{"id":{"repo_id":"uiuc","oai_identifier":"oai:www.ideals.illinois.edu:2142/69012"},"canonical_url":"https://search.dev.ndltd.org/etd/uiuc/oai:www.ideals.illinois.edu:2142/69012","repository":{"repo_id":"uiuc","name":"University of Illinois - Urbana-Champaign","base_url":"https://www.ideals.illinois.edu/oai-pmh"},"display":{"title":"Art and Social Ethics","abstract":"Three major theses are argued in this study. One is that conceptions of art have radically altered during the past hundred years. Before the end of the nineteenth century, works of art were conceived as moral phenomena; i.e., as objects which reflected the moral character of their makers, and required virtue on the part of viewers for proper appreciation. Toward the end of the nineteenth century, this perspective was abandoned by many theorists. Art came to be understood as a nonmoral, "aesthetic" object.","abstract_html":"Three major theses are argued in this study. One is that conceptions of art have radically altered during the past hundred years. Before the end of the nineteenth century, works of art were conceived as moral phenomena; i.e., as objects which reflected the moral character of their makers, and required virtue on the part of viewers for proper appreciation. Toward the end of the nineteenth century, this perspective was abandoned by many theorists. Art came to be understood as a nonmoral, "aesthetic" object.","abstract_has_math":false,"creators":["Amburgy, Patricia Marie"],"institution":"University of Illinois at Urbana-Champaign","degree_name":"Ph.D.","degree_level":"Dissertation","degree_discipline":"Education","degree_department":null,"school":null,"contributors":[],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2014,"date_issued":"2014-12-15T18:50:38Z","date_published":"2014-12-15T18:50:38Z","updated_at":"2026-07-22T22:26:00Z","subjects":["Fine Arts"],"languages":[],"rights":[],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier","label":"Identifier","values":["(UMI)AAI8600114"],"render_values":[{"text":"(UMI)AAI8600114","href":null,"code":true}]}]},"links":{"outbound_url":"http://hdl.handle.net/2142/69012","outbound_label":"Handle","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:creator","label":"Author","values":["Amburgy, Patricia Marie"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2014-12-15T18:50:38Z","10000-01-01","1985"]},{"key":"dc:type","label":"Dc Type","values":["text"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Education"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Dissertation"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Ph.D."]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["University of Illinois at Urbana-Champaign"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Fine Arts"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["http://hdl.handle.net/2142/69012","(UMI)AAI8600114"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["Three major theses are argued in this study. One is that conceptions of art have radically altered during the past hundred years. Before the end of the nineteenth century, works of art were conceived as moral phenomena; i.e., as objects which reflected the moral character of their makers, and required virtue on the part of viewers for proper appreciation. Toward the end of the nineteenth century, this perspective was abandoned by many theorists. Art came to be understood as a nonmoral, "aesthetic" object.","A second major thesis is that the change in conceptions of art was a product of two historical factors. One was the rise of modern, technological society; the other was a change in metaphysical perspective, or general world-view. Before the end of the nineteenth century, the "real," most significant features of art were taken to be moral characteristics. With the rise of technological society, however, its "real" features came to be conceived as affective and/or "objective" in character.","A third major thesis in the study is that art was trivialized when it came to be understood from a nonmoral, scientific world-view. In a technological society, art became less meaningful than it had been in the past. It fell from being understood as a central, highly important part of life, to a leisure-time, extraneous "frill."","Made available in DSpace on 2014-12-15T18:50:38Z (GMT). No. of bitstreams: 1 8600114.pdf: 7685471 bytes, checksum: 98c94fcfba5b936d74a40da9132c66a1 (MD5) Previous issue date: 1985","Embargo set by: Seth Robbins for item 69178 Lift date: Forever Reason: Restricted to the U of I community idenfinitely during batch ingest of legacy ETDs","Restricted to the U of I community idenfinitely during batch ingest of legacy ETDs","U of I Only","190 p.","Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 1985."]},{"key":"dc:title","label":"Title","values":["Art and Social Ethics"]}]}],"canonical_facts":{"dc:creator":["Amburgy, Patricia Marie"],"dc:date":["2014-12-15T18:50:38Z","10000-01-01","1985"],"dc:description":["Three major theses are argued in this study. One is that conceptions of art have radically altered during the past hundred years. Before the end of the nineteenth century, works of art were conceived as moral phenomena; i.e., as objects which reflected the moral character of their makers, and required virtue on the part of viewers for proper appreciation. Toward the end of the nineteenth century, this perspective was abandoned by many theorists. Art came to be understood as a nonmoral, "aesthetic" object.","A second major thesis is that the change in conceptions of art was a product of two historical factors. One was the rise of modern, technological society; the other was a change in metaphysical perspective, or general world-view. Before the end of the nineteenth century, the "real," most significant features of art were taken to be moral characteristics. With the rise of technological society, however, its "real" features came to be conceived as affective and/or "objective" in character.","A third major thesis in the study is that art was trivialized when it came to be understood from a nonmoral, scientific world-view. In a technological society, art became less meaningful than it had been in the past. It fell from being understood as a central, highly important part of life, to a leisure-time, extraneous "frill."","Made available in DSpace on 2014-12-15T18:50:38Z (GMT). No. of bitstreams: 1 8600114.pdf: 7685471 bytes, checksum: 98c94fcfba5b936d74a40da9132c66a1 (MD5) Previous issue date: 1985","Embargo set by: Seth Robbins for item 69178 Lift date: Forever Reason: Restricted to the U of I community idenfinitely during batch ingest of legacy ETDs","Restricted to the U of I community idenfinitely during batch ingest of legacy ETDs","U of I Only","190 p.","Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 1985."],"dc:identifier":["http://hdl.handle.net/2142/69012","(UMI)AAI8600114"],"dc:subject":["Fine Arts"],"dc:title":["Art and Social Ethics"],"dc:type":["text"],"thesis:degree_discipline":["Education"],"thesis:degree_level":["Dissertation"],"thesis:degree_name":["Ph.D."],"thesis:institution_name":["University of Illinois at Urbana-Champaign"]},"updated_at":"2026-07-22T22:26:00Z"}