8 ideas
| 22692 | A work can be morally and artistically excellent, despite rejecting moral truth [John,E] |
| Full Idea: A work that rejects moral truth can be artistically excellent, in part because of its moral content. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], Intr) | |
| A reaction: She cites the film 'Trainspotting', about desperate drug addicts, because it gives an amoral insight into their world. |
| 468 | Musical performance can reveal a range of virtues [Damon of Ath.] |
| Full Idea: In singing and playing the lyre, a boy will be likely to reveal not only courage and moderation, but also justice. | |
| From: Damon (fragments/reports [c.460 BCE], B4), quoted by (who?) - where? |
| 22693 | The works we value most are in sympathy with our own moral views [John,E] |
| Full Idea: The works we tend to value most highly are ones that are in sympathy with the moral views we actually accept. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], Intro) | |
| A reaction: I would have to endorse this. She admits that we may rate other works very highly, but they won't appear on our list of favourites. This fact may well distort philosophical discussions of morality and art. |
| 22694 | We should understand what is morally important in a story, without having to endorse it [John,E] |
| Full Idea: Our responses to literature should show that we grasp whatever counts as morally important within the narrative, but not necessarily that we judge and feel in the way deemed appropriate by the work. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], 'Accommodating') | |
| A reaction: She gives as an example a story by Hemingway which places a high value on the courageous hunting of big game. A second example is the total amorality of a Highsmith novel. This idea seems exactly right to me. |
| 22695 | We value morality in art because that is what we care about - but it is a contingent fact [John,E] |
| Full Idea: Moral value is valuable in art because people care about moral value. This runs deep, but it is a contingent matter, and the value of morality in art hinges on art's need to provide something precious to us. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], 'Contingency') | |
| A reaction: I think this is exactly right. Thrillers are written with very little moral concern, for a readership which cares about brave and exciting deeds. Even there, violence has its ethics. |
| 22258 | Passion for progress is always short-lived [Sandel] |
| Full Idea: Progress demands passions that cannot last for long. | |
| From: Michael J. Sandel (Beyond Individualism [1988], p.35) | |
| A reaction: The obvious example, for me, is the Labour Government in the UK, 1945-51. This is the kind of realism which progressive politicians must face up to. Unfortunately it is the logic of very ruthless revolutionaries. |
| 22259 | Conservatives are either individualistic, or communal [Sandel] |
| Full Idea: Individualist conservatives believe people should be free to do as they please so long as they do not harm others. ...Communal conservatives, by contrast, believe government should affirm moral and religious values. | |
| From: Michael J. Sandel (Beyond Individualism [1988], p.38) | |
| A reaction: Nozick represents the first group (as does J.S.Mill, usually seen as epitomising liberalism). He says the first group like volunteer armies and oppose welfare; the second group favour conscription and conservative welfare. |
| 22260 | Modern liberalism fails to articulate a vision of the common good [Sandel] |
| Full Idea: In recent years liberalism has faltered because of its failure to argue for a vision of the common good. | |
| From: Michael J. Sandel (Beyond Individualism [1988], p.45) | |
| A reaction: This is Sandel's main theme. He derives his concept of the common good from the essential natures of persons and institutions. I greatly admire this. |