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Can we still watch Woody Allen's movies? Can we still laugh at Bill Cosby's jokes? Woody Allen, Kevin Spacey, Dave Chappelle, Louis C. K., J.K. Rowling, Michael Jackson, Roseanne Barr. Recent years have proven rife with revelations about the misdeeds, objectional views, and, in some instances, crimes of popular artists. Spurred in part by the #metoo movement, and given more access than ever thanks to social media and the internet in general, the public has turned an alert and critical eye upon the once-hidden lives of previously cherished entertainers. But what should we members of the public do, think, and feel in response to these artists' actions or statements? It's a predicament that many of us face: whether it's possible to disentangle the deeply unsettled feelings we have toward an artist from how we respond to the art they produced. As consumers of art, and especially as fans, we have a host of tricky moral question to navigate: do the moral lives of artists affect the aesthetic quality of their work? Is it morally permissible for us to engage with or enjoy that work? Should immoral artists and their work be canceled? Most of all, can we separate an artist from their art? In Drawing the Line, Erich Hatala Matthes employs the tools of philosophy to offer insight and clarity to the ethical questions that dog us. He argues that it doesn't matter whether we can separate the art from the artist, because we shouldn't. While some dismiss the lives of artists as if they are irrelevant to the artist's work, and others instrumentalize artwork, treating it as nothing more than a political tool, Matthes argues both that the lives of artists can play an important role in shaping our moral and aesthetic relationship to the artworks that we love and that these same artworks offer us powerful resources for grappling with the immorality of their creators. Rather than shunning art made by those who have been canceled, shamed, called out, or even arrested, we should engage with it all the more thoughtfully and learn from the complexity it forces us to confront. Recognizing the moral and aesthetic relationships between art and artist is crucial to determining when and where we should draw the line when good artists do bad things.
Many teachers in public schools find themselves increasingly unsure of what the law expects of them in the classroom. The general public and government regulators are holding them to higher and stricter standards of conduct, yet their educational preparation has not kept up with the changing environment. Knowing Where to Draw the Line: Ethical and Legal Standards for Best Classroom Practice is an ideal guide for teacher education programs, offering a comprehensive account of the legal information that will arm teachers for legal survival in the classroom. Organized for both easy reference and thorough examination, this book instructs teachers on how to deal with students, parents, administrators, and local communities, covering an exhaustive list of legal issues, including sexual harassment, discipline, contract negotiations, liability, and medical concerns. It also highlights a number of court cases and uses hypothetical cases to further aid teachers in understanding these vital concerns.
What is "race"? What role, if any, should race play in our moral obligations to others and to ourselves? Ethics along the Color Line addresses the question of whether black Americans should think of each other as members of an extended racial family and base their treatment of each other on this consideration, or eschew racial identity and envision the day when people do not think in terms of race. Anna Stubblefield suggests furthermore that white Americans should consider the same issues. She argues, finally, that for both black and white Americans, thinking of races as families is crucial in helping to combat anti-black oppression.Stubblefield is concerned that the philosophical debate--argued notably between Kwame Anthony Appiah and Lucius Outlaw--over whether or not we should strongly identify in terms of race, and whether or not we should take race into account when we decide how to treat each other, has stalled. Drawing on black feminist scholarship about the moral importance of thinking and acting in terms of community and extended family, the author finds that strong racial identification, if based on appropriate ideals, is morally sound and even necessary to end white supremacy.
Through a series of essays, Art and Ethical Criticism explores the complex relationship between the arts and morality. Reflects the importance of a moral life of engagement with works of art Forms part of the prestigious New Directions in Aesthetics series, which confronts the most intriguing problems in aesthetics and the philosophy of art today
Legislative bodies have rarely been held in as low esteem as they are today, in part because the integrity of members and of the process is under severe challenge. Legislatures have responded to criticism from the media and the public with law and regulation, but they have yet to take ethics seriously enough.