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Artykuły w czasopismach na temat "Immorality in art"
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Allen, James Sloan. "Plato: The Morality and Immorality of Art". Arts Education Policy Review 104, nr 2 (listopad 2002): 19–24. http://dx.doi.org/10.1080/10632910209605999.
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Simmons, Sherwin. "Ernst Kirchner's Streetwalkers: Art, Luxury, and Immorality in Berlin, 1913-16". Art Bulletin 82, nr 1 (marzec 2000): 117. http://dx.doi.org/10.2307/3051367.
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Darenskiy, V. Yu. "THEORETICAL AESTHETICS OF L. TOLSTOY AS A MANIFEST OF ANTI-MODERNISM". Bulletin of Udmurt University. Series History and Philology 29, nr 5 (25.10.2019): 805–11. http://dx.doi.org/10.35634/2412-9534-2019-29-5-805-811.
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The article is devoted to the interpretation of L. Tolstoy’s theoretical aesthetics as a part of the literary process - as a kind of “manifesto” directed against the emerging modernism (anti-traditionalism). The main components of L. Tolstoy’s aesthetic theory, which are interpreted as worldview principles that most effectively oppose the “death of art” (V. Weidle) in the “postmodern situation” and anti-artistic requirements of the “consumer society”, are considered. The aesthetic concept of L. Tolstoy is interpreted as a strategy to combat the imposition of perverted tastes and immorality in art. The main components of this theory and their interrelation are allocated. L. Tolstoy's aesthetics is considered as an important value basis of modern art education.
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Pascale, Marius A. "Art Horror, Reactive Attitudes, and Compassionate Slashers". International Journal of Applied Philosophy 33, nr 1 (2019): 141–59. http://dx.doi.org/10.5840/ijap201981116.
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In “The Immorality of Horror Films,” philosopher and film scholar Gianluca Di Muzio proposes an analytic argument that aims to prove horror narratives, particularly slashers, unethical. His Argument from Reactive Attitudes contests slashers encourage pleasurable responses towards depictions of torture and death, which is possible only by suspending compassionate reactions. Doing so degrades sympathy and empathy, causing desensitization. This article will argue Di Muzio’s ARA, while valuable to discussion of art horror and morbidity, fails to meet its intended aim. The ARA contains structural flaws in its logic, compounded by reliance on insufficient evidence. Additionally, Di Muzio does not adequately consider or rebut prominent aesthetic concerns, including ontological and moral distance of representations. Lastly, the argument utilizes a flawed classificatory schema that undermines its primary goal. Even narrowly confined to slashers, the ARA cannot explain alternative reasons for engaging with horror, nor does it account for those nuanced slasher works designed to foster compassion. The project concludes by offering a modified ARA with greater potential to accurately analyze the interrelation between art horror and morality.
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Kieran, Matthew. "Creativity, Virtue and the Challenges from Natural Talent, Ill-Being and Immorality". Royal Institute of Philosophy Supplement 75 (październik 2014): 203–30. http://dx.doi.org/10.1017/s1358246114000241.
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We praise and admire creative people in virtually every domain from the worlds of art, fashion and design to the fields of engineering and scientific endeavour. Picasso was one of the most influential artists of the twentieth century, Einstein was a creative scientist and Jonathan Ive is admired the world over as a great designer. We also sometimes blame, condemn or withhold praise from those who fail creatively; hence we might say that someone's work or ideas tend to be rather derivative and uninspired. Institutions and governmental advisory bodies sometimes aspire, claim or exhort us to enable individual creativity, whether this is held to be good for the individual as such or in virtue of promoting wider socio-economic goods. It is at least a common thought that people are more self-fulfilled if they are creative and society more generally is held to be all the better for enabling individual creativity.
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Zakharov, Vladimir. "The Brilliance of The Double: Why Don’t Critics Understand Dostoevsky?" Неизвестный Достоевский 7, nr 3 (wrzesień 2020): 31–53. http://dx.doi.org/10.15393/j10.art.2020.4941.
