In this paper I propose a new argument for moderate autonomism. I call this the ‘critical argument’ to distinguish it from the empirical argument of James C. Anderson and Jeffrey T. Dean, and the no-error argument of James Harold. My strategy is to first employ the criticism of Matthew Arnold and F.R. Leavis to demonstrate the moralist failure to account for the complexity of the relationship between literature and morality, and then offer a more promising alternative. I set (...) out the autonomist, moralist, and immoralist positions in the value interaction debate in §1, and identify problems with classifying the two critics in contemporary terms. In §2 I discuss Arnold’s cultural criticism as both a part of – and a reaction to – the public moralist tradition that dominated Britain in the nineteenth century, drawing attention to his criterion of ‘seriousness’. §3 examines Leavis’ literary criticism, focusing on his conception of the relationship between composition and life, and his criterion of ‘maturity’. Drawing on the similarities between Arnold and Leavis, I demonstrate that their concern with morality differs from that of the contemporary moralists in §4. In §5 I employ John Gibson’s distinction between normative and informative values to complete the argument for moderate autonomism. I test my argument against an extreme case, a hypothetical literary equivalent to The Birth of a Nation, in §6, and conclude that moderate autonomism provides the most compelling solution to the value interaction debate. (shrink)

This chapter examines autonomism. Autonomism is roughly the view that an artwork’s ethical properties do not bear on its aesthetic or artistic value. The author sketches some of the view’s history before describing various versions of it defended over the last quarter-century. These are divided into ‘radical’, ‘robust’, and ‘moderate’ forms of autonomism. The author considers the strengths and weaknesses of each. The author also devotes some space to the ‘interactionist’ views against which contemporary autonomism (...) is typically opposed. In doing so, he considers the so-called ‘qua problem’ at some length, as well its bearing on these various autonomist positions. (shrink)

Advocates of the ethical criticism of art claim that works' ethical defects or merits have an impact on their aesthetic value. Against ethical critics, autonomists claim that moral criteria should not be part of the considerations when evaluating works of art as art. Autonomism refers to the view that an artwork's aesthetic value is independent from its ethical value. The purpose of this paper is to examine how autonomism has been defended in the contemporary discussion in analytic aesthetics. (...) I present three versions of autonomism: Richard Posner's radical autonomism, James C. Anderson and Jeffrey T. Dean, and James Harold's moderate autonomism, and Francisca Pérez Carreño's robust autonomism. I argue that robust autonomism offers a stronger argument against the ethical critic. However, I point to some difficulties for Pérez Carreño's account and conclude by suggesting how further work in autonomism might go around them. (shrink)

It is a fact that there is ethical criticism about art. Art critics, the general public and even artists point out moral flaws in artworks while evaluating them. Philosophers, however, have maintained a hot debate on the meaning of such criticism. This debate can be understood as a disagreement about the kind of relation between the artistic value of artworks and their alleged moral value. While some claim that moral value can contribute to artistic value (moralism), others claim that there (...) cannot be such a contribution (autonomism). Since at least some works of architecture are artworks, that debate also concerns architecture. A moderate moralist view claims that some works of architecture have moral flaws/merits that bear on their artistic evaluation. In an apparently promising version, the contention is that some moral flaws/merits are aesthetically relevant. In this paper I argue against such contention and defend an autonomist view. Following some taxonomy remarks I distinguish the views in the debate and present two points in favour of autonomism: its simplicity and not having the burden of proof. Then I discuss Carroll’s merited response argument for moralism and I argue that in its best interpretation either it begs the question against autonomism or it is compatible with it. I conclude with some possible objections that may help further investigations on the subject. (shrink)

In this essay Noël Carroll explores the question of whether a moral defect in a work of architectural art can ever also count as an aesthetic /artistic defect. Adopting the stance of a moderate moralist and mobilizing what has been called the “uptake argument,” he argues against the moderate autonomist that sometimes a moral defect in an architectural artwork can also be an aesthetic/artistic defect.

