Art, Literature, and Moral Knowledge. Journal of Aesthetics and Art Criticism 60 (1):3–26.score: 78.0
    In this essay, then, I would like to address what I believe are the most compelling epistemic arguments against the notion that literature (and art more broadly) can function as an instrument of education and a source of knowledge.
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  13. Marjorie Bowen (1939). Ethics in Modern Art. Watts.score: 78.0
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  14. Mysore Hiriyanna (1997). Art Experience. Manohar.score: 78.0
     
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  15. Vishwanath S. Naravane (2000). Creative Stillness: Indian Perspectives on Art & Beauty. Distributors, Lokbharti.score: 78.0
     
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  16. Harold Taylor (1960). Art and the Intellect. New York, Published by the Museum of Modern Art;.score: 78.0
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  17. Christopher Dreisbach (2009). Collingwood on the Moral Principles of Art. Susquehanna University Press.score: 76.0
    "This book addresses the apparent contradiction in moral condemnation of good artworks.
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  18. Donovan Miyasaki (2007). Against the Moral Appraisal of Art: Wayne Booth and the Case of Huck Finn. Philosophy and Literature 31 (1):125-32.score: 72.0
    In this essay, I argue that it is sometimes inappropriate to appeal to moral criteria in artistic judgments, even when the moral content of an artwork contributes to its artistic value. I suggest that this is the case with artworks that (1) are “interrogative” in form, posing a question or problem that remains unresolved in the work, and (2) have moral dilemmas as a principal theme. Using Mark Twain’s The Adventures of Huckleberry Finn as an example of morally interrogative artwork, (...)
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  19. Paul Russell (2008). Free Will, Art and Morality. Journal of Ethics 12 (3/4):307 - 325.score: 70.0
    The discussion in this paper begins with some observations regarding a number of structural similarities between art and morality as it involves human agency. On the basis of these observations we may ask whether or not incompatibilist worries about free will are relevant to both art and morality. One approach is to claim that libertarian free will is essential to our evaluations of merit and desert in both spheres. An alternative approach, is to claim that free will is required only (...)
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  20. Andrea Sauchelli, Art and Morality. Oxford Bibliographies Online.score: 70.0
  21. Matthew Kieran (2003). Art and Morality. In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. Oxford. 451--470.score: 70.0
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  22. Rob van Gerwen (2004). Ethical Autonomism. The Work of Art as a Moral Agent. Contemporary Aesthetics 2.score: 68.0
    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. Ethical (...)
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  23. Luz Marina Barreto (2002). El Arte Como Expresión de Un Carácter Moral. Signos Filosóficos 8:113-134.score: 68.0
    The author deals with the nature of a relationship between art and morals. Since art refers to the expression of a sensibility and modern moral philosophy issaid to be based upon being in possession of a moral sense, it seems that theartistic personality would be in a better position than mere refle..
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  24. Casey Haskins (2001). Art, Morality, and the Holocaust: The Aesthetic Riddle of Benigni's Life is Beautiful. Journal of Aesthetics and Art Criticism 59 (4):373–384.score: 64.0
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  25. Amy Mullin (2002). Evaluating Art: Morally Significant Imagining Versus Moral Soundness. Journal of Aesthetics and Art Criticism 60 (2):137–149.score: 64.0
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  26. David Rondel (2014). The Moral Consequences of the End of Art. In Vladimir Marchenkov (ed.), Between Histories: Art's Dilemmas and Trajectories. Hampton Press.score: 62.0
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  27. Mary Devereaux (2004). Moral Judgments and Works of Art: The Case of Narrative Literature. Journal of Aesthetics and Art Criticism 62 (1):3–11.score: 54.0
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  28. Jenny Chamarette & Jennifer Higgins (eds.) (2010). Guilt and Shame: Essays in French Literature, Thought and Visual Culture. Peter Lang.score: 54.0
    This collection of essays, on French and francophone prose, poetry, drama, visual art, cinema and thought, assesses guilt and shame in relation to structures of ...
