ISBN:
9789401788168
Language:
English
Pages:
Online-Ressource (XIII, 273 p. 8 illus, online resource)
Series Statement:
SpringerLink
Series Statement:
Bücher
Parallel Title:
Druckausg. Ethics and the arts
Keywords:
Philosophy (General)
;
Ethics
;
Philosophy
;
Philosophy (General)
;
Ethics
;
Aufsatzsammlung
;
Künste
;
Ethik
;
Ästhetik
;
Geschichte
Abstract:
This book proposes that the highest expression of ethics is an aesthetic. It suggests that the quintessential performance of any field of practice is an art that captures an ethic beyond any literal statement of values. This is toadvocate for a shift in emphasis,away from current juridical approaches to ethics (ethicalcodes or regulation), toward ethics as an aesthetic practice-away from ethics as a minimal requirement, toward ethics as an aspiration. The book explores the relationship between art and ethics: a subject that has fascinated philosophers from ancient Greece to the present. It explores this relationship in all the arts: literature, the visual arts, film, the performing arts, and music. It also examines current issues raised by ‘hybrid’ artists who are working at the ambiguous intersections between art, bioart and bioethics and challenging ethical limits in working with living materials. In considering these issues the book investigates the potential for art and ethics to be mutually challenged and changed in this meeting. The book is aimed at artists and students of the arts, who may be interested in approaching ethics and the arts in a new way. It is also aimed at students and teachers of ethics and philosophy, as well as those working in bioethics and the health professions. It will have appeal to the ‘general educated reader’ as being current, of considerable interest, and offering a perspective on ethics that goes beyond a professional context to include questions about how one approaches ethics in one’s own life and practices
Description / Table of Contents:
Preface; References; Contents; Chapter 1: Introduction : Ethics and the Arts; Reference; Part I: The Arts and Ethics; Chapter 2: Literature and Ethics: Learning to Read with Emma Bovary; 2.1 Introduction; 2.2 The Historical Background; 2.3 The Work; 2.4 Conclusion: The Ethics of Reading; References; Chapter 3: Music and Morality; 3.1 Music, Morality, and Philosophy ; 3.2 The Deep Diversity of Musical Practices; 3.3 Musical Resources and Morality; 3.4 Music, Ethos, and Education; References; Chapter 4: Modern Painting and Morality; 4.1 Introduction; 4.2 Morality in 'Early Modern' Painting
Description / Table of Contents:
4.2.1 The Moral Universe: Gathering of the Ashes4.2.2 Two Bathshebas; 4.3 Modern Painting to 1980; 4.3.1 The Beginnings of Modern Painting; 4.3.2 Rothko; 4.3.3 Andy Warhol; 4.4 Modern Painting from a Moral Perspective; 4.5 Conclusion; References; Chapter 5: The Photograph Not as Proof but as Limit; 5.1 Roland Barthes's Camera Lucida; 5.2 Josh Azzarella and Trevor Paglen; 5.3 Unknowability, Mystery, and Ethical Viewing; References; Chapter 6: Of Redemption: The Good of Film Experience; 6.1 Encountering Cinema; 6.2 Intersecting Ethics; 6.3 Redeeming Cinema and Ethics; 6.4 Risking Redemption
Description / Table of Contents:
ReferencesChapter 7: Movies and Medical Ethics; 7.1 Introduction; 7.2 Film as a Starting Point for Studying Medical Ethics; 7.3 Engaging Viewers and Delivering Messages Cinematographically; 7.4 Extracted Sequences Illustrate Memorable Moments of a Film's Narrative; 7.5 The Value of Informed Awareness; 7.6 Aesthetics; A Valuable Addition to the Message; 7.7 Conclusion; References; Chapter 8: The House of the Dead-The Ethics and Aesthetics of Documentary; 8.1 The Poem; 8.2 Three Characters-Jaime, Antonio and Almerindo; 8.2.1 Almerindo Act 1: 'The bells'; 8.2.2 Jaime Act 2: 'The deaths'
Description / Table of Contents:
8.2.3 Antonio Act 3: 'The forgotten'8.3 Activist Documentary Making; References; Chapter 9: Embracing the Unknown, Ethics and Dance; 9.1 Introduction; 9.2 Spinoza's Ethics; 9.3 Training and Technique; 9.4 Conclusion; References; Chapter 10: Burning Daylight : Contemporary Indigenous Dance, Loss and Cultural Intuition; 10.1 Introduction; 10.2 Marrugeku; 10.3 Burning Daylight Production Outline; 10.4 Contemporary Dance in a Context of Loss and Forced Removal; 10.4.1 Case Study: Researching Burning Daylight ; 10.5 Negotiating the Contemporary in the Native Title Era; 10.5.1 Case Study: Rubibi
Description / Table of Contents:
10.5.2 Case Study: Memory of Tradition10.6 The Art of Listening; References; Chapter 11: Toward an Intersubjective Ethics of Acting and Actor Training; 11.1 Considering the Intersubjective Space 'Between' in One Performance; 11.1.1 Phenomenological Perspectives on Intersubjectivity; 11.2 Theatre and Ethics: A Brief Overview; 11.3 The Postmodern Condition and Ethics; 11.3.1 Levinas' Ethics of Ethics ; References; Chapter 12: Politics and Ethics in Applied Theatre: Face-to-Face and Disturbing the Fabric of the Sensible; 12.1 Facing the Other; 12.2 Political Affects
Description / Table of Contents:
12.3 Sensitising Through Participatory Theatre
Note:
Description based upon print version of record
DOI:
10.1007/978-94-017-8816-8
URL:
Volltext
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