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08 Mar 2024, 11:00
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Be sure to select an answer first to save it in the Error Log before revealing the correct answer (OA)!
Difficulty:
65%
(hard)
Question Stats:
61% (02:13) correct
39%
(02:29)
wrong
based on 436
sessions
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If an artist receives a public subsidy to support work on a specific project - e.g., making a film - and if this project then proves successful enough to allow the artist to repay the subsidy, is the artist then morally obliged to do so? The answer is clearly yes, since the money returned to the agency distributing the subsidies will be welcome as a source of support for other artists deserving of public subsidies.
Which one of the following principles, if established, most helps to justify the conclusion in the passage?
(A) An artist has a moral duty to urge deserving fellow artists to try to obtain public subsidies, especially if those artists' projects promise to be financially successful.
(B) A financially successful artist should acknowledge that financial success is not solely a function of artistic merit.
(C) A subsidy should be understood as creating a debt that, though routinely forgiven, is rightly forgiven only if either the debtor is unable to repay it or the creditor is not interested in repayment.
(D) The provider of a subsidy should judge as most deserving of subsidies those whose projects are most likely to turn into financial successes.
(E) An artist requesting a subsidy for a potentially profitable project should be required to make a reasonable effort to obtain a bank loan first.
Which one of the following principles, if established, most helps to justify the conclusion in the passage?
(A) An artist has a moral duty to urge deserving fellow artists to try to obtain public subsidies, especially if those artists' projects promise to be financially successful.
(B) A financially successful artist should acknowledge that financial success is not solely a function of artistic merit.
(C) A subsidy should be understood as creating a debt that, though routinely forgiven, is rightly forgiven only if either the debtor is unable to repay it or the creditor is not interested in repayment.
(D) The provider of a subsidy should judge as most deserving of subsidies those whose projects are most likely to turn into financial successes.
(E) An artist requesting a subsidy for a potentially profitable project should be required to make a reasonable effort to obtain a bank loan first.
09 Mar 2024, 06:50
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Bunuel
A. Not related with the argument whether an artist capable to repay the subsidy is obliged to pay the debt
B . Irrelevant
C . Correct choice - it supports conclusion. A debtor should repay the subsidy if he is able to pay the debt. Last part talks about creditors interest. From argument we can say arguments motive is positive about repayment
D. Not true according to argument. It is contradictory
E. Additional information that is not strengthens the conclusion
21 Mar 2024, 19:36
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(A) An artist has a moral duty to urge deserving fellow artists to try to obtain public subsidies, especially if those artists' projects promise to be financially successful.
This principle suggests that artists should encourage others to seek public subsidies, particularly if their projects have the potential for financial success. While it promotes collaboration and support among artists, it doesn't directly address the moral obligation of an artist who has repaid a subsidy from a successful project.
(B) A financially successful artist should acknowledge that financial success is not solely a function of artistic merit.
This principle highlights the acknowledgment that financial success in the arts may not be solely due to artistic merit. While it's relevant to understanding the dynamics of success in the arts, it doesn't directly address the moral obligation of repaying a subsidy.
(C) A subsidy should be understood as creating a debt that, though routinely forgiven, is rightly forgiven only if either the debtor is unable to repay it or the creditor is not interested in repayment.
This principle frames subsidies as creating a debt that can be forgiven under certain circumstances. It implies that repayment of a subsidy might be considered morally obligatory unless specific conditions apply, such as the debtor's inability to repay or the creditor's lack of interest in repayment. This aligns with the conclusion that successful artists should repay subsidies if they're able to do so.
(D) The provider of a subsidy should judge as most deserving of subsidies those whose projects are most likely to turn into financial successes.
This principle focuses on the criteria for distributing subsidies, suggesting that subsidies should prioritize projects with a high likelihood of financial success. While relevant to the distribution of subsidies, it doesn't directly address the moral obligation of repaying a subsidy.
(E) An artist requesting a subsidy for a potentially profitable project should be required to make a reasonable effort to obtain a bank loan first.
This principle proposes that artists seeking subsidies for profitable projects should first attempt to secure a bank loan. While it addresses the financial aspects of funding artistic projects, it doesn't directly relate to the moral obligation of repaying a subsidy.
Among the options, option (C) best justifies the conclusion in the passage by framing subsidies as creating a debt that may be forgiven only under specific circumstances, suggesting that repayment may be morally obligatory under certain conditions. Therefore, option (C) is the most appropriate choice.
This principle suggests that artists should encourage others to seek public subsidies, particularly if their projects have the potential for financial success. While it promotes collaboration and support among artists, it doesn't directly address the moral obligation of an artist who has repaid a subsidy from a successful project.
(B) A financially successful artist should acknowledge that financial success is not solely a function of artistic merit.
This principle highlights the acknowledgment that financial success in the arts may not be solely due to artistic merit. While it's relevant to understanding the dynamics of success in the arts, it doesn't directly address the moral obligation of repaying a subsidy.
(C) A subsidy should be understood as creating a debt that, though routinely forgiven, is rightly forgiven only if either the debtor is unable to repay it or the creditor is not interested in repayment.
This principle frames subsidies as creating a debt that can be forgiven under certain circumstances. It implies that repayment of a subsidy might be considered morally obligatory unless specific conditions apply, such as the debtor's inability to repay or the creditor's lack of interest in repayment. This aligns with the conclusion that successful artists should repay subsidies if they're able to do so.
(D) The provider of a subsidy should judge as most deserving of subsidies those whose projects are most likely to turn into financial successes.
This principle focuses on the criteria for distributing subsidies, suggesting that subsidies should prioritize projects with a high likelihood of financial success. While relevant to the distribution of subsidies, it doesn't directly address the moral obligation of repaying a subsidy.
(E) An artist requesting a subsidy for a potentially profitable project should be required to make a reasonable effort to obtain a bank loan first.
This principle proposes that artists seeking subsidies for profitable projects should first attempt to secure a bank loan. While it addresses the financial aspects of funding artistic projects, it doesn't directly relate to the moral obligation of repaying a subsidy.
Among the options, option (C) best justifies the conclusion in the passage by framing subsidies as creating a debt that may be forgiven only under specific circumstances, suggesting that repayment may be morally obligatory under certain conditions. Therefore, option (C) is the most appropriate choice.