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In the euphoria of the success of Poor Folk Dostoevsky wrote an inventive work — a fantastical novel with an absurd plot, in which two completely similar characters act: two Yakov, two Petroviches, two Golyadkins, two titular councilors serving in the same department. Their similarity is not explained in any way. According to the author, this is “a completely inexplicable incident,” however, critics keep trying to explain the appearance of the double. The range of interpretations is extensive — from the rationalistic and empirical rejection of fantastika to numerous psychopathological, ethical, social and other concepts of it. They have the same status: they are all nontextual readings of the work. Critics do not read Dostoevsky, rather, they compose their own version of The Double. It all started with Belinsky, who made factual errors in the analysis of The Double. Dobrolyubov frankly admitted that his explanation of the double was formed “while thumbing through” the story. All subsequent interpretations are variations of their explanations of fantastika. Dostoevsky was sensitive to the misunderstanding of readers and critics. In 1862 and 1864, he created drafts with the aim of revising The Double. Unable to carry out this plan, in September 1866 Dostoevsky cut down the magazine’s editorial staff and made other changes that polemically opposed the interpretations of Belinsky and Dobrolyubov. The analysis of the two editions of The Double and the materials in the 1862-1864 notebooks (Russian State Library. F. 93.I.2.6 and 93.I.2.7) demonstrate that Dostoevsky did not think of The Double as a ghost, hallucination, or the delirium of a madman, but, rather, considered him a real character in the story. Denying the similarity and protesting against the immorality of the younger Golyadkin, the elder proclaims: man is unique. This idea was a development of the anthropological principle that Dostoevsky discovered in Poor Folk and later vividly expressed in Notes from the Underground.
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Zakharov, Vladimir. "The Brilliance of The Double: Why Don’t Critics Understand Dostoevsky?" Неизвестный Достоевский 7, nr 3 (wrzesień 2020): 31–53. http://dx.doi.org/10.15393/j9.art.2020.4941.
Pełny tekst źródłaStreszczenie:
In the euphoria of the success of Poor Folk Dostoevsky wrote an inventive work — a fantastical novel with an absurd plot, in which two completely similar characters act: two Yakov, two Petroviches, two Golyadkins, two titular councilors serving in the same department. Their similarity is not explained in any way. According to the author, this is “a completely inexplicable incident,” however, critics keep trying to explain the appearance of the double. The range of interpretations is extensive — from the rationalistic and empirical rejection of fantastika to numerous psychopathological, ethical, social and other concepts of it. They have the same status: they are all nontextual readings of the work. Critics do not read Dostoevsky, rather, they compose their own version of The Double. It all started with Belinsky, who made factual errors in the analysis of The Double. Dobrolyubov frankly admitted that his explanation of the double was formed “while thumbing through” the story. All subsequent interpretations are variations of their explanations of fantastika. Dostoevsky was sensitive to the misunderstanding of readers and critics. In 1862 and 1864, he created drafts with the aim of revising The Double. Unable to carry out this plan, in September 1866 Dostoevsky cut down the magazine’s editorial staff and made other changes that polemically opposed the interpretations of Belinsky and Dobrolyubov. The analysis of the two editions of The Double and the materials in the 1862-1864 notebooks (Russian State Library. F. 93.I.2.6 and 93.I.2.7) demonstrate that Dostoevsky did not think of The Double as a ghost, hallucination, or the delirium of a madman, but, rather, considered him a real character in the story. Denying the similarity and protesting against the immorality of the younger Golyadkin, the elder proclaims: man is unique. This idea was a development of the anthropological principle that Dostoevsky discovered in Poor Folk and later vividly expressed in Notes from the Underground.
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Davies, Jude. "The Occasions of Theodore Dreiser’s Literary Criticism – a View from the Theodore Dreiser Edition". Literature of the Americas, nr 11 (2021): 271–88. http://dx.doi.org/10.22455/2541-7894-2021-11-271-288.