Noël Carroll’s (“Moderate Moralism”) conceptual framework includes four positions: radical autonomism, moderate autonomism, moderate moralism, and radical moralism. Alessandro Giovanelli (“The Ethical Criticism of Art: A New Mapping of the Territory”) argues that the radical positions, as Carroll defines them, have no modern day adherents. Therefore, the framework should be adapted such that we can see interestingly new distinctions. On Giovanelli’s new framework Carroll’s account is a moderate autonomist view. In this paper I adopt (...) Giovanelli’s framework and raise a different objection to Carroll’s account. I argue that Carroll’s account possesses a branching structure, since on this account moral and aesthetic criticism are not linearly related. Because of this structure, Carroll’s theory faces a dilemma: it’s either self-undermining or consistent with moderate autonomism, even in his own framework. Drawing on Kendall Walton’s (“Categories of Art”) notion of categories of art, I provide an account that is both non-branching and moderate moralist in Giovanelli’s framework. It’s non-branching because moral criticism bears a linear causal relation to aesthetic criticism. (shrink)

Chinese drama was developed in the thirteenth century, but its roots can be traced back to music, one of the six arts, the main subjects in the Confucian curriculum. Yue is not only a synthesis of instrumental music, song, poetry, and dance as aspects of the fine arts, but also a method to promote moral education. In Confucianism, moral implications trump all other considerations in the discussion and evaluation of yue. This is what makes Confucianism the radical moralism that dominated (...) Chinese aesthetics before the Han dynasty. But Confucian moralism was attacked by Ji Kang 嵇康, a great scholar, musician, and Daoist philosopher who argued for the radical autonomism of music in his.. (shrink)

Gregor Moder’s Hegel and Spinoza: Substance and Negativity is a lively entry into current debates concerning Hegel, Spinoza, and their relation. Hegel and Spinoza are two of the most influential philosophers of the modern era, and the traditions of thought they inaugurated have been in continuous dialogue and conflict ever since Hegel first criticized Spinoza. Notably, eighteenth- and nineteenth-century German Idealists aimed to overcome the determinism of Spinoza’s system by securing a place for the freedom of the subject within it, (...) and twentieth-century French materialists such as Althusser and Deleuze rallied behind Spinoza as the ultimate champion of anti-Hegelian materialism. This conflict, or mutual rejection, lives on today in recent discussions about materialism. Contemporary thinkers either make a Hegelian case for the productiveness of concepts of the negative, nothingness, and death, or in a way that is inspired by Spinoza they abolish the concepts of the subject and negation and argue for pure affirmation and the vitalistic production of differences. Hegel and Spinoza traces the historical roots of these alternatives and shows how contemporary discussions between Heideggerians and Althusserians, Lacanians and Deleuzians are a variation of the disagreement between Hegel and Spinoza. Throughout, Moder persuasively demonstrates that the best way to read Hegel and Spinoza is not in opposition or contrast but together: as Hegel and Spinoza. (shrink)

Through an original and extraordinarily fruitful reading of the Hegelian conception of negativity, Catherine Malabou developed the concept of plasticity which she keeps working on as one of her cardinal concepts even to this day. Engaging in the problematic of unity in Hegel, the paper takes on the task of trying to answer the question whether plasticity is one or are there several plasticities. The author argues that one must be careful not to reduce the inherent multiple of plasticity to (...) a single plasticity which becomes plasticity par excellence: the plasticity of plastic explosion, of an abrupt and absolute break, to be distinguished from a creative or productive plasticity of habit. Malabou claimed that Hegel was - contrary to what Deleuz read in him - a philosopher of conceptual multitude as a multitude which cannot be reduced to only one image, the image of unity. If this is true, then the concept of plasticity itself with which she grasped the essence of Hegel?s dialectics, should be understood at least as a?unity in conflict?, if not as an inorganic, inhomogeneous, composed unity - and perhaps even as a unity of the pack. nema. (shrink)

