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Here are the two most common theories I’ve seen: Theory A: Moral Orel takes place in the 1950s-60s. Theory B: Moral Orel takes place in the 1990s-2000s. Let’s cover Theory A first: Moral Orel takes place in the 1950s-60s. This is an understandable assumption given the technology and culture of Moralton. 1950s-style suburban America is the ...
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Feb 8, 2018 · Art and Authority is a philosophical essay on artistic authority and freedom: its sources, nature, and limits. It draws upon real-world cases and controversies in contemporary visual art and connects them to significant theories in the philosophical literature on art and aesthetics. Artworks, it is widely agreed, are the products of intentional ...
May 6, 2010 · 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.
Aug 16, 2023 · Moral learning, as depicted in artistic narratives, is not likely to be a matter of changed behavior alone (“she used to follow that rule and now follows this one”), but involves internal, felt, reflective, and effortfully enacted shifts of concern, principle, self-conception, and social affiliation.
- I. Two Kinds of Cognitive Change
- II. Art and Cognitive Change
- III. Art and Reconfiguration
- IV. Moral Performance: The Cynics
- V. Ecstasy and Transcendence: Wagner
- VI. Taking Stock
- VII. The Potential For Revolution
- VIII. Work to Be Done
I trust that the distinction I am suggesting is familiar, even if in a rough form. We can change our view on a subject by acquiring a belief, revising a credence, or sharpening a concept, but we can also change our view in a more pervasive and fundamental way—by making a change in the background framework that conditions our thinking about that sub...
How do these changes come about? Are there any cognitive devices that might encourage or abet them? Call the view that works of art have some role to play in the development of our moral thought artistic cognitivism. There are good arguments for the species of artistic cognitivism concerning change by accretion. But the species of the view concerni...
The thesis I defend is that works of art can indeed play a role in reconfiguring our moral thought. Most of the argumentative burden for this claim falls on two examples that I will introduce in a moment, but before coming to that I want to offer a small morsel of circumstantial evidence. One reason for thinking that the arts can morally reconfigur...
The Cynics held that artificiality, especially social convention, was the primary hindrance to virtue. Central to this conceit was a distinction between things endowed in us by nature, God, or the plan of the universe and the things we create for ourselves. Living the good life meant freeing oneself from artificial impositions, and insofar as the C...
Wagner was an obsessively philosophical composer, and his explicit engagement with philosophical ideas puts us in a superior position to faithfully identify moral purposes in his music. When he wrote Tristan und Isolde Wagner was knee‐deep in Schopenhauer, and the opera abounds with Schopenhauerian themes. The most obvious of these is the idea that...
With two examples on the table, we can revisit the question of how to understand the distinction driving my concerns here, the distinction between accretion and reconfiguration. To put it baldly, what is it about Tristan und Isolde that makes it more morally ambitious—or differently ambitious anyway—than, for example, Howards End? We can best answe...
At this point we might hope to venture beyond examples and ask about this power in the abstract. Why are works of art the sorts of things capable of prompting a reconfiguration of our moral frameworks in the way I have suggested? It would be a mistake to locate this power in any one specific technique—in exemplification or ecstasy, say. But I think...
If what I argue here is correct, then the doctrine of artistic cognitivism ought to be liberalized. It should not only be the claim that works of art can aid in the acquisition of moral knowledge, the application of that knowledge, or the refinement of moral concepts. It should be the thesis that art is cognitively potent in all those ways plus oth...
The modern moral subject is a type of painting that was invented by English artist William Hogarth (1697–1764), which satirizes the manners and morals of the period in which he lived. William Hogarth. A Scene from ‘The Beggar’s Opera’ VI (1731) Tate. William Hogarth ’s modern moral paintings are typically created as a series.
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Carroll’s main argument for moderate moralism is the “uptake argument”. Artworks often require emotional uptake, in that they aim at arousing emotional responses in their audience. The moral character of the figures and events represented in the artwork are important to secure the audience’s uptake.