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Theodore Dreiser published over fifty items of literary criticism between 1900 and 1945 on a wide variety of subjects, while additional discussion of literary matters is scattered through his correspondence, memoirs, unpublished speeches, and cultural and philosophical essays. Hitherto this work has proved useful piecemeal, in its illumination of Dreiser’s fiction, while a few outstanding pieces have served to define Dreiser’s version of realism or literary naturalism. This essay takes the literary criticism seriously as a body of work in itself, sketching out some categories and topics, and providing detailed historical contexts for several items, which reveal under-appreciated nuances and engagements in even better-known pieces such as “True Art speaks Plainly” and “Life, Art and America.” The essay sees coherence across the diverse foci of Dreiser’s literary criticism via the concept of the “occasions of literary criticism,” by which is meant the historical and cultural contexts into which he was writing. It charts the roots of Dreiser’s literary criticism in his need to respond to charges of “literary immorality,” its growth through his very particular response to censorship, and its maturity in his suggestion, in a speech given as part of the peace conference in Paris in 1938, of an American literary tradition dedicated to social justice, taking in Mark Twain and H. D. Thoreau as well as the expected cohort of realists and naturalists. The essay concludes by relating these contexts and preoccupations to the history and practice of the Theodore Dreiser Edition.
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Shafranskaya, Eleonora Fedorovna, i Gulchira Talgatovna Garipova. "Bacha Boy in Russian Cultural Reception". Polylinguality and Transcultural Practices 19, nr 1 (16.03.2022): 36–49. http://dx.doi.org/10.22363/2618-897x-2022-19-1-36-49.
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The article examines the type of culture, the institution that the Russian colonialists faced upon their arrival in the Turkestan region in the ХIХth century - the art of bacha boys. The mismatch of mentality - European and Asian - gave rise to rejection of this institution among the newcomers, who took key administrative positions and charted a course to fight Bachism. The actual destruction of the bacha boys falls on the Soviet period (the play Ecstasy with the Pomegranate from the repertoire of the Ilkhom Theater reflects this process). The authors of the article trace the growing discourse associated with rejection of bacha boys in Russian publicism (articles and fragments of memoirs by V.V. Vereshchagin, N.S. Lykoshin, D.N. Logofet and others), and also analyze the points of view of a number of Russian artists and writers that does not coincide with the official position (N.N. Karazin, V.G. Yan, Usto Mumin, E. Alennik). In the process of reasoning the authors come to the conclusion that the art of bachа boys was organic for Central Asian culture, it correlates with Sufi practices. The article presents arguments from the judgments of Islamic theologians, Russian Islamic scholars, and the Sufi poet Jalaladdin Rumi According to the authors, the so-called evidence-based practice of prerevolutionary persecutors of вacha boys for their alleged immorality is based on rumors and speculation, with which folklore reality usually works, mythologizing this or that phenomenon. N.N. Karazin writes the novel Atlar precisely in the algorithm of the rehabilitation of the вacha boys.
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Terekhova, Irina. "ART SPECIFICS OF «FORGOTTEN» FAIRY-TALE PROSE BY MARKO VOVCHOK". LITERARY PROCESS: methodology, names, trends, nr 19 (2022): 71–76. http://dx.doi.org/10.28925/2412-2475.2022.19.9.
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The proposed article is devoted to the study of the artistic specifics of «forgotten» fairy tale prose by Marko Vovchko. In modern literary criticism, despite some achievements in the field of research of the fairy-tale heritage of the writer, there are still works that have never been subjected to critical analysis, an example of this − the collection «Fairy Tales and Tales of Marko Vovchko» (1874). Today, this publication, without receiving proper evaluation, is in the shadow of the author's work. The only exception is the folklore-historical story «Marusya», and the rest of the works: «Queen I», «Perfect Chicken», «Inventor» have not received their literary assessment. Therefore, the fairy-tale prose of Marko Vovchko is gradually returning from oblivion to the modern reader. Note that this process is accompanied by the need for detailed and in-depth rethinking. Thus, the proposed study is relevant because it aims to prove the originality of the unknown to critics of the fairy-tale work of the writer. In the given article with the help of biographical method, method of analysis and synthesis, text analysis the artistic originality of Marko Vovchko's fairy-tale prose is determined. The fairy-tale works of the author «Queen I», «Perfect Chicken», «Inventor» in their genre direction- social and domestic fairy tales are practically not studied. They reveal moral and ethical issues due to social and psychological factors. The most prominent in the above-mentioned works of the writer is the problem of selfishness and meanness of the human soul, which in turn is subject to the pressing social problem − the dominance of lordly arbitrariness, which leads to fatal consequences. The outlined problem acquires a corresponding gradation here: first it is revealed in the fairy tale «Queen I», later it is actualized in «Perfect Chicken», and acquires a special tragic sound in «Inventor». First of all, you should pay attention to the titles of the analyzed fairy tales. They have a kind of ironic connotation, which is revealed at the end. For example, in the plot of the fairy tale «Queen I» ridiculed such flaws as the arrogance and arrogance of human nature, in «Perfect Chicken» − a hint of immorality of the so-called «perfect» lordly behavior, in the fairy tale «Inventor» − expressed hidden irony of the romantic idea transformation of society. The article also clarifies the basic principles of storytelling in the collection «Fairy Tales and Tale of Marko Vovchko»: the presence of a social plot, uniformity in the development of events, a combination of romantic and realistic stylistic features in the image of reality, psychology as one of the basic principles of fairy tales.
