Champions of virtue ethics frequently appeal to moral perception: the notion that virtuous people can “see” what to do. According to a traditional account of virtue, the cultivation of proper feeling through imitation and habituation issues in a sensitivity to reasons to act. Thus, we learn to see what to do by coming to feel the demands of courage, kindness, and the like. But virtue ethics also claims superiority over other theories that adopt a perceptual moral epistemology, such as intuitionism (...) – which John McDowell criticizes for illicitly “borrow[ing] the epistemological credentials” of perception. In this paper, I suggest that the most promising way for virtue ethics to use perceptual metaphors innocuously is by adopting a skill model of virtue, on which the virtues are modeled on forms of practical know-how. Yet I contend that this model is double-edged for virtue ethics. The skill model belies some central ambitions and dogmas of the traditional view, especially its most idealized claims about virtue and the virtuous. While this may be a cost that its champions are unprepared to pay, I suggest that virtue ethics would do well to embrace a more realistic moral psychology and a correspondingly less sublime conception of virtue. (shrink)

“ 'Free speech' is just the name we give to verbal behavior that serves the substantive agendas we wish to advance”—or so literary theorist and professor of law Stanley Fish has claimed. This cynical dictum is one of several skeptical challenges to freedom of speech that have been extremely influential in the American academy. I will follow the skeptics' lead by distinguishing between two broad styles of critique: the progressive and the postmodern. Fish's dictum, however, like many of the bluntest (...) charges, belongs to neither class exclusively. As an initial characterization of the distinction between these critiques, progressive skepticism claims that freedom of speech is a bad thing, while postmodernist skepticism claims it to be conceptually impossible. Both forms of skepticism hold the classical liberal endorsement of free speech and condemnation of censorship to be both naive and reactionary. Skepticism about free speech flourishes at universities in the United States and is especially well represented among professors at the country's most prestigious law schools. As legal scholar Robert Post approvingly observes: “Liberated from traditional inhibitions against official suppression of speech, the left has mobilized to pursue a rich variety of political agendas.”. (shrink)

Rational Sentimentalism develops a novel theory of the sentimental values. These values, which include the funny, the disgusting, and the shameful, are profoundly important because they set standards for emotional responses that are part of our shared human nature. Yet moral philosophers have neglected them relative to their prominence in human mental life. The theory is sentimentalist because it holds that these values are emotion-dependent—contrary to some prominent accounts of the funny and the disgusting. Its rational aspect arises from its (...) insistence that the shameful (e.g.) is not whatever elicits shame but what makes shame fitting. Shameful traits provide reasons to be ashamed that do not depend on whether one is disposed to be ashamed of them. Furthermore, these reasons to be ashamed issue in reasons to act as shame dictates: to conceal. Sentimentalism requires a compatible theory of emotion and emotional fittingness. The book explicates a motivational theory of emotion that explains the peculiarities of emotional motivation, as other theories cannot. It argues that a class of emotions are psychological kinds with the same goal across cultures, despite differences in their elicitors. It then develops an account of fittingness that helps to differentiate reasons of fit, which bear on the sentimental values, from other considerations for or against having an emotion. Some significant and controversial conclusions emerge from rational sentimentalism. The sentimental values conflict with one another, and with morality, but nevertheless provide practical reasons that apply to humans—though not to all rational agents. (shrink)

This essay argues, flouting paradox, that Mill was a utilitarian but not a consequentialist. First, it contends that there is logical space for a view that deserves to be called utilitarian despite its rejection of consequentialism; second, that this logical space is, in fact, occupied by John Stuart Mill. The key to understanding Mill's unorthodox utilitarianism and the role it plays in his moral philosophy is to appreciate his sentimentalist metaethics—especially his account of wrongness in terms of fitting guilt and (...) resentment. Mill recognizes a fundamental moral asymmetry between the agent and others, which conflicts intractably with a presupposition of consequentialism. This allows him to differentiate three potentially conflicting evaluative spheres: morality, prudence, and aesthetics. This essay's account of Mill's utilitarianism coheres with his defense of individual liberty and his embrace of supererogation, both of which elude traditional interpretations. (shrink)