Domestic abuse is a common occurrence for women in the Christian Church. Underlying this dark reality is a long history of patriarchal theological interpretations that have depicted God as a dominant male figure that subjects women to male hierarchy as a subordinate. Often based on an understanding of Jesus as subordinate to God the Father in the Trinity, the correlated praxis of the Church has commonly been to subject women to suffering at the hands of men – even at the (...) cost of their lives – thus mimicking the death of Christ. This deeply flawed androcentric theology and subsequent praxis of women’s subordination has been severely challenged by liberal feminists, and rightly so for the sake of women’s survival and flourishing. This article utilizes the Social Trinity to provide a Christian feminist critique of patriarchal atonement models and theology towards the feminist goal of liberating women from male-perpetrated violence. Ultimately a reframing of God will be presented that includes women as full persons and calls them to resist the suffering of domestic abuse and to reclaim their full personhood as the imago Dei. (shrink)

Під час проведення Круглого столу була розгорнута широка дискусія щодо можливостей досягнення миру в Україні, хоча питання ставилося і більш глобально: чи реально відвернути війну, тобто зняти її з порядку денного для людства взагалі. Були проаналізовані концепції західноєвропейських філософів, які підтримували Кантівську тезу щодо можливості «вічного миру». Заторкувалась тема розвитку технологічної цивілізації, яка начебто сприяє поширенню агресії і агресивної поведінки. Обговорювалось питання: чи можлива трансформація агресії, чи є способи каналізувати її в більш прийнятні форми, або через самовдосконалення людини. Пропонувалось звернутися (...) до практик співіснування, притаманні первісним спільнотам. Наголошувалося на нагальності завдання, яке полягає в тому, щоб знайти належні відповіді на виклики, які ставить перед людством війна в Україні. Або в більш ширшому плані: що має здійснити людство, щоб припинити ті війни, які вже розпочалися, або зробити для тих, хто їх розпочинає, дуже дороговартісною авантюрою. (shrink)

This article defends the content approach to aesthetic experience. It begins by sketching this approach to aesthetic experience. It then rehearses certain recent criticisms of the view by Alan Goldman and attempts to rebut them. One of those criticisms raises a long-standing concern about the author's account that has recently been called the “qua” problem. The article concludes by putting this issue to rest.

Art, Emotion, and Ethics is a brilliant book with many important, useful, insightful, and even profound things to say about a range of topics including the relation of the imagination to art, understanding, and ethics, and the paradox of fiction, as well as sensitive and in-depth interpretations of masterpieces by the likes of Rembrandt and Nabokov. It is very convincing in its jousts with autonomists for people like me who favor the view that sometimes ethical blemishes are aesthetic blemishes and (...) sometimes ethical merits count as aesthetic merits. But that is because I am not an autonomist or even a moderate autonomist. (shrink)

This guide accompanies the following article: Matthew Kieran, ‘Art, Morality and Ethics: On the (Im)moral Character of Art Works and Inter‐Relations to Artistic Value’. Philosophy Compass 1/2 (2006): pp. 129–143, doi: 10.1111/j.1747‐9991.2006.00019.x Author’s Introduction 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. 2 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. 4 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. 7 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. 9 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. 11 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. 13 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. 15 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. 17 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. 19 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):. ‘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):. ‘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):. ‘Ethical Criticism of Art.’Internet Encyclopedia of Philosophy (Ella Peek):. ‘Fascinating Fascism.’New York Review of Books Piece Discussing Leni Riefenstahl (Susan Sontag):. ‘The Beheading of St. John the Baptist (1450s), Giovanni de Paolo’ (Tom Lubbock):. Vladimir Nabokov and Lionel Trilling discuss Lolita (CBS):. 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)

The flip side of radical autonomism is known as radical moralism. Splitting the difference between radical autonomism and radical moralism is the view known as moderate moralism, endorsed by contemporary aesthetician Noël Carrol. Radical moralism traces its roots back to Plato, who was all too aware of art's power to sway the hearts of its audience. The joke slightly depowers the powerful person, by transferring that power to the audience who laughs. John Belushi's Samurai Futaba sketches are (...) more cringy than funny to modern sensibilities, because the butt of the joke is Belushi's fictitious Futaba – a stand‐in for a stereotypical 1970s American understanding of a Japanese person. The butt of an impressionist's joke is usually, pretty straightforwardly, whoever they are doing an impression of. So, the butt of a typical Chase‐as‐Ford pratfall is Gerald Ford, and the butt of Carvey's famous “read my lips” antics is George H.W. Bush. (shrink)