Rozprawy doktorskie na temat "Immorality in art"
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Roche, David. "L'imagination malsaine : Russell Banks, Raymond Carver, David Cronenberg, Bret Easton Ellis, David Lynch /". Paris : l'Harmattan, 2008. http://catalogue.bnf.fr/ark:/12148/cb412407868.
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Thompson, Ryan Mitchell. "Art, Moral Value, and Significance". Thesis, University of Canterbury. Philosophy, 2012. http://hdl.handle.net/10092/9479.
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Debate concerning the relationship between ethics and aesthetics has re-emerged in contemporary aesthetic literature. All of the major contemporary positions, I argue, treat this relationship as existing between the "moral value" of art and its aesthetic value. Throughout this thesis I analyse the various "value- based" positions (ethicism, moderate moralism, and contextualism) and examine whether their accounts of this relationship hold. My aim is to explore whether an alternative account - in which the aesthetic value of art can be enhanced or negated through its "moral significance", rather than its "moral value" - is plausible. I argue, that given the failure of these value- based positions we should favour a "significance- based contexutalist" approach that is better equipped to account for the complexity of both our engagement with art, and the moral reflection that it invites.
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Murray, Kerin Clare, University of Western Sydney i School of Contemporary Arts. "Sexuality and death : a relationship". 1998. http://handle.uws.edu.au:8081/1959.7/28421.
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Firstly, sexuality and death are discussed as instinctual drives, specifically through Freud's essay, Beyond The Pleasure Principle. Sexuality and death are then related through pleasurable attachment and painful severance. Next they are discussed in terms of Georges Bataille's notions of continuity and discontinuity. Secondly, The Garden of Eden is looked at as a mythological indicator of the psychological links between sexuality and death. Sexual differentiation has a role to play as woman is seen to be a signifier of death through the writings of Julia Kristeva and Victor Burgin. Thirdly, Plato's argument for immortality is discussed, specifically through The Phaedo. The argument centres on the separation of self from sexual pleasure in order to defeat death. Fourthly, the chastity of Mary and Christ is dealt with. It can be seen to be resultant of the tight connection between sexuality and death and relevant to a hope for immortality. For Christian theology there exists a necessary division for those who are immortal from their own earthly carnality. Fifthly, Julia Kristeva's notion of Abjection is looked at through her essay, Powers of Horror. Abjection plays a significant role in the attempt at repression of the sexual drive and the death drive. Lastly, the reflection of Narcissus is observed. There seems a human need for a reflection self that goes beyond notions of delusionistic beauty or reviling horror. Sexuality and death are accepted as most essential aspects of our being. Abjection leads to a rejection then an acceptance of our own perishing carnality.Master of Arts (Hons)
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Murray, Kerin Clare. "Sexuality and death : a relationship". Thesis, 1998. http://handle.uws.edu.au:8081/1959.7/28421.