Philosophers often call emotions appropriate or inappropriate. What is meant by such talk? In one sense, explicated in this paper, to call an emotion appropriate is to say that the emotion is fitting: it accurately presents its object as having certain evaluative features. For instance, envy might be thought appropriate when one’s rival has something good which one lacks. But someone might grant that a circumstance has these features, yet deny that envy is appropriate, on the grounds that it is (...) wrong to be envious. These two senses of ‘appropriate’ have much less in common than philosophers have supposed. Indeed, the distinction between propriety and correctness is crucial to understanding the distinctive role of the emotions in ethics. We argue here that an emotion can be fitting despite being wrong to feel, and that various philosophical arguments are guilty of a systematic error which we term the moralistic fallacy. (shrink)

According to Cicero, “all emotions spring from the roots of error: they should not be pruned or clipped here and there, but yanked out” (Cicero 2002: 60). The Stoic enthusiasm for the extirpation of emotion is radical in two respects, both of which can be expressed with the claim that emotional responses are never appropriate. First, the Stoics held that emotions are incompatible with virtue , since the virtuous man will retain his equanimity whatever his fate. Grief is always vicious, (...) both bad and bad for you, even when directed at events commonly considered tragic, such as the loss of one’s child. (shrink)

Horace recommended that poets "mingle the useful and the sweet"; but the champions of an ethical function for art have yet to explain how moral and aesthetic values can truly be mingled. Their proposed ethical functions too often seem irrelevant to what we most care about in art. Moreover, we need an explanation of what art has to show us that is of ethical significance, and that we don't already know. ;The answer is to be found in the "thick concepts" (...) , which purport to provide reasons to feel and to act. Thick concepts are response-dependent, in that our application of them is guided by certain quasi-emotional responses, which they purport to warrant. These responses, I argue, are given content by their role in an ethical perspective, a value-laden "way of seeing" the world. Morality's aspirations to objectivity require that we gain imaginative acquaintance with the thick concepts of alien perspectives, without which real normative confrontation would be impossible. Fiction thus serves an ethical function by expanding our capacities of moral perception. ;Narrative art is uniquely well-suited to this task, because to give a reading of a story is to make sense of its characters and events in value-laden, emotional terms. Our engagement with fiction thus involves understanding the ethical perspectives that inform the text. This model of art's ethical function is immune to formalist challenges. Moreover, it answers the formidable hermeneutic and epistemological problems on which traditional theories founder. (shrink)

Mill's famous proportionality statement of the Greatest Happiness Principle (GHP) is commonly taken to specify his own moral theory. And the discussion in which GHP is embedded -- Chapter 2 of Utilitarianism -- predominates the interpretation of Mill's normative philosophy. Largely because of these suppositions, Mill is traditionally read as a particular kind of utilitarian: a maximizing act-consequentialist. This paper argues that the canonical status accorded to Utilitarianism is belied by the text itself, as well as by its historical context, (...) and that this point largely undermines the orthodox interpretation of Mill. In fact, GHP was intended as the statement of a common creed, acceptable to the diverse class of philosophers Mill counted as utilitarian. Moreover, the discussion of substantive moral theory in Utilitarianism in several respects does not reflect his own view, and the work itself is much less important than it is almost universally taken to be -- though not, it turns out, by Mill himself. (shrink)

The fundamental tenet of the liberal conception of free speech is the principle of content neutrality, which Mill espoused in claiming that 1 On this view, the immorality, the falsity, and even the harmfulness of an opinion are not good reasons to censor it. s persuasion may be, not only of the falsity but of the pernicious consequenceslose their immunitys justification can be doubted. But I will not discuss these issues, on which there is already an immense literature, any further (...) here. (shrink)

