Ethics and the Arts

<p>Contents.- Dedication.- Contents.- Contributors.- Preface.- Introduction.- Ethics and the Arts; Paul Macneill.- Part 1The Arts and Ethics.- Literature.- 1 Literature and ethics: learning to read with Emma Bovary.- Iain Bamforth.- Introduction.; 1.1. The historical background; 1.2. The work; 1.3. Conclusion: the ethics of reading .- Music;  2 Music and morality; Philip Alperson; 2.1. Music, morality, and philosophy; 2.2. The deep diversity of musical practices; 2.3. Musical resources and morality2.4. Music, ethos, and education         .- Visual arts; 3 Modern painting and morality; Paul Macneill; Introduction ; 3.1. Morality in early modern painting; 3.1.1. The moral universe: gathering of the ashes; 3.1.2. Two Bathshebas; 3.2. Modern painting to 1980; 3.2.1. The beginnings of modern painting 3.2.2.Mark Rothko; 3.2.3. Andy Warhol; 3.3. Modern painting from a moral perspective ; Discussion.- 4 The photograph not as proof but as limit; Sarah Sentilles; 4.1. Roland Barthes’s Camera Lucida; 4.2. Josh Azzarella and Trevor Paglen; 4.3. Unknowability, Mystery, and Ethical Viewing.- Film and documentary; 5 Of redemption: the good of film experience; Brian Bergen-Aurand; 5.1. Encountering cinema; 5.2. Intersecting ethics; 5.3. Redeeming cinema and ethics; 5.4. Risking redemption.- 6 Movies and medical ethics; Henri Colt; Introduction; 6.1. Film as a starting point for studying medical ethics; 6.2. Engaging viewers and delivering messages cinematographically; 6.3. Extracted sequences illustrate memorable moments of a film’s narrative; 6.4. The value of informed awareness; 6.5. Aesthetics; a valuable addition to the message        ; Conclusion.- 7 The House of the Dead—ethics and aesthetics of the documentary; Debora Diniz; 7.1. The poem; 7.2. Three characters—Jaime, Antonio and Almerindo; 7.2.1 Almerindo Act 1: ‘The bells’; 7.2.2 Jaime Act 2: ‘The deaths’; 7.2.3 Antonio Act 3: ‘The forgotten’; 7.3 Activist documentary making.- Dance ; 8 Embracing the unknown, ethics and dance; PhilipaRothfield; Introduction; 8.1. Spinoza’s ethics; 8.2. Training and technique; Conclusion.-  9 Contemporary Indigenous dance, loss and cultural intuition; Rachael Swain; Introduction.; 9.1. Marrugeku; 9.2. Burning Daylight Production outline; 9.3. Contemporary dance in a context of loss and forced removal; 9.3.1 Case Study: Researching Burning Daylight ; 9.4. Negotiating the contemporary in the native title era; 9.4.1 Case study: Rubibi; 9.4.2 Case Study: Memory of Tradition; 9.5. The Art of Listening.- Performing arts and theatre .- 10 Toward an intersubjective ethics of acting and actor training; Phillip Zarrilli; 10.1. Considering the intersubjective space ‘between’ in one performance ; 10.1.1. Phenomenological perspectives on intersubjectivity; 10.2. Theatre and Ethics: a brief overview; 10.3. The postmodern condition and ethics; 10.3.1 Levinas’ ethics of ethics; Concluding discussion: two modes of intersubjectivity in Told by the Wind—the lived body, and a call we can/not ignore.- 11 Politics and ethics in applied theatre: face-to-face and disturbing the fabric of the sensible; James Thompson; 11.1. Facing the other; 11.2. Political affects; 11.3. Sensitising through participatory theatre; 11.4. The fabric of the sensible; 11.5. Conclusion.- 12 Presence in performance: an enigmatic quality; Paul Macneill; Introduction; 12.1. Reform of theatre in the twentieth century; 12.1.1 Artaud; 12.1.2 Stanislavsky     ; 12.2. Developments during the twentieth century; 12.3. Critique of the metaphysics of ‘presence’; 12.3.1 Derrida; 12.3.1.1 Derrida’s philosophical project and methodology; 12.3.2 ‘Self’ as grounding ‘presence’; 12.4. Political critiques of ‘presence’; 12.5. Changes in understanding ‘presence’: its many meanings; Discussion.- 13 Ethics and performance: enacting presence; Paul Macneill; Introduction;13.1. Enactment and presence; 13.2. Enacting and ‘presencing’ in performance; 13.3. An enactive approach: relating presence and ethics; 13.3.1 Not resolved—openness to surprise; 13.3.2 The House with the Ocean View ; 13.4. An Affective Athleticism; Conclusion.- Part 2: What is the relation between ethics and the arts?.- 14 Ethics and the arts: a critical review of the new moralisms; Paul Macneill; Introduction; 14.1. The new ‘moralisms’; 14.2. Challenges to ‘moralism’: Immoral works of art ; 14.3. ‘Ethicism’ and its critics; Discussion; 15 Ethics and aesthetics—joined at the hip? ; Miles Little; 15.1. The nexus between aesthetics and ethics; 15.2. Public discourse; 15.3. Implications.- Part 3: Bioart and bioethics.- 16 Taking responsibility for life: bioethics and bioart; Joanna Zylinska; 16.1. Life in bioart; 16.2. Normativity and the democratic paradox; 16.3. Performing life; 16.4. Between transformation and invention; 16.5. Affective encounters and the ethical ‘cut’.- 17 The unnatural relations between artistic research and ethics committees: an artist’s perspective; IonatZurr and OronCatts; 17.1. Introduction; 17.2. Case studies ; 17.2.1 Is art research?; 17.2.2 Animal ethics committee; 17.2.3 Using one’s own skin; 17.2.4 Tissue from living donors for artistic expression ; 17.2.5 Audience response to tissue; 17.3. Conclusion.- Part 4: Art and ethics in relation to science and medicine.- 18 Ethics and the arts in the medical humanities; Claire Hooker; 18.1. The medical humanities: a growing field; 18.2. The benefits ascribed to the arts in the medical humanities; 18.3. Nussbaum/Charon: A model for art and ethics in medicine and healthcare; 18.4. Criticisms of Nussbaum/Charon   ; 18.5. Postmodern approaches and their limitations; Conclusion.- 19 The songs of spring: quest myths, metaphors, and medical progress; George J. Annas; 19.1. Genomic ‘personalised’ medicine; 19.2. The little prince’s anti-quest; 19.3. Stories about people who need healthcare; 19.4. Competing stories in American healthcare; 20 Art, place, climate: situated ethics; Ruth Little; Place; Culture and climate; Embodied knowledge; Art, science, interdisciplinary futures; Conclusion.- 21 Arts rich contribution to ethics; Paul Macneill; 21.1 Intercultural issues in making art; 21.2 Substantive moral issues portrayed in art; 21.3 ‘Relating’ ethically examined in theatre, film, dance, and toward ‘place’; 21.4 Art as celebration—supportive of community and ethical relationship; 21.5 Moral commentary in works of art—and art as political protest; 21.6 Ethics and images; 21.7 Ethical issues in making art; 21.8 Ethics of art in relating to science and medicine; 21.9 Ethics of teaching and the teaching of ethics; 21.10 Normative standards in making, appreciating, and drawing lessons from art ;21.11 Theoretical and philosophical positions relating ethics to the arts; 21.12 Arts offers a rich contribution to ethics.- Index.         </p>