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Firstly, sexuality and death are discussed as instinctual drives, specifically through Freud's essay, Beyond The Pleasure Principle. Sexuality and death are then related through pleasurable attachment and painful severance. Next they are discussed in terms of Georges Bataille's notions of continuity and discontinuity. Secondly, The Garden of Eden is looked at as a mythological indicator of the psychological links between sexuality and death. Sexual differentiation has a role to play as woman is seen to be a signifier of death through the writings of Julia Kristeva and Victor Burgin. Thirdly, Plato's argument for immortality is discussed, specifically through The Phaedo. The argument centres on the separation of self from sexual pleasure in order to defeat death. Fourthly, the chastity of Mary and Christ is dealt with. It can be seen to be resultant of the tight connection between sexuality and death and relevant to a hope for immortality. For Christian theology there exists a necessary division for those who are immortal from their own earthly carnality. Fifthly, Julia Kristeva's notion of Abjection is looked at through her essay, Powers of Horror. Abjection plays a significant role in the attempt at repression of the sexual drive and the death drive. Lastly, the reflection of Narcissus is observed. There seems a human need for a reflection self that goes beyond notions of delusionistic beauty or reviling horror. Sexuality and death are accepted as most essential aspects of our being. Abjection leads to a rejection then an acceptance of our own perishing carnality.
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Snyman, Magrieta Salome. "The small-town novel in South African English literature (1910-1948)". Thesis, 2010. http://hdl.handle.net/2263/28480.
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This study aims to examine a group of South African novels that have received very little critical attention. Part of the problem is that these works have never been grouped or assessed as belonging to a sub-genre, the South African small-town novel. Although individual texts have been treated to cursory commentary, the joint impact and significance of these works with regard to South African literature in English have never been properly assessed. It is suggested that clustering the works together as small-town novels of the Union period raises important issues and provides valuable insights on a significant period in South African (literary) history. The study’s theoretical orientation is based on a model that J.A Kearney proposes in his book Representing Dissension: Riot, Rebellion and Resistance in the South African English Novel (2003). Kearney (xv) suggests that an important criterion in the study of historical novels is the degree to which the writers’ recreation of particular events/historical phases leads them to an awareness of the gap between actual and ideal society. In the introductory chapter a comparative analysis of South African town and farm cultures and their respective representations in literature are used to throw some light on possible reasons for the critical neglect of the novels. A brief historical background is provided with regard to the momentous Union period (1910–1948) which forms the setting for all the novels which are discussed in chronological order in the successive chapters: Stephen Black’s The Dorp (1920), C. Louis Leipoldt’s The Mask, written in the 1930s though only published posthumously as part of his Valley Trilogy in 2001, Alan Paton’s Too Late the Phalarope (1953) and Herman Charles Bosman’s Willemsdorp, written in the early 1950s but also only published posthumously in 1977 in a censored version and in 1998 in full. The authors uniformly use the small-town milieu effectively as a microcosmic setting from which to comment on the larger social and political issues affecting South Africa during this period. They provide a socio-political critique on a period in South African history marked by politically volatility and reactionary ideological developments. Black’s The Dorp satirizes social intrigue in a fictional town ironically yet appropriately called Unionstad. It reveals the ill effects of historical events such as the Boer War and the 1914 Rebellion (specifically the animosity that it created between English and Afrikaner townsmen) but suggests the possibility of reconciliation. In The Mask, Leipoldt reveals a bleak picture of South African town life that is emblematic of the collapse of Leipoldt’s utopian ideal for an egalitarian South African society. In Too Late the Phalarope, Paton dramatizes the devastating personal effects of racially discriminatory laws, which criminalized sexual congress between whites and blacks. Paton’s essentially Christian view exposes hypocrisy and moral corruption in the attitudes of racist townsmen (and by implication the national architects of institutionalized racism), but offers the possibility of restoration by means of personal acts of forgiveness. In Willemsdorp Bosman offers probably the most sophisticated exposé of small-town culture as exemplary of everything that was wrong in the society from which apartheid was emerging. The concluding chapter invokes Bawarshi’s notions on the value of genre classification and briefly focuses on post-1948 novels, confirming the notion that a continuum exists within the small-town novel sub-genre of the South African novel. CopyrightThesis (DLitt)--University of Pretoria, 2010.
English
unrestricted
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Dlodlo, Andreas. "The Influence of Government policy of sentences in Magistrates' courts : as reflected in sentences relatng to certain sections of the Immorality Act 23 of 1957, dealing in and possession of dagga in contravention of the Abuse of Dependence-producing Substances and Rehabilitation Centres Act 41 of 1971 and the Stock Theft Act 57 of 1959". Thesis, 1987. http://hdl.handle.net/10413/5298.
Pełny tekst źródłaKsiążki na temat "Immorality in art"
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Troye, Des. An act of immorality. London: Lucky Bks., 1985.