Mill advocated an unqualified defense of the liberty of conscience in the most comprehensive sense, which he understood to include not just the freedom to hold but also to express any opinion or sentiment. Yet considerable dispute persists about the nature of Mill’s argument for freedom of expression and whether his premises can support so strong a conclusion. Two prominent interpretations of Mill that threaten to undermine his uncompromising defense of free speech are considered and refuted. A better interpretation can (...) be founded on Mill’s claim that the liberties of conscience are inseparable in practice. This claim can be defended with modern psychological insight about the nature of cognitive bias, and epistemological insight about why justification of creedal beliefs requires the universal toleration of opinion, insights which are largely anticipated by Mill. This argument is especially vital because it highlights the divide between classical liberalism and progressivism that has become a flashpoint in the current political debate over free speech. (shrink)

This volume examines the implications of developments in the science of ethics for philosophical theorizing about moral psychology and human agency. These ten new essays in empirically informed philosophy illuminate such topics as responsibility, the self, and the role in morality of mental states such as desire, emotion, and moral judgement.

Mill advocated an unqualified defense of the liberty of conscience in the most comprehensive sense, which he understood to include not just the freedom to hold but also to express any opinion or sentiment. Yet considerable dispute persists about the nature of Mill's argument for freedom of expression and whether his premises can support so strong a conclusion. Two versions of a prominent interpretation of Mill that threatens to undermine his uncompromising defense of free speech are considered and refuted. It (...) is shown how Mill's classically liberal commitments in moral psychology, ethology, and epistemology make the empirical grounds of his defense considerably more plausible than is commonly understood. This argument is especially vital because it highlights the divide between (classical) liberalism and progressivism that has become a flashpoint in the current political debate over freedom of speech. (shrink)

This chapter explores the debate between contemporary projectivists or expressivists, and the advocates of sensibility theory. Both positions are best viewed as forms of sentimentalism — the theory that evaluative concepts must be explicated by appeal to the sentiments. It argues that the sophisticated interpretation of such notions as “true” and “objective” that are offered by defenders of these competing views ultimately undermines the significance of their meta-ethical disputes over “cognitivism” and “realism” about value. Their fundamental disagreement lies in moral (...) psychology; it concerns how best to understand the emotions to which sentimentalist theories must appeal. (shrink)

This chapter explores the debate between contemporary projectivists or expressivists, and the advocates of sensibility theory. Both positions are best viewed as forms of sentimentalism — the theory that evaluative concepts must be explicated by appeal to the sentiments. It argues that the sophisticated interpretation of such notions as “true” and “objective” that are offered by defenders of these competing views ultimately undermines the significance of their meta-ethical disputes over “cognitivism” and “realism” about value. Their fundamental disagreement lies in moral (...) psychology; it concerns how best to understand the emotions to which sentimentalist theories must appeal. (shrink)

This volume examines the implications of developments in the science of ethics for philosophical theorizing about moral psychology and human agency. These ten new essays in empirically informed philosophy illuminate such topics as responsibility, the self, and the role in morality of mental states such as desire, emotion, and moral judgement.

According to Slote's ``agent-based'' virtue ethics, the rightness orwrongness of an act is determined by the motive it expresses. Thistheory has a problem with cases where an agent can do her duty onlyby expressing some vicious motive and thereby acting wrongly. In sucha situation, an agent can only act wrongly; hence, the theory seemsincompatible with the maxim that `ought' implies `can'. I argue thatSlote's attempt to circumvent this problem by appealing to compatibilism is inadequate. In a wide range of psychologically (...) realistic cases, an agent's effective choice will be between failingto do her duty and doing it from inferior motives. Then anythingshe can do will be wrong, according to the agent-based theory,contrary to the maxim Slote wishes to preserve. (shrink)

