Abstract
This book is a collection of invited essays on Ethics and the Arts. Most of the chapters were written without each author being familiar with other chapters and there is (unsurprisingly) a range of different approaches taken. Nevertheless, there is also a considerable degree of coherence between the chapters, which this concluding chapter addresses. The further aim is to examine the ways (in the particularities of each chapter) in which the arts can, and do, make a major contribution to ethics. The picture that emerges is of a two-way relationship between ethics and the arts. In this book, ethical concerns are discussed within the arts—but so too is ethics considered from the vantage point of the arts. In this chapter I take up this idea from both angles, in discussing the approaches taken by various authors toward ethics within their artform, as well as in drawing insights from the discussions of various ideas, art theories and practices, and a range of other disciplines, that may offer broader understandings of ethics. There are ethical issues that concern artists and a good many of them have been captured in chapters of this book.
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Notes
- 1.
The Symposium on ‘Reconsidering contemporary acting and actor/performer training from intercultural perspectives’ was organised by Intercultural Theatre Institute (Singapore) and The Institute For Interweaving Performance Cultures of Freie Universitat (Berlin) and held in the Intercultural Theatre Institute (Singapore) from 28 to 30 November 2012.
- 2.
Bergen-Aurand, Sentilles, Thompson, and Zarrilli all refer extensively to Levinas, yet their treatment, while similar, does not overlap except in minor details. Zarrilli and Sentilles give a relatively ‘straight’ account of Levinas—but even so, those accounts differ. Thompson construes Levinas in the light of subsequent commentators (Critchley & Butler); and Bergen-Aurand discusses Levinas in reference to particular film critics who have drawn on Levinas. There is no ‘one account’ common to all four of these authors. Reading the different accounts of Levinas, within the contexts of photography, film, theatre and participatory performance expands on one’s understanding of Levinas and is illuminative.
- 3.
For example, in the writings of Indian philosopher Abinavagupta (950–1020 C.E.) on aesthetics and ethics.
- 4.
Schubert’s Piano Quintet in A major, Op. post. 114 D.667 also known as ‘The Trout’ and was timed at 39 min.
- 5.
The musicians were, on Piano: Xie Jing Xian; Violin: Chan Yoong-Han; Viola: Gu Bing Jie; Cello: Ng Pei-Sian; and Double Bass: Yang Zheng Yi. The Performance was on Sunday 2nd December 2012.
References
Gaut, Berys Nigel. 2007. Art, emotion, and ethics. Oxford/New York: Oxford University Press.
Hume, David, Stephen Copley, and Andrew Edgar. 1993. Selected essays, World’s classics. Oxford/New York: Oxford University Press.
Jacobson, Daniel. 1997. In praise of immoral art. Philosophical Topics 25(1): 155–199.
Macneill, Paul Ulhas, and Bronaċ Ferran. 2010. Art and bioethics: Shifts in understanding across genres. Journal of Bioethical Inquiry 8(1): 71–85.
Ridout, Nicholas Peter. 2009. Theatre & ethics. Basingstoke/New York: Palgrave Macmillan.
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Macneill, P. (2014). Art’s Rich Contribution to Ethics. In: Macneill, P. (eds) Ethics and the Arts. Springer, Dordrecht. https://doi.org/10.1007/978-94-017-8816-8_22
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DOI: https://doi.org/10.1007/978-94-017-8816-8_22
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