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Carr, John. An act of immorality. London: Hodder & Stoughton, 1987.
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Carr, John. An act of immorality. London: Hodder and Stoughton, 1987.
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Act, South Africa Ad Hoc Committee of the President's Council on the Immorality. Report of the Ad Hoc Committee of the President's Council on the Immorality Act (Act 23 of 1957). Cape Town: Republic of South Africa, 1985.
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Kieran, Matthew. Emotions, Art, and Immorality. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780199235018.003.0031.
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Peter, Huber. Ch.3 Validity, s.1: General provisions, Art.3.1.2. Oxford University Press, 2015. http://dx.doi.org/10.1093/law/9780198702627.003.0052.
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This commentary focuses on Article 3.1.2 of the UNIDROIT Principles of International Commercial Contracts (PICC) concerning the validity of a mere agreement. Art 3.1.2 stipulates that a contract is concluded, modified or terminated by the simple agreement of the parties, without any further requirement. The prime purpose of Art 3.1.2 is to exclude any further requirements that the applicable domestic law might set up in that respect and to create legal certainty. This commentary discusses the impact of the doctrine of cause on the consideration and enforceability of the contract and on cases that would be dealt with under the label of immorality or illegality. It also considers the exclusion of the doctrine of real contract.
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Peter, Huber. Ch.3 Validity, s.1: General provisions, Art.3.1.1. Oxford University Press, 2015. http://dx.doi.org/10.1093/law/9780198702627.003.0051.
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This commentary focuses on Article 3.1.1 concerning the scope of application of the rules on validity in Chapter 3 of the UNIDROIT Principles of International Commercial Contracts (PICC). The PICC do not deal with invalidity arising from lack of capacity. The Official Comment states that the reason for the exclusion of capacity matters lies in their ‘inherent complexity’ and in the fact that they are treated in an ‘extremely diverse manner’ by domestic legal systems. The provision has been changed in the 2010 edition of the PICC. Ar 3.1 of the 2004 edition had also excluded invalidity arising from immorality or illegality from the scope of the PICC. These matters are now governed in Section 3.3 of the 2010 edition.
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An Act of Immorality. Hodder & Stoughton, 1988.
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An Act of Immorality. New English Library Ltd, 1988.
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Snow, Ned. Intellectual Property and Immorality. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197614402.001.0001.
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This book argues that certain intellectual creations should not receive copyright or patent protection because they are harmful to society. It posits that the theories of intellectual property and the Intellectual Property Clause of the U.S. Constitution suggest this conclusion. The book responds to counterarguments: namely, that denying protection might increase the output of objectionable works; that other laws should address the moral problems; and that intellectual property functions better under a laissez-faire approach. After responding to these arguments, the book considers the roles of government actors in denying protection. It argues that courts should exercise their powers of equity to deny relief for works that are connected to unlawful acts of the rights-holder, and that courts should exercise their constitutional powers to deny protection for specific categories of harmful expressions and inventions. Next, the book considers whether Congress has constitutional authority to deny protection for works that it considers to be immoral. In concluding that Congress does have such authority, the book sets forth specific criteria that Congress should apply in exercising its moral discretion. Finally, the book considers whether denying intellectual property protection on moral grounds would violate the Free Speech Clause of the First Amendment. It concludes that principles of free speech afford Congress considerable discretion to deny patent protection but only narrow discretion to deny copyright protection. It also concludes that the Free Speech Clause is consistent with judicial denial of protection for the limited categories of works that fall outside the Intellectual Property Clause.
Części książek na temat "Immorality in art"
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Xhignesse, Michel-Antoine. "The Paradox of Bad-Bad Art (Moralism/Immoralism)". W Aesthetics, 287–93. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003368205-46.
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Huber, Werner. "Fugard, Athol: Statements after an Arrest under the Immorality Act". W Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_1091-1.
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Donohue, Christopher. "“A Mountain of Nonsense”? Czech and Slovenian Receptions of Materialism and Vitalism from c. 1860s to the First World War". W History, Philosophy and Theory of the Life Sciences, 67–84. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-12604-8_5.
