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.

From Plato through Aquinas to Kant and beyond beauty has traditionally been considered the paradigmatic aesthetic quality. Thus, quite naturally following Socrates' strategy in The Meno, we are tempted to generalize from our analysis of the nature and value of beauty, a particular aesthetic value, to an account of aesthetic value generally. When we look at that which is beautiful, the object gives rise to a certain kind of pleasure within us. Thus aesthetic value is characterized in terms of that which affords us pleasure. Of course, the relation cannot be merely instrumental. Many activities may lead to consequent pleasures that we would not consider to be aesthetic in any way. For example, playing tennis, going swimming or finishing a book.

Apparently snobbery undermines justification for and legitimacy of aesthetic claims. It is also pervasive in the aesthetic realm, much more so than we tend to presume. If these two claims are combined, a fundamental problem arises: we do not know whether or not we are justified in believing or making aesthetic claims. Addressing this new challenge requires an epistemological story which underpins when, where and why snobbish judgement is problematic, and how appreciative claims can survive. This leads towards a virtue-theoretic account of art appreciation and aesthetic justification, as contrasted with a purely reliabilist one – a new direction for contemporary aesthetics.

Why does art matter to us, and what makes it good? Why is the role of imagination so important in art? Illustrated with carefully chosen colour and black-and-white plates of examples from Michaelangelo to Matisse and Poussin to Pollock, _Revealing Art_ takes us on a compelling and provocative journey. Kieran explores some of the most important questions we can ask ourselves about art: how can art inspire us or disgust us? Is artistic judgement simply a matter of taste? Can art be immoral or obscene, and should it be censored? He brings such abstract issues to life with fascinating discussions of individual paintings, photographs and sculptures, such as Michelangelo's _Pieta_, Andres Serrano's _Piss Christ_ and Francis Bacon's powerful paintings of the Pope. He also suggests some answers to problems that any one in an art gallery or museum is likely to ask themselves: what is a beautiful work of art? and can art really reveal something true about our own nature? _Revealing Art _is ideal for anyone interested in debates about art today, or who has simply stood in front of a painting and felt baffled.