Many of the most popular genres of narrative art are designed to elicit negative emotions: emotions that are experienced as painful or involving some degree of pain, which we generally avoid in our daily lives. Melodramas make us cry. Tragedies bring forth pity and fear. Conspiratorial thrillers arouse feelings of hopelessness and dread, and devotional religious art can make the believer weep in sorrow. Not only do audiences know what these artworks are supposed to do; they seek them out (...) in pursuit of prima facie painful reactions.Traditionally, the question of why people seek out such experiences of painful art has been presented as the paradox of tragedy. Most solutions to the paradox of tragedy assume that the reason we seek out tragedies, horror films, melodramas, and the like is because they afford pleasureful experiences. From there, theorists attempt to account for the source of this pleasure, a pleasure assumed to be had from representations of events from which we do not derive pleasure in real life. I argue that this assumption is suspect: the motive for seeking out devotional religious art, melodrama, tragedy, and some horror is not clearly to find pleasure. (shrink)

In this chapter I explore what painful art can tell us about the nature and importance of human welfare. My goal is not so much to defend a new solution to the paradox of tragedy, as it is to explore the implications of the kinds of solutions that I find attractive. Both nonhedonic compensatory theories and constitutive theories explain why people seek out painful art, but they have troublesome implications. On some narrow theories of well-being, they imply (...) that painful art is bad for us. Accordingly, we may rightly wonder if it rational for people to watch melodramas or to listen to love songs. One might think that we should generally avoid unpleasant works of art. This implication flirts with absurdity. I show how it can be avoided by making a distinction between well-being and worth. (shrink)

In this article, I will first present a number of contemporary philosophical conceptions that offer various solutions to the “paradox of negative emotions” as a general problem of how one can enjoy art that involves painful emotions. Solutions presented include ambivalence and value judgments theories, compensatory theories, and theories of catharsis. Then the article highlights a number of modern empirical studies devoted to this paradox. Despite the fact that they contain methodological and substantive problems, and do not (...) add up to a coherent system, their results are valuable, since they challenge the possibility of a universal solution to the paradox. (shrink)

I discuss the aesthetic power of painful art. I focus on artworks that occasion pain by “hitting too close to home,” i.e., by presenting narratives meant to be “about us.” I consider various reasons why such works may have aesthetic value for us, but I argue that the main reason has to do with the power of such works to transgress conversational boundaries. The discussion is meant as a contribution to the debate on the paradox of tragedy.

This essay updates Aaron Smuts', 2009 Philosophy Compass piece, “Art and Negative Affect” in light of recent work on the topic. The “paradox of painful art” is the general problem of how it is possible to enjoy or value experiences of art that involve painful emotions. It encompasses both the paradox of tragedy and the paradox of horror. Section 2 lays out a taxonomy of solutions to the paradox of painful art and argues (...) that we should opt for a pluralistic approach rather than seeking a unified solution. Section 3 surveys recent work on the topic, with an emphasis on views holding that it is possible for an experience of art to be pleasant partly in virtue of involving painful emotion. Section 4 suggests a range of phenomena that are not usually considered under the umbrella of the paradox of painful art but that offer promising directions for further research. (shrink)

Bodily pain strikes many philosophers as deeply paradoxical. The issue is that pains seem to bear both physical characteristics, such as a location in the body, and mental characteristics, such being mind-dependent. In this paper I clarify and address this alleged paradox of pain. I begin by showing how a further assumption, Objectivism, the thesis that what one feels in one’s body when one is in pain is something mind-independent, is necessary for the generation of the paradox. Consequently, (...) the paradox can be avoided if one rejects this idea. However, doing so raises its own difficulties, for it is not obvious how anything can possess all of the features we typically associate with bodily pain. To address this puzzle and finally put the paradox of pain to rest, I develop the Embodied View, a novel metaphysical account on which pains are constitutively mind-dependent features of parts of a subject’s body. (shrink)

The main aim of this paper is to reconstruct different aspects of the history of ideas of suicide, from antiquity to late modernity, and contemplate their dialectical tension. Reflexive suicide prevention, drawing on the ancient wisdom that the art of living is inseparable from the art of dying, takes advantage, it is argued, of the contradictory nature of suicide, and hence embraces, rather than trying to overcome, death, pain, grief, fear, hopelessness and milder depressions. This approach might facilitate the transformation (...) of inner shame to inter-personal guilt, which is the precondition for coping with losses through grieving that is shared with others. The traditional projection of suicide on the ‘Other’, reinforced by modernity’s bio-political suppression of death, has inhibited development of good suicide prevention. Awareness of the ambiguity and ambivalence found in suicide may work as a resource when measures are taken to address as many causal mechanisms as possible, and bringing special emphasis to external factors. (shrink)

In the 1930s, the Bengali philosopher K. C. Bhattacharyya proposed a new theory of rasa, or aesthetic emotion, according to which aesthetic emotions are feelings that have other feelings as their intentional objects. This paper articulates how Bhattacharyya’s theory offers a novel solution to the puzzle of how it is both possible and rational to enjoy the kind of negative emotions that are inspired by tragic and sorrowful tales. The new solution is distinct from the conversion and compensation views that (...) dominate the existing literature, and it derives its significance from how it ties aesthetic experience to self-awareness. (shrink)