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AbstractIn general, historians of science and historians of ideas do not focus on critical appraisals of scientific ideas such as vitalism and materialism from Catholic intellectuals in eastern and southeastern Europe, nor is there much comparative work available on how significant European ideas in the life sciences such as materialism and vitalism were understood and received outside of France, Germany, Italy and the UK. Insofar as such treatments are available, they focus on the contributions of nineteenth century vitalism and materialism to later twentieth ideologies, as well as trace the interactions of vitalism and various intersections with the development of genetics and evolutionary biology see Mosse (The culture of Western Europe: the nineteenth and twentieth centuries. Westview Press, Boulder, 1988, Toward the final solution: a history of European racism. Howard Fertig Publisher, New York, 1978; Turda et al., Crafting humans: from genesis to eugenics and beyond. V&R Unipress, Goettingen, 2013). English and American eugenicists (such as William Caleb Saleeby), and scores of others underscored the importance of vitalism to the future science of “eugenics” (Saleeby, The progress of eugenics. Cassell, New York, 1914). Little has been written on materialism qua materialism or vitalism qua vitalism in eastern Europe.The Czech and Slovene cases are interesting for comparison insofar as both had national awakenings in the middle of the nineteenth century which were linguistic and scientific, while also being religious in nature (on the Czech case see David, Realism, tolerance, and liberalism in the Czech National awakening: legacies of the Bohemian reformation. Johns Hopkins University Press, Baltimore, 2010; on the Slovene case see Kann and David, Peoples of the Eastern Habsburg Lands, 1526-1918. University of Washington Press, Washington, 2010). In the case of many Catholic writers writing in Moravia, there are not only slight noticeable differences in word-choice and construction but a greater influence of scholastic Latin, all the more so in the works of nineteenth century Czech priests and bishops.In this case, German, Latin and literary Czech coexisted in the same texts. Thus, the presence of these three languages throws caution on the work on the work of Michael Gordin, who argues that scientific language went from Latin to German to vernacular. In Czech, Slovenian and Croatian cases, all three coexisted quite happily until the First World War, with the decades from the 1840s to the 1880s being particularly suited to linguistic flexibility, where oftentimes writers would put in parentheses a Latin or German word to make the meaning clear to the audience. Note however that these multiple paraphrases were often polemical in the case of discussions of materialism and vitalism.In Slovenia Čas (Time or The Times) ran from 1907 to 1942, running under the muscular editorship of Fr. Aleš Ušeničnik (1868–1952) devoted hundreds of pages often penned by Ušeničnik himself or his close collaborators to wide-ranging discussions of vitalism, materialism and its implied social and societal consequences. Like their Czech counterparts Fr. Matěj Procházka (1811–1889) and Fr. Antonín LenzMaterialismMechanismDynamism (1829–1901), materialism was often conjoined with "pantheism" and immorality. In both the Czech and the Slovene cases, materialism was viewed as a deep theological problem, as it made the Catholic account of the transformation of the Eucharistic sacrifice into the real presence untenable. In the Czech case, materialism was often conjoined with “bestiality” (bestialnost) and radical politics, especially agrarianism, while in the case of Ušeničnik and Slovene writers, materialism was conjoined with “parliamentarianism” and “democracy.” There is too an unexamined dialogue on vitalism, materialism and pan-Slavism which needs to be explored.Writing in 1914 in a review of O bistvu življenja (Concerning the essence of life) by the controversial Croatian biologist Boris Zarnik) Ušeničnik underscored that vitalism was an speculative outlook because it left the field of positive science and entered the speculative realm of philosophy. Ušeničnik writes that it was “Too bad” that Zarnik “tackles” the question of vitalism, as his zoological opinions are interesting but his philosophy was not “successful”. Ušeničnik concluded that vitalism was a rather old idea, which belonged more to the realm of philosophy and Thomistic theology then biology. It nonetheless seemed to provide a solution for the particular characteristics of life, especially its individuality. It was certainly preferable to all the dangers that materialism presented. Likewise in the Czech case, Emmanuel Radl (1873–1942) spent much of his life extolling the virtues of vitalism, up until his death in home confinement during the Nazi Protectorate. Vitalism too became bound up in the late nineteenth century rediscovery of early modern philosophy, which became an essential part of the development of new scientific consciousness and linguistic awareness right before the First World War in the Czech lands. Thus, by comparing the reception of these ideas together in two countries separated by ‘nationality’ but bounded by religion and active engagement with French and German ideas (especially Driesch), we can reconstruct not only receptions of vitalism and materialism, but articulate their political and theological valances.