The ethical criticism of art has received increasing attention in contemporary aesthetics, especially with respect to the evaluation of narratives. The most prominent philosophical defenses of this art-critical practice concentrate on the notion of response , specifically on the emotional responses a narrative requires for it to be correctly apprehended and appreciated. I first investigate the mechanisms of emotional participation in narratives ; then, I address the question of the legitimacy of the ethical criticism of narratives and advance an argument (...) in support of such a practice . ;Chapter 1 analyzes different modes of emotional participation in narratives, distinguishing between: emotional inference, affective mimicry, empathy, sympathy, and concern. Chapter 2 first critically discusses Noel Carroll's objections to identificationism and to an empathy-based account of character participation, and then analyzes the sorts of imaginative activities involved in narrative engagement, by investigating the distinctions introduced by Richard Wollheim between central and acentral imagining, and iconic and non-iconic imagination. ;Chapter 3 offers a taxonomy of the possible views on the relationship between the ethical and the artistic values of a narrative, distinguishing between reductionist and non-reductionist views, and sorting the latter ones into autonomism and moralism, radical and moderate. Chapter 4 analyzes the ethical assessment of narratives for their consequences on their perceivers and the means of their production, and indicates the evaluation in terms of the ethical perspective a narrative embodies as the kind of ethical evaluation on which an argument for the ethical criticism of narratives ought to concentrate. Chapter 5 critically assesses the accounts of "imaginative resistance" to fiction offered by Kendall Walton, Richard Moran, and Tamar Gendler, and concludes that none of them is adequate to ground an argument for the ethical criticism of narratives. Chapter 6 looks at Carroll's argument for moderate moralism and Berys Gaut's "merited-response" argument for "ethicism," and finds both arguments wanting. Chapter 7 proposes a version of moralism grounded in the notion of a narrative's ethical perspective, and defended on the grounds of narratives' commitments to provide a realistic representation of reality. (shrink)

I argue that ethical features of sport strongly interact with aesthetic features of sport, such that all pro tanto ethical merits/defects count as aesthetic merits/defects. This is a much-debated topic in the philosophy of art and aesthetics literature, in which recent critics have taken to task this interactionist take on how ethical evaluative properties interact with aesthetic ones. The critics’ main argument against this view is that far too many works of art than theorists of this strong interactionist kind care (...) to admit either lack the evaluative ethical properties they claim for them, or their ethical properties do not appreciably affect their aesthetic properties. Sport, I argue, is a notable exception. That’s because in sport ethical flaws in athletic performances double as aesthetic flaws with very few exceptions, or so I will argue. Unlike artworks, therefore, the interactionist thesis holds mostly true across the entire athletic spectrum, which is why, in my view, it warrants far more serious attention and appreciation than it is commonly given in both the philosophy of art and aesthetics and philosophy of sport literature. (shrink)

This paper has three aims: to define autonomism clearly and charitably, to offer a positive argument in its favour, and to defend a larger view about what is at stake in the debate between autonomism and its critics. Autonomism is here understood as the claim that a valuer does not make an error in failing to bring her moral and aesthetic judgements together, unless she herself values doing so. The paper goes on to argue that reason does (...) not require the valuer to make coherent her aesthetic and moral evaluations. Finally, the paper shows that the denial of autonomism has realist commitments that autonomism does not have, and concludes that issues of value realism and irrealism are relevant to the debates about autonomism in ways that have not hitherto been recognized. (shrink)

This paper examines "moderate modal skepticism", a form of skepticism about metaphysical modality defended by Peter van Inwagen in order to blunt the force of certain modal arguments in the philosophy of religion. Van Inwagen’s argument for moderate modal skepticism assumes Yablo's (1993) influential world-based epistemology of possibility. We raise two problems for this epistemology of possibility, which undermine van Inwagen's argument. We then consider how one might motivate moderate modal skepticism by relying on a different epistemology (...) of possibility, which does not face these problems: Williamson’s (2007: ch. 5) counterfactual-based epistemology. Two ways of motivating moderate modal skepticism within that framework are found unpromising. Nevertheless, we also find a way of vindicating an epistemological thesis that, while weaker than moderate modal skepticism, is strong enough to support the methodological moral van Inwagen wishes to draw. (shrink)

In the current issue of this journal, Scott Hill critiques some of my work on the “is”-“ought” controversy, the Hume-inspired debate over whether an ethical conclusion can be soundly, or even validly, derived from only non-ethical premises. I’ve argued that it can be; Hill is unconvinced. I reply to Hill’s critique, focusing on four key questions to which he and I give different answers.

