Though pragmatic critics believe that art houses the potential for massive societal transformation, art is conspicuously ambivalent in its ability to promote good or evil. The critical project of pragmatic criticism is to establish a moral standard of quality for art. By establishing artistic boundaries based upon moral/ethical guidelines, art which enriches and entertains, inspires and instructs a reader with knowledge of truth and goodness will be preserved and celebrated, and art which does not will be judged inferior, cautioned against, and (if necessary) destroyed. Moral outrage as well as logical argument have been the motivating forces behind pragmatic criticism throughout history. The tension created between this emotional and intellectual reaction to literature has created a wealth of criticism with varying degrees of success.
So the mural graffiti artist does not have the motive of “passing on spiritual strength” through the composition of his or her work of art, providing Christian context, then according to Tolstoy, it is not “true art” (195). Being that he is a devout Christian, as confirmed in his book What I Believe, Tolstoy believes that everyone should follow his way, which seems like he feels is the only right way. Instead of leaving the realms of religion
Art is valuable precisely because it is imitative. As Sir Philip Sydney states, "Poesy is an art of imitation...with this end, to teach and delight" (137). Imitation not only entertains, but gains a moral/ethical purpose: to teach virtue. Artists must, in addition to possessing great creative skills, also bear moral responsibility for shaping their imitations. Samuel Johnson seems to revisit Plato's attack upon art with his admission that an accurate imitation of morally questionable subject matter is not only unacceptable, but potentially harmful to those who encounter it.
In contrast, Byron Bunch is sincerely moral. As opposed to using religion as way to justify his behavior, he uses religion as a way to guide his life and spirituality. Therefore, moral goodness is not the product of religion itself but rather the individual and how they choose to live their life. Works Cited Faulkner, William. Light in August: The Corrected Text.
Shelly in his work “defense of poetry” considered art to be judged by the ethical and intellectual benefits it showered upon mankind. Jonson spoke uncompromisingly on the nature of art. Dr jonson regretted the loss of a proposed epic by dryden because it led to the deprivation of the social and moral edification of mankind .what jonson meant was that art’s function was to socially improve and morally rectify the viewer ,reader or observor of the work of art. Clutton brock opposes this view and says on the contrary if a pieceof art is lost today its loss would be mourned not for the values it could or would impart but rather it would be mourned for the loss of art itself. However jonson thought as he did of art because he already had pre conceived otions about art and had not examined art carefully to see the nature of it.
This has a direct effect on style as well as the overall spin, which Marlowe takes on the archetype. Such as strong connection between Faustus and Marlowe makes it practical to speak of the damnation of both of these interesting characters almost simultaneously. Therefore, Marlowe and Faustus are both damned by their own self-improvement, not only by God, but also by themselves, and society. Doctor Faustus opens with a depiction of Faustus as the perfect Renaissance man. “He is partly an artist, who does not wish to glorify God, as his medieval predecessors did, but to applaud and please man; he is partly a scientist and philosopher, whose hope is to make man more godlike and not to justify his miserable life on earth; and, most significantly he is a Protestant, a Lutheran by training who has attempted through Reformation to escape the evils he associates with a Roman Catholic Church.” (source 5 113) As the epitome of renaissance man, Faustus believes that he can infinitely improve himself (4 155).
Therefore it can be said that Marlowe is attempting to alter the doctrines his fellow country men with whom are questioning their religions. Marlowe uses the renaissance ideals with the medieval myths to master his point. This work is a forewarning of damnation by those who attempt to alter the doctrines or moral standards, and a beacon of caution to those in search of the unknown. Dr Faustus, the work of good and evil. When man becomes idle his mind wanders and he wants more.
“All influence is immoral... To influence a person is to give him one’s own soul” In this quote, Wilde foreshadows the relationship between Dorian Gray and Lord Henry. In addition, as we read the novel, readers start to become aware of the power of art to each of the characters in the novel. When being under a negative influence, this can make the individual corrupt or contribute to their downfall. Due to this painting, all characters were influenced which proves that art can significantly influence the morality of an individual. As a piece of art itself, the novel invites us to question its form and purpose, as the preface
The we know that you know concept in Magritte’s paintings Ceci n’est Pas Une Pipe and Les Deux Mysteres effectively illustrates the nebulous connotations of beauty and the difficulty of determining an objects aesthetic value. Because of the complexity of ideas created by the different perspectives inherent in all creative endeavors, critics and philosophers, such as Joseph Addison and Immanuel Kant, have attempted to define the parameters of aesthetic judgment. Consequently, Addison and Kant each developed an argument that identified the parameters of aesthetic judgment and highlighted the sense of taste necessary for the recognition of beauty. As a result, in the interpretation of Magritte’s paintings, both Addison and Kant would conclude-- from different reasons drawn from their respective arguments--that Magritte’s work fails to attain a level of achievement consistent with the beautiful. At the top of Addison’s triarchy of aesthetic judgment or taste is the idea that “true wit” (an Addison synonym for beauty) is grounded in the “resemblance of ideas… that gives delight and surprise” to an individual (Addison, 264).
It is the imitative function of art which promotes disdain in Plato and curiosity in Aristotle. Examining the reality that art professes to imitate, the process of imitation, and the inherent strengths and weaknesses of imitation as a form of artistic expression may lead to understanding how these conflicting views of art could develop from a seemingly similar premise. Both philosophers hold radically different notions of reality. The assumptions each man makes about truth, knowledge, and goodness directly affect their specific ideas about art. For Plato, art imitates a world that is already far removed from authentic reality, Truth.