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Harold, James. "Introduction". W Dangerous Art, 1–8. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197519769.003.0001.
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This book takes up the problems that we run into when we judge works of art to be morally good or bad. This might seem like an unserious thing to do. In public discourse, such judgments are often born of prejudice or are mere devices for political scapegoating. For example, former senator Jesse Helms’s attacks on the alleged immorality of Mapplethorpe’s photography seem to have been grounded in his hatred and fear of gays and lesbians; leaders of the National Rifle Association routinely raise moral concerns about violent video games as means to distract people and to undermine public support for gun control. We ought not to take such moral judgments very seriously....
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"Chapter 10. Remembering Isaac: On the Impossibility and Immorality of Faith". W The Insistence of Art, 257–88. Fordham University Press, 2020. http://dx.doi.org/10.1515/9780823275823-011.
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Jansen, Nils, i Reinhard Zimmermann. "Validity". W Commentaries on European Contract Laws. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198790693.003.0005.
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Contrary to what is suggested by the chapter’s heading, ‘Validity’, PECL ch 4 does not deal with all the requirements for a contract’s validity but has a rather limited scope of application. This scope is defined negatively by Art 4:101, which excludes invalidity arising from illegality, immorality, and lack of capacity.
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Matthes, Erich Hatala. "Sympathy for the Devil". W Drawing the Line, 6–40. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197537572.003.0002.
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According to some approaches to the ethical criticism of art, the moral flaws of an artwork can also be aesthetic defects of that work. Might something similar be true of the moral flaws of artists themselves? If something you’ve learned about an artist’s behavior leads you to question or reject their work, then you’ll likely agree that there are times when you just can’t separate the art from the artist. Turning away from an artwork in disgust is both a moral and aesthetic response: you’re not just making a moral judgment about the artist—that judgment is shaping your reception of their artwork as well. This chapter argues that under certain circumstances an artist’s immorality can alter the meaning of their work, sometimes affecting its aesthetic success.
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Jackson, Naomi. "Dance, Decency and a Life Well-Lived". W Dance and Ethics: Moving Towards a More Humane Dance Culture, 29–58. Intellect Books, 2022. http://dx.doi.org/10.1386/9781789386134_2.
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This chapter focuses on how dance artists’ moral perspectives and values relate to their careers and especially their lives outside of the theatre. It considers the question: How should I act on stage as well as off-stage and how, or should they be, related? To what extent does it matter for dance artists to work toward, and hone, so-called virtuous habits and live a life of integrity, especially as defined by common decency and outlined by an ethics of care? The chapter examines debates related to the relationship between artists and art, and whether they should be viewed as separate or closely linked. It critiques more traditional views linking creative genius with immorality, and encourages readers to think about the value of striving towards being a decent, caring person, as they pursue a career in dance, with examples drawn from a variety of diverse perspectives across the dance field.
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Jillions, John A. "Other Roman Writers". W Divine Guidance, 64–76. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190055738.003.0005.
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Other Roman writers add breadth to the range of attitudes toward divine guidance. Propertius became more pious toward the end of his life, but his early poems are cynical and depict Jupiter as self-centered, spiteful, and deaf to prayer. Even so he mentions numerous forms of divination: astrology, dreams, omens, necromancy, casting lots, throwing dice, offering incense at household shrines. Ovid prefers “simple truth” and rails against popular religion and morality in The Art of Love and Metamorphoses. Livy detested the immorality and cynicism of the new generation represented by Ovid and the Epicurean Petronius, who in Satyricon was biting in his mockery of merchant-class pieties. But in his History of Rome Livy believes more in the tradition of Rome than in poetic stories of divine guidance. Lucan too largely dismisses divine interventions in history yet has a warm attitude toward Delphi’s holiness and accessibility.
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Kieran, Matthew. "Forbidden knowledge The challenge of immoralism". W Art and Morality, 56–73. Routledge, 2020. http://dx.doi.org/10.4324/9781003060222-4.
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