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 autonomism holds that art's autonomy consists in its demand that art appreciators take up an artistic attitude. A work's agency then is in (...) how it merits their audiences' attitudinal switch. Ethical autonomism allows for the moral assessment of art works without giving up their autonomy, by viewing artistic merit as a moral category and art-relevant moral evaluation as having the form of art criticism. (shrink)

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 (...) autonomism holds that art's autonomy consists in its demand that art appreciators take up an artistic attitude. A work's agency then is in how it merits their audiences' attitudinal switch. Ethical autonomism allows for the moral assessment of art works without giving up their autonomy, by viewing artistic merit as a moral category and art-relevant moral evaluation as having the form of art criticism. (shrink)

Moderate scientism is the view that empirical science can help answer questions in nonscientific disciplines. In this paper, we evaluate moderate scientism in philosophy. We review several ways that science has contributed to research in epistemology, action theory, ethics, philosophy of language, and philosophy of mind. We also review several ways that science has contributed to our understanding of how philosophers make judgments and decisions. Based on this research, we conclude that the case for moderate philosophical scientism (...) is strong: scientific practice has promoted significant progress in philosophy and its further development should be welcomed and encouraged. (shrink)

The article focused on the study of religious moderation based on values of moderation in three Islamic boarding schools (Pesantren) in Southeast Sulawesi, namely Pesantren al-Muhajirin Darussalam Konawe, Pesantren Ummu Sabri Kendari, and Pesantren Darul Mukhlisin Kendari. Therefore, a qualitative approach was used with a case study design -the techniques of collecting data used in interviews, participatory observations, field notes, and documentation. Data analysis in this article was done using interactive data analysis by Miles, Huberman, and Saldana. This study found (...) that the construction of religious moderation in the pesantren emerged from the basis of religious textual-scriptural combined with the performance of rationality (reason). This combination emerges to a dialogical pattern of harmony between the text and the context to color the behavior and social actions of the community. Precisely this attitude of religious moderation can prevent residents of Islamic boarding schools from behaving radically both in attitude and thought, so the outputs of pesantren can accept all forms of differences in religion and respect the beliefs believed by others in the community. This attitude of religious moderation in the pesantren also emerges in religious behavior that is tolerant and respectful of differences in society. (shrink)

Professor Mele uses the term `autonomy' where other philosophers have spoken of `freedom', `free will' and the like. His well-worked-out paper, which is individual in more than its usage, is not committed to either of the tired doctrines that determinism is inconsistent with autonomy and that it is consistent with it. He is agnostic about which choice to make. Some proponents of the first doctrine, those who believe determinism, draw the conclusion that there is no autonomy. Some proponents of the (...) second doctrine maintain also maintain that indeterminism would in fact deprive us of autonomy. Professor Mele, as he says, is confident that we are somehow autonomous. He develops two ideas of it, incompatibilist autonomy and compatibilist autonomy, but is convinced that more work is needed on all sides. His is not the kind of labour that I myself take to be needed, or anyway desirable. Is it is more respectful of the recent past of the problem than is now a good idea? Well, disrespect is sometimes a bad idea. But we agree that the problem of determinism and freedom, once announced by philosophical undertakers to be dead and buried, even undertakers not employed by either side, has outlived all its undertakers. (shrink)

The present paper discusses different approaches to metaphysics and defends a specific, non-deflationary approach that nevertheless qualifies as scientifically-grounded and, consequently, as acceptable from the naturalistic viewpoint. By critically assessing some recent work on science and metaphysics, we argue that such a sophisticated form of naturalism, which preserves the autonomy of metaphysics as an a priori enterprise yet pays due attention to the indications coming from our best science, is not only workable but recommended.

