There is a debate within philosophy of literature as to whether narrative artworks should be judged morally, for their ethical value, meaning and impact. On one side you have the aesthetes, defenders of aestheticism, who deny the ethical value of an artwork can be taken into consideration when judging the work’s overall aesthetic value. Richard Posner backs artists such as Oscar Wilde who famously wrote, ‘there is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all’. On the other side of the debate are proponents of ethical criticism such as Martha Nussbaum, Wayne Booth, Noël Carroll and Mary Devereaux. This article examines the educational implications of each position and ultimately defends the importance of moral education alongside aesthetic education. Given artworks are powerful vehicles for moral sentiments and meaning, it is important that viewers are taught to engage critically with art’s ethical features as well as aesthetic features. In this way, educational concerns pose a challenge to the position of aestheticism.

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当好的艺术是坏的：教育批判性的观众

关于叙事艺术是否应该根据其伦理价值、意义和影响进行道德评判，在文学哲学中存在争议。一方面，你有美学家，审美主义的捍卫者，他们否认艺术品的伦理价值，在判断作品的整体审美价值时可以考虑。理查德·波斯纳 (Richard Posner) 支持奥斯卡·王尔德 (Oscar Wilde) 等艺术家，他曾写道：“没有道德或不道德的书之类的东西。书要么写得好，要么写得不好。就这些'。辩论的另一边是道德批评的支持者，如玛莎·努斯鲍姆、韦恩·布斯、诺埃尔·卡罗尔和玛丽·德弗罗。本文考察了每个职位的教育含义，并最终捍卫了德育与美育的重要性。鉴于艺术作品是道德情感和意义的强大载体，重要的是要教会观众批判性地参与艺术的伦理特征和审美特征。这样，教育问题就对唯美主义的地位提出了挑战。