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­If an artist receives a public subsidy to support work on a specific

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Bunuel
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­If an artist receives a public subsidy to support work on a specific [#permalink] New post   08 Mar 2024, 11:00
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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.­
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­If an artist receives a public subsidy to support work on a specific [#permalink] New post   09 Mar 2024, 06:50
Bunuel wrote:
­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.­

­
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
 ­
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Re: ­If an artist receives a public subsidy to support work on a specific [#permalink] New post   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.
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Re: ­If an artist receives a public subsidy to support work on a specific [#permalink] New post   26 Mar 2024, 12:04
Conclusion: Should repay if is able to repay. 

­(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.

Negated ­(C)
A subsidy should be understood as creating a debt that, though routinely forgiven, is rightly forgiven even if either the debtor is able to repay it or the creditor is interested in repayment. 
Negation in short:= Forgiven even if the artist is able to repay

Negated C breaks the conclusion.

 
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Re: ­If an artist receives a public subsidy to support work on a specific [#permalink] New post   19 Apr 2024, 08:50
­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. - WRONG. Irrelevant because it takes morality in other direction that is not related to passage.

(B) A financially successful artist should acknowledge that financial success is not solely a function of artistic merit. - WRONG. Even he/she acknowledge then it really does not affects the conclusion of why the artist is morally obliged.

(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. - CORRECT. Though POE helps, it suggests that inability of paying back is not morally wrong. If that is so, then conclusion about moral obligation stands to lose. 

(D) The provider of a subsidy should judge as most deserving of subsidies those whose projects are most likely to turn into financial successes. - WRONG. Concern is of artist and not the provider of 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. - WRONG. Irrelevant like B is.

Answser C.
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Re: ­If an artist receives a public subsidy to support work on a specific [#permalink]
19 Apr 2024, 08:50
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