Matthew Kieran

The paper proceeds by criticising the central accounts of obscenity proffered by Feinberg, Scruton and the suggestive remarks of Nussbaum and goes on to argue for the following formal characterization of obscenity: x is appropriately judged obscene if and only if either x is appropriately classified as a member of a form or class of objects whose authorized purpose is to solicit and commend to us cognitive-affective responses which are internalized as morally prohibited and does so in ways found to be or which are held to warrant repulsion and does so in order to indulge first order desires held to be morally prohibited or indulge the desire to be morally transgressive or the desire to feel repulsed or afford cognitive rewards or any combination thereof or x successfully elicits cognitive-affective responses which conform to conditions -

Given the socio‐economic incentives for academic relevance, the sceptic may well challenge the academic integrity of the evolving discipline of business ethics. For, the question is, how could such an emerging field of enquiry constitute applied philosophy? I critically examine certain arguments, principally advanced by Michael Oakeshott and Stephen Clark, which might be thought to underwrite such scepticism, via a wholesale suspicion of applied ethics. Yet, I argue, philosophy can be and is properly concerned with our practical experience and actions. The significance of more general, abstract ethical questions derives, in great part, from their bearing upon our practical deliberations and actions. Moreover, reflection about the nature and role of ethical principles need not deny a role for moral judgement. Although for contingent reasons we may be right to be worried, I present an argument to show that, as a matter of principle, the sceptical challenge regarding business ethics can be refuted.

The (im)moral character of art works often affects how we respond to them. But should it affect our evaluation of them as art? The article surveys the contemporary debate whilst outlining further lines of argument and enquiry. The main arguments in favour of aestheticism, the claim that there is no internal relation between artistic value and moral character, are considered. Nonetheless the connection between art's instructional aspirations and artistic value, as well as the ways in which works solicit responses from us, underwrite the claim that a work's moral character can be directly relevant to a work's value as art. Various competing accounts of how the relationship goes, ethicism, moderate moralism and immoralism, are considered. The article goes on to elaborate novel considerations in favour of a suitably qualified cognitive immoralism and suggests avenues of further enquiry with respect to the moral character of art works.