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  29. Morris Grossman (1973). Art and Morality: On the Ambiguity of a Distinction. Journal of Aesthetics and Art Criticism 32 (1):103-106.score: 54.0
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  30. Lawrence W. Hyman (1989). Art's Autonomy is its Morality: A Reply to Casey Haskins on Kant. Journal of Aesthetics and Art Criticism 47 (4):376-377.score: 54.0
  31. Peter K. Machamer & George W. Roberts (1968). Art and Morality. Journal of Aesthetics and Art Criticism 26 (4):515-519.score: 54.0
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  32. Bertram Morris (1955). Ruskin on the Pathetic Fallacy, or on How a Moral Theory of Art May Fail. Journal of Aesthetics and Art Criticism 14 (2):248-266.score: 54.0
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  33. Anne D. R. Sheppard (1987). Aesthetics: An Introduction to the Philosophy of Art. Oxford University Press.score: 54.0
    Why do people read novels, go to the theater, or listen to beautiful music? Do we seek out aesthetic experiences simply because we enjoy them--or is there another, deeper, reason we spend our leisure time viewing or experiencing works of art? Aesthetics, the first short introduction to the contemporary philosophy of aesthetics, examines not just the nature of the aesthetic experience, but the definition of art, and its moral and intrinsic value in our lives. Anne Sheppard divides her work into (...)
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  34. Leo Tolstoy (2005). What is Art? Barnes & Noble Books.score: 54.0
     
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  35. Lauren Freeman (2010). Metontology , Moral Particularism, and the “Art of Existing:” A Dialogue Between Heidegger, Aristotle, and Bernard Williams. [REVIEW] Continental Philosophy Review 43 (4):545-568.score: 52.0
    An important shift occurs in Martin Heidegger’s thinking one year after the publication of Being and Time , in the Appendix to the Metaphysical Foundations of Logic . The shift is from his project of fundamental ontology—which provides an existential analysis of human existence on an ontological level—to metontology . Metontology is a neologism that refers to the ontic sphere of human experience and to the regional ontologies that were excluded from Being and Time. It is within metontology, Heidegger states, (...)
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  36. Matthew Kieran (2006). Art, Morality and Ethics: On the (Im)Moral Character of Art Works and Inter-Relations to Artistic Value. Philosophy Compass 1 (2):129–143.score: 50.0
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  37. Garry Hagberg (ed.) (2008). Art and Ethical Criticism. Blackwell.score: 50.0
    A timely and philosophically significant contribution to modern aesthetics featuring some of the best contemporary work in philosophical studies of literature, moral beliefs, and thinking in art Reflects the importance of a moral life of engagement with works of art Forms part of the prestigious New Directions in Aesthetics series, which confronts the most intriguing problems in aesthetics and the philosophy of art today.
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  38. Kenneth L. Buckman (1997). Gadamer on Art, Morality, and Authority. Philosophy and Literature 21 (1):144-150.score: 50.0
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  39. David Carr (2005). On the Contribution of Literature and the Arts to the Educational Cultivation of Moral Virtue, Feeling and Emotion. Journal of Moral Education 34 (2):137-151.score: 50.0
    This paper sets out to explore connections between a number of plausible claims concerning education in general and moral education in particular: (i) that education is a matter of broad cultural initiation rather than narrow academic or vocational training; (ii) that any education so conceived would have a key concern with the moral dimensions of personal formation; (iii) that emotional growth is an important part of such moral formation; and (iv) that literature and other arts have an important part to (...)
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  40. Kaye V. Cook, Daniel C. Larson & Monique D. Boivin (2003). Moral Voices of Women and Men in the Christian Liberal Arts College: Links Between Views of Self and Views of God. Journal of Moral Education 32 (1):77-89.score: 50.0
    Views of self (using Gilligan's paradigm) and of the Christian God (using a similar, newly-developed paradigm) were explored in 44 first-year and senior Christian college students. Men aligned with a self-ethic of justice; women, more often with justice than predicted. Moral voice thus appears contextually dependent, contrary to Gilligan's earlier predictions. Senior students integrated both views of self, but not both views of God, more often than first-year students. This suggests that the Christian liberal arts context nurtures integrated and complex (...)
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  41. Joseph Neyer (forthcoming). Lévy-Bruhl's Concept of" l'Art Moral Rationnel". Social Research.score: 50.0
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  42. Reed Winegar (2011). Good Sense, Art, and Morality in Hume's ''Of the Standard of Taste''. Journal of Scottish Philosophy 9 (1):17-35.score: 48.0
    In his essay ‘‘Of the Standard of Taste,’’ Hume argues that artworks with morally flawed outlooks (including Homer's poems) are, to some extent, aesthetically flawed. While Hume's remarks regarding the relationship between art and morality have influenced contemporary aestheticians, Hume's own position has struck many people as incoherent. For Hume appears to entangle himself in two separate contradictions. First, Hume seems to claim both that true judges should not enter into vicious sentiments and that true judges should adopt the standpoint (...)