Autonomy, as I understand it, is associated with a family of freedom concepts: free will, free choice, free action, and the like. In much of the philosophical literature discussed in this chapter, issues are framed in terms of freedom rather than autonomy, but we are talking about (aspects of) the same thing. Libertarians argue that determinism precludes autonomy by, for example, precluding an agent's being ultimately responsible for anything. Some compatibilist believers in autonomy argue that libertarians rely on indeterminism in (...) a way that deprives us of autonomy-level control over our decisions. Theorists who contend that no human being is autonomous can benefit from arguments on both sides, alleging that libertarians decisively reveal the ordinary person's notion of autonomy, an incompatibilist notion, and that compatibilist critics of libertarianism show that the notion is incoherent or unsatis-fiable. Is there a way to use the resources both of libertarianism and of compatibilism in defending the following thesis: The claim that there are autonomous human beings is more credible than the claim that there are none? -/- I believe that the answer is “yes.” I defended that answer in Autonomous Agents. Part of my strategy was to develop an account of an ideally self-controlled agent (where self-control is understood as the contrary of akrasia [roughly, weakness of will]), to argue that even such an agent may fall short of autonomy, and to ask what may be added to ideal self-control to yield autonomy. I offered two answers, one for compatibilists and another for libertarians. I then argued that a certain disjunctive thesis involving both answers (identified in Section 4 below) is more credible than the thesis that there are no autonomous human beings. (shrink)

This article focuses on the power of technological mediation from the point of view of autonomist Marxism. The first part of the article discusses the theories developed on technological mediation in postphenomenology and critical theory of technology with regard to their respective power perspectives and ways of coping with relations of power embedded in technical artifacts and systems. Rather than focusing on the clashes between the hermeneutic postphenomenological approach and the dialectics of critical theory, it is argued that in both (...) the category of resistance amidst power-relations is at least similar in one regard: resistance to the power of technology is conceptualized as a reactive force. The second part of the article reads technological mediation through the lens of the antagonistic power-perspective on class struggle developed in autonomist Marxism. The outline of a provisional autonomist philosophy of technology is developed using Foucauldian dispositifs of biopower in contrast to the hermeneutic and dialectical approach. It is thus argued that resistance should here be understood in terms of practice that subverts the technically mediated circuit of production itself. (shrink)

People sometimes think they have reasons for action. On a certain naive view, what makes them true is a connection between the action and the agent’s good life. In a recent article, David Velleman argues for replacing this view with a more Kantian line, on which reasons are reasons in virtue of their connection with autonomy. The aim in what follows is to defend the naive view. I shall first raise some problems for Velleman's proposal and then fend off the (...) objection that serves as his rationale for braving the depths of Kantianism. (shrink)

Dimensions of the ethical work climate, as conceptualized by Victor and Cullen (1988), are potentially important influences on individual ethical decision-making in the organizational context. The present study examined the direct and indirect effects of individuals' perceptions of work climate on their ethical judgments and behavioral intentions regarding an ethical dilemma. A national sample of marketers was surveyed in a scenario-based research study. The results indicated that, although perceived climate dimensions did not have a direct effect on behavioral intentions, there (...) were significant moderating effects. Climates perceived as emphasizing social responsibility and rules/codes moderated the individual ethical judgment-behavioral intentions relationship such that individuals were less likely to say that they would engage in a questionable selling practice even when they themselves did not believe the practice to be unethical. Respondents were somewhat more likely to form intentions consistent with their judgment that the questionable practice was morally acceptable when the ethical climate was characterized by an emphasis on team/friendship. (shrink)

Coincidence comes in two varieties – permanent and temporary. Moderate monism is the position that permanent coincidence, but not temporary coincidence, entails identity. Extreme monism is the position that even temporary coincidence entails identity. Pluralists are opponents of monism tout court. The intuitively obvious, commonsensical position is moderate monism. It is therefore important to see if it can be sustained.

