Presupposing that our consideration of ethical issues can be enriched by examining literary works, this paper focuses on Marsha Norman's play ‘night, Mother. The play describes the last hour and a half in the life of Jessie, a young woman who decides to die by suicide. Before ending her life, Jessie explains to her mother her reasons for her suicide. In the context of the play, these are presented as quite weighty and as, perhaps, justifying her decision. Scholarly research on (...) the play has also treated Jessie's suicide favorably. In this paper I argue that Jessie, and people in similar conditions, are wrong to die by suicide. Among other points, I criticize Jessie's arguments from the impossibility to improve life; the assured termination of suffering; the badness of the world; and the right for suicide. I also criticize arguments in the scholarly literature that view Jessie's suicide favorably, such as the arguments from independence, heroism, authenticity, and emotional closeness. (shrink)

El presente artículo se basa en la teoría de la creatividad artística de Jon Elster para tratar de ofrecer un esbozo de definición del concepto de arte, así como las bases para una teoría del valor artístico. Se sostiene que una obra de arte es una creación humana realizada con la intención de provocar una experiencia estética, así como que el principal valor de una obra de arte radica en su capacidad para producir emociones estéticas y no estéticas. Dicha concepción (...) pone en dificultades a algunas importantes formas de arte contemporáneo, como el arte conceptual. (shrink)

Some philosophers, like Alex Rosenberg, claim that natural science delivers epistemic values such as knowledge and understanding, whereas, say, literature and, according to some, literary studies, merely have aesthetic value. Many of those working in the field of literary studies oppose this idea. But it is not clear exactly how works of literary art embody knowledge and understanding and how literary studies can bring these to the light. After all, literary works of art are pieces of fiction, which suggests that (...) they are not meant to represent the actual world. How then can they deliver knowledge and understanding? I argue that literature and literary studies confer knowledge and understanding in at least five ways: they give us insight into the work and the world of the work of art in question, they shape our intellectual virtues, they invite us to apply various hypotheses, they deliver moral propositional knowledge, and they increase or bring about full understanding with respect to meaning, virtue, and significance. In the course of my argument, I refer at several junctures to Thomas Hardy’s Tess of the D’Urbervilles and Edith Wharton’s Summer, in order to illustrate each of these claims. (shrink)

Much recent discussion in the aesthetics of nature has focused on Scientific cognitivism, the view that in order to engage in a deep and appropriate aesthetic appreciation of nature, one must possess certain kinds of scientific knowledge. The most pressing difficulty faced by this view is an apparent tension between the very notion of aesthetic appreciation and the nature of scientific knowledge. In this essay, I describe this difficulty, trace some of its roots and argue that attempts to dismiss it (...) fail. I then develop a response to the problem, drawing on the notion of the theory-ladenness of observation. I conclude by considering the relationship between this response and one common approach to the problem, the appeal to expressive qualities in nature. (shrink)

Much recent discussion in the aesthetics of nature has focused on Scientific cognitivism, the view that in order to engage in a deep and appropriate aesthetic appreciation of nature, one must possess certain kinds of scientific knowledge. The most pressing difficulty faced by this view is an apparent tension between the very notion of aesthetic appreciation and the nature of scientific knowledge. In this essay, I describe this difficulty, trace some of its roots and argue that attempts to dismiss it (...) fail. I then develop a response to the problem, drawing on the notion of the theory-ladenness of observation. I conclude by considering the relationship between this response and one common approach to the problem, the appeal to expressive qualities in nature. (shrink)

This paper explores the role of the curator in hospitals. The arts play a significant role in every society; however, recent studies indicate a neglect of the aesthetic environment of healthcare. This international study explores the complex role of the curator in modern hospitals. Semi-structured interviews were conducted with ten arts specialists in hospitals across five countries and three continents for a qualitative, phenomenological study. Five themes arose from the data: Patient involvement and influence on the arts programme in hospital (...) Understanding the role of the curator in hospital Influences on arts programming in hospital Types of arts programmes Limitations to effective curation in hospital. Recommendations arising from the research included recognition of the specialised role of the curator in hospitals; building positive links with clinical staff to effect positive hospital arts programmes and increasing formal involvement of patients in arts planning in hospital. Hospital curation can be a vibrant arena for arts development, and the role of the hospital curator is a ground-breaking specialist role that can bring benefits to hospital life. The role of curator in hospital deserves to be supported and developed by both the arts and health sectors. (shrink)

This thesis argues that the aesthetic character of some conceptual works of art can be determined by the possession of essential aesthetic properties. By discussing Peter Lamarque’s account of individual aesthetic essentialism one can suggest that conceptual works can be aesthetically investigated. Chapter I introduces the concept of the aesthetic and discusses Frank Sibley’s account of aesthetic concepts. Chapter II analyses in detail Sibley’s two fold relational character of aesthetic properties. Chapter III introduces Lamarque’s concept of aesthetic properties and it (...) also insists on a distinction between artistic and aesthetic properties. Chapter IV introduces a general account of essentialism and then discusses Lamarque’s new object theory. Chapter V investigates Lamarque’s weaker version of individual aesthetic essentialism and analyses the distinction between essential and inessential aesthetic properties. Finally, Chapter VI considers the aesthetics of conceptual art and argues that some conceptual pieces have essential aesthetic properties. The philosophical discussions are supported by appeal to many different works of art, from traditional works to contemporary works. I conclude that all conceptual works have aesthetic properties but mostly there are inessential properties. My suggestion at the end of this thesis is more radical. A close analysis identified essential aesthetic properties in some conceptual works of art and this contribute to the aesthetic character and value of these works. (shrink)