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  43. Katrin Froese (2008). The Art of Becoming Human: Morality in Kant and Confucius. Dao: A Journal of Comparative Philosophy 7 (3):257-268.score: 48.0
    Kant and Confucius maintain that the art of becoming human is synonymous with the unending process of becoming moral. According to Kant, I must imagine a world in which the universality of my maxims were possible, while realizing that if such a world existed, then morality would disappear. Morality is an impossible possibility because it always meets resistance in our encounter with nature. According to Confucius, human beings become moral by integrating themselves into the already meaningful natural order that is (...)
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  44. Andrea Sauchelli (2012). Ethicism and Immoral Cognitivism: Gaut Versus Kieran on Art and Morality. Journal of Aesthetic Education 46 (3):107-118.score: 48.0
    The aims of this paper are (1) to reconstruct the dialectic between two rival theories on the relation between art and morality, (2) to argue against Berys Gaut’s recent defense of ethicism, and (3) to elaborate some of my critical remarks and propose new considerations in favor of immoralism. To a first approximation, an ethicist maintains that the moral value of a work of art, when relevant, is an important element of its artistic value. In particular, assuming that the moral (...)
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  45. Steve Fuller (2013). 'Never Let a Good Crisis Go to Waste': Moral Entrepreneurship, or the Fine Art of Recycling Evil Into Good. Business Ethics 22 (1):118-129.score: 48.0
    Moral entrepreneurship is the fine art of recycling evil into good by taking advantage of situations given or constructed as crises. It should be seen as the ultimate generalisation of the entrepreneurial spirit, whose peculiar excesses have always sat uneasily with homo oeconomicus as the constrained utility maximiser, an image that itself has come to be universalised. A task of this essay is to reconcile the two images in terms of what by the end I call ‘superutilitarianism’, which draws on (...)
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  46. Katherine Thomson (2004). Art and Morality. Australasian Journal of Philosophy 82 (3):544 – 547.score: 48.0
    Book Information Art and Morality. Art and Morality José Luis Bermùdez and Sebastian Gardener , London : Routledge , 2003 , 303 , £50 ( cloth ) By José Luis Bermùdez. and Sebastian Gardener. Routledge. London. Pp. 303. £50 (cloth:).
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  47. Lorna Collins (2010). Making Restorative Sense with Deleuzian Morality, Art Brut and the Schizophrenic. Deleuze Studies 4 (2):234-255.score: 48.0
    The essay consists of three parts: the first argues that Deleuze's moral philosophy in The Logic of Sense provides an ethical model of counter-actualisation; the second shows how three different practices of art therapy offer a means to effect this counter-actualisation and thereby demonstrate the restorative power of art; the third explores how such a power might form part of what Guattari calls the ‘ethico-aesthetic paradigm’ (Guattari 1995).
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  48. Huaiyu Wang (2011). Piety and Individuality Through a Convoluted Path of Rightness: Exploring the Confucian Art of Moral Discretion Via Analects 13.18. Asian Philosophy 21 (4):395 - 418.score: 48.0
    This essay presents an in-depth interpretation of the controversial dialogue in Analects 13.18 through careful and critical investigation of its historical background and philosophical significations. With a clarification of the multifaceted connotations of the word zhi (?, upright, forthright), my study brings out the play of irony in Confucius's words in Analects 13.18. According to my interpretation, not only is Confucius's reaction not inappropriate but it also demonstrates the art of early Confucian moral discretion that was informed by the teaching (...)
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  49. Daryl Koehn (2010). Ethics, Morality, and Art in the Classroom. Journal of Business Ethics Education 7:213-232.score: 48.0
    Scholars are increasingly interested in possible relationships between aesthetics and ethics and in the pedagogical value of art. This paper considers some specific works of art and explores their multi-faceted relation to ethics and morality. I argue that art has both positive and negative relationships to ethics and morality (which I distinguish in a very rough way as the paper progresses). Art works of various sorts may productively be used in the business ethics classroom,but instructors need to keep in mind (...)
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  50. Scott R. Stroud (2011). John Dewey and the Artful Life: Pragmatism, Aesthetics, and Morality. Penn State University Press.score: 48.0
    "Examines the relationship between art and morality discussed in the writings of American pragmatist John Dewey.
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