In the contemporary flurry of hostile corporate takeover activity, the ethics of the practice of greenmail have been called into question. The authors provide an account of greenmail in parallel with Daniel Ellsberg's conception of blackmail, as consisting of two conditions: a threat condition and a compliance condition.The analysis then proceeds to consider two questions: Is all greenmail morally wrong? Are all hostile takeovers morally wrong? The authors conclude that there is no basis for answering either question in the (...) affirmative. While there is no cause for moral concern per se, the practices of both greenmail and hostile takeovers yield deeper and more interesting questions for the theory of corporate governance. (shrink)

Alongside the analogy between maximal ideals and complete theories, the Jacobson radical carries over from ideals of commutative rings to theories of propositional calculi. This prompts a variant of Lindenbaum’s Lemma that relates classical validity and intuitionistic provability, and the syntactical counterpart of which is Glivenko’s Theorem. The Jacobson radical in fact turns out to coincide with the classical deductive closure. As a by-product we obtain a possible interpretation in logic of the axioms-as-rules conservation criterion for a multi-conclusion (...) Scott-style entailment relation over a single-conclusion one. (shrink)

D’Arms and Jacobson’s _Rational Sentimentalism_ promises an alchemy: a view that grounds certain values and reasons in facts about human sentiments but also treats the very same facts about values and reasons as fundamental. I examine how they attempt to deliver on the promise, doubt that they succeed, consider their motivations, and offer an alternative interpretation of what they might be doing.

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)

Justin D’Arms and Daniel Jacobson have argued that to evaluate the funniness of a joke based on the consideration of whether it is morally appropriate to feel amused commits the “moralistic fallacy.” We offer a new and empirically informed reply. We argue that there is a way to take morality into consideration without committing this fallacy, that is, it is legitimate to say that for some people, witty but immoral jokes can fail to be funny because they are (...) immoral. In our account, one has an intramural moral reason not to feel amused if one focuses on the moral feature itself of a joke rather than the moral consequence implied in one’s reaction to the joke. When one judges a joke as not funny because of the intramural moral reason, one is in a negative emotional state with high arousal, for example, moral disgust or anger. This state is psychologically incompatible with amusement. That one has an intramural reason not to feel amused thus implies that one does not have a reason to feel amused. Moral consideration thus plays an indirect and appropriate role in the evaluation of the funniness of a joke. (shrink)

This thesis aims to provide the appropriate historical context for interpreting John Stuart Mill's Utilitarianism. The central question considered here concerns two views of Mill's intentions for Utilitarianism, and whether the work should be read as Mill arguing for his own version of utilitarianism, or as an ecumenical document expressing and defending the views of many utilitarians. The first view, labeled the orthodox view, as defended by Roger Crisp, is probably the most commonly held view as to how to interpret (...) the document. The second view, labeled the revisionist view, is defended by Daniel Jacobson in a recent article. By examining Mill's place in the history of utilitarianism, his journals, correspondence, and other writings leading up to and after the publication of Utilitarianism, this thesis argues in support of the revisionist position. Furthermore, it is argued that certain portions of the book deserve special consideration apart from other chapters, and this is taken to have implications for the future of research in Mill?s thought. This thesis has four chapters including the first introductory chapter, which outlines the motivations guiding the orthodox and revisionist views. The second chapter provides a general exposition of Utilitarianism, as well as an outline of the primary evidence supporting the orthodox and revisionist positions. The third chapter is a defense of the revisionist position, and it highlights the specific biographical context in which Utilitarianism was composed, as well as evidence from Mill's writings, correspondence, and journals suggesting that he saw the need to write a general defense of the principle of utility and elaborate his theory of justice. This chapter also includes a historiographical analysis of Mill's biographers, which suggests that Utilitarianism is not viewed by Mill's biographers as being especially central to his considered views on utilitarianism. Finally, the chapter includes a section on the early reception and criticisms offered against Utilitarianism, which partly explains why the book has come to be interpreted as it has. The final chapter reviews the evidence for the revisionist position and explains the implications for Mill scholarship in light of the findings of this study. (shrink)