By Garry L. Hagberg
Via a sequence of essays, Art and moral Criticism explores the advanced dating among the humanities and morality. * displays the significance of an ethical lifetime of engagement with artistic endeavors* varieties a part of the distinguished New instructions in Aesthetics sequence, which confronts the main exciting difficulties in aesthetics and the philosophy of paintings this day
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Additional resources for Art and Ethical Criticism (New Directions in Aesthetics)
102–3. 32 Shaftesbury, “Sensus communis,” Characteristicks, vol. 1, pp. 55–6. 33 Shaftesbury, “The Moralists,” Characteristicks, vol. 2, p. 112; see also vol. 2, p. 104. 34 Shaftesbury, “Miscellaneous Reflections,” Characteristicks, vol. 2, p. 215. 35 Shaftesbury, “Sensus communis,” Characteristicks, vol. 1, p. 77. 36 Anthony Ashley Cooper, third Earl of Shaftesbury, “A Notion of the Historical Draught or Tablature of the Judgment of Hercules,” in Anthony Ashley Cooper, Second Characters or the Language of Form, ed.
Some typical narratives can mislead, but others can illuminate. Likewise many emotional episodes are morally clarifying.
The objects of the emotions described and depicted in detail in the typical narrative are concrete particulars, but the principles of selection and salience that preside over their representation by the text are generic or general, namely, they are the necessary conditions for the emotions in question which serve to criterially pre-focus the text. Thus, typical narratives are concrete universals in at least this sense: their emotional address involves a concrete individual as the particular object of the wonted state and, as well, the operation of universal or necessary conditions – what were once called the formal objects of the emotion – as those play a role in the way the narrative has been pre-focused criterially.
Art and Ethical Criticism (New Directions in Aesthetics) by Garry L. Hagberg