Professor Mele uses the term `autonomy' where other philosophers have spoken of `freedom', `free will' and the like. His well-worked-out paper, which is individual in more than its usage, is not committed to either of the tired doctrines that determinism is inconsistent with autonomy and that it is consistent with it. He is agnostic about which choice to make. Some proponents of the first doctrine, those who believe determinism, draw the conclusion that there is no autonomy. Some proponents of the (...) second doctrine maintain also maintain that indeterminism would in fact deprive us of autonomy. Professor Mele, as he says, is confident that we are somehow autonomous. He develops two ideas of it, incompatibilist autonomy and compatibilist autonomy, but is convinced that more work is needed on all sides. His is not the kind of labour that I myself take to be needed, or anyway desirable. Is it is more respectful of the recent past of the problem than is now a good idea? Well, disrespect is sometimes a bad idea. But we agree that the problem of determinism and freedom, once announced by philosophical undertakers to be dead and buried, even undertakers not employed by either side, has outlived all its undertakers. (shrink)

The expertise defense is the best-known response by armchair philosophers to the challenge posed by experimental philosophers regarding the trustworthiness of intuitions. In a series of recent experiments, Experimental philosophers have recently focused on professional philosophers, claiming that, contrary to what the expertise defense assumes, philosophers’ intuitions are no less susceptible to the influence of irrelevant factors (the direct strategy). Additionally, drawing from literature on expertise, they contend that, unlike other domains of expertise, practice does not improve philosophers’ intuitions (the (...) indirect strategy). In this paper, adopting a skill-based perspective on expertise, my primary objective is to defend the expertise defense against both direct and indirect strategies. Based on the skill-based account, I present three arguments against the direct strategy by challenging its power, scope and methodology. Furthermore, borrowing empirical findings from recent literature on expertise, I argue against the indirect strategy that four skills that constitute philosophical expertise regarding thought experiments can be improved through various forms of practice, including deliberate practice. However, my moderate defense departs from typical versions of the expertise defense since I argue that while recent experiments by experimental philosophers cannot undermine the expertise defense, they provide valuable insights into philosophical expertise. (shrink)

This paper sets out a moderate version of metaphysical structural realism that stands in contrast to both the epistemic structural realism of Worrall and the—radical—ontic structural realism of French and Ladyman. According to moderate structural realism, objects and relations (structure) are on the same ontological footing, with the objects being characterized only by the relations in which they stand. We show how this position fares well as regards philosophical arguments, avoiding the objections against the other two versions of (...) structural realism. In particular, we set out how this position can be applied to space-time, providing for a convincing understanding of space-time points in the standard tensor formulation of general relativity as well as in the fibre bundle formulation. (shrink)

This paper outlines and defends a moderate intuitionism. The point of departure is the intuitionism of W. D. Ross (1930) in The Right and the Good, conceived as ethically pluralist and epistemologically rationalist. The paper articulates a conception of self-evidence – including mediate as well as immediate kinds – appropriate to a moderate intuitionism, explores some of the resources and varieties of that position, and considers some problems and prospects for a rationalist version of intuitionism. The final section (...) addresses the issue of how best to conceive the nature and grounds of prima facie duty, the problem of whether intuitionism can adequately deal with conflicts of prima facie duties, and the question of how satisfactorily a moderate intuitionism can account for the epistemic status of moral judgments of overall duty and their connection with rational action. (shrink)

The purpose of this study is to analyse the teachings of religious moderation contained in the Wawacan Babad Walangsungsang script. This research employs a qualitative method with philology as the main analysis of the data, namely manuscript inventory, script description, script transfer, and language translation. The script shows the story of Prince Walangsungsang’s journey in search of spirituality, specifically Islam. Interestingly, he learned his spirituality through many non-Muslim teachers until he finally met Sheik Datuk Kahfi in Bukit Amparan Jati. The (...) result of this study shows that upon his spiritual journey while gaining knowledge he experienced magical scenery. The conclusion is the willingness of prince Walangsungsang to learn knowledge and ajimat from Budhaprawa teachers, the openness and support of Budhaprawa teachers about the Prophet’s shari’a and the explanation of Sheikh Datuk Kahfi (Muslim) for the religious search conducted by Prince Walangsungsang shows the beauty of speech that is rich with nuances of religious moderation. Contribution: This research is important as a basic reference for religious moderation, which is rooted in the local wisdom of the Sundanese culture and tradition and can be adopted to spread those in our interaction with other religions. (shrink)