Philosophy and Literature 37 (2):330-342 (2013)

Authors
Eva Dadlez
University of Central Oklahoma
Abstract
If philosophers held popularity contests, David Hume would be a perennial winner. Witty, a bon vivant, and champion of reason over bigotry and superstition, it is not surprising that many contemporary thinkers want to recruit him as an ally or claim his views as precursors to their own. In the debate over the moral content of artworks and its possible relevance for artistic and aesthetic value, the group whose views are known variously as “ethicism,” “moralism,” or “moderate moralism” has claimed Hume as one of its own.1 Very briefly, “moderate moralism” is the view that sometimes the moral content of artworks must be taken into account when assessing artistic or aesthetic value. The moralists’ presumed .
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DOI 10.1353/phl.2013.0024
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References found in this work BETA

The Puzzle of Imaginative Resistance.Tamar Szabo Gendler - 2000 - Journal of Philosophy 97 (2):55-81.
In Praise of Immoral Art.Daniel Jacobson - 1997 - Philosophical Topics 25 (1):155-199.
Moderate Moralism.Noël Carroll - 1996 - British Journal of Aesthetics 36 (3):223-238.
How to Defend Response Moralism.Allan Hazlett - 2009 - British Journal of Aesthetics 49 (3):241-255.
Art and Ethics.Berys Gaut - 2001 - In Berys Nigel Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics. Routledge. pp. 341--352.

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