There are few things in our lives we dislike or hate so strongly as pain. On the other hand, the symptoms of the patients suffered from so-called congenital analgesia teach us that if we are deprived of the ability to feel pain, our lives would be unbelievably miserable and disastrous. In this way, if we try to understand the meaning and the value of pain, it seems we immediately find a paradox. The paradoxical character of pain is reflected in (...) philosophical discussions between subjectivist’s and objectivist’s view of pain. In this paper, I try to show that the seemingly paradoxical character emerges because we are obsessed by groundless prejudice that the concept of pain must have one definite single meaning and that if phenomena of pain can be understood as multidimensional, the various characteristics of pain can be interpreted as various aspects of multi-dimensional pain experiences.Hay pocas cosas en nuestras vidas que nos desagraden u odiemos tan fuertemente como el dolor. Por otro lado, los síntomas de los pacientes que padecen la llamada analgesia congénita nos enseñan que, si nos privamos de la capacidad de sentir dolor, nuestras vidas serían increíblemente miserables y desastrosas. De esta manera, si tratamos de comprender el significado y el valor del dolor parece que encontramos inmediatamente una paradoja. El carácter paradójico del dolor se refleja en discusiones filosóficas entre la visión del dolor subjetivista y objetivista. En este trabajo, trato de mostrar que el carácter aparentemente paradójico surge porque estamos obsesionados por el prejuicio infundado de que el concepto de dolor debe tener un único significado definido; y que, si los fenómenos de dolor pueden entenderse como multidimensionales, las diversas características del dolor pueden ser interpretadas como varios aspectos de expe-riencias de dolor multidimensionales.Palabr. (shrink)

Critical discussion of Chris Hill's perceptual theory of pain.

Sterols and the reductant nicotinamide adenine dinucleotide phosphate (NADPH), essential for eukaryotic life, arose because of, and as an adaptation to, rising levels of molecular oxygen (O2). Hence, the NADPH and O2‐intensive process of sterol biosynthesis is inextricably linked to redox status. In mammals, cholesterol biosynthesis is exquisitely regulated post‐translationally by multiple E3 ubiquitin ligases, with membrane associated Really Interesting New Gene (RING) C3HC4 finger 6 (MARCHF6) degrading at least six enzymes in the pathway. Intriguingly, all these MARCHF6‐dependent enzymes require (...) NADPH. Moreover, MARCHF6 is activated by NADPH, although what this means for control of cholesterol synthesis is unclear. Indeed, this presents a paradox for how NADPH regulates this vital pathway, since NADPH is a cofactor in cholesterol biosynthesis and yet, low levels of NADPH should spare cholesterol biosynthesis enzymes targeted by MARCHF6 by reducing its activity. We speculate MARCHF6 helps mammalian cells adapt to oxidative stress (signified by low NADPH levels) by reducing degradation of cholesterogenic enzymes, thereby maintaining synthesis of protective cholesterol. (shrink)

Pain is far more than an aversive sensation. Chronic pain, in particular, involves the sufferer in a complex experience filled with ambiguity and paradox. The tensions thereby established, the unknowns, pressures, and oscillations, form a significant part of the painfulness of pain. This paper uses a phenomenological method to examine nine such paradoxes. For example, pain can be both immediate sensation and mediated by complex interpretations. It is a certainty for the experiencer, yet highly uncertain in character. It pulls (...) one to the present but also projects one outward to a feared or desired future. Chronic pain can seem located in the body and/or mind; interior to the self, or an alien other; confined to a particular point and/or radiating everywhere. Such fundamental paradoxes, existential and epistemological, can challenge those living with long-term pain. (shrink)

People seem to perceive and locate pains in bodily locations, but also seem to conceive of pains as mental states that can be introspected. However, pains cannot be both bodily and mental, at least according to most conceptions of these two categories: mental states are not the kind of entities that inhabit body parts. How are we to resolve this paradox of pain? In this paper, I put forward what I call the ‘Developmental Challenge’, tackling the second pillar of (...) this paradox, i.e. the introspectionist view of pain according to which genuine pain reports are introspective reports. This view forms an inconsistent triad with two other widely held positions: young children make genuine pain reports, and young children do not make introspective reports. After introducing the paradox and the introspectionist view of pain in part 1, I present the developmental challenge, and defend both and. I conclude that the inconsistent triad can only be resolved by reconsidering the introspectionist view of pain. In discussing three potential factors that lead to the puzzling intricacies of our concept of pain, I argue that the concept of pain might not be paradoxical after all. (shrink)

This article aims to show that so-called Mail Art (art distributed via the international postal system) is based on five paradoxes. These paradoxes, which correlateto how Mail Art is distributed and exhibited by means of changing technologies, its aesthetics, its democratic ideals, and its transnational character, explain howMail Art has emerged and been constructed as an artistic medium on the stage of world cultures. While the paradoxes of Mail Art are specific for this particular medium, I argue that all media (...) types are more or less marked by inherent paradoxes. The fact that Mail Art includes all kinds of material, sensorial, spatiotemporal, and semiotic modes makes it an unusual art form, but here it is primarily meant to be an example of the ambiguous ways in which media types in general are delimited and defined. (shrink)

This essay interprets the controversy over Richard Serra's monumental sculpture, Tilted Arc , which was designed for a public plaza in downtown Manhattan in 1979 and then torn down five years later after intense public outcry. Levine reads this controversy as characteristic of contemporary debates over the arts, which continue the tradition of the nineteenth century avant-garde, pitting art against a wider public, and insisting that art must deliberately resist mainstream tastes and values in favor of marginality and innovation. This (...) definition of art has posed a lasting dilemma for democratic societies: how, after all, should a democracy deal with art that represents an intentional rejection of the majority? The problem becomes even more intractable when it comes to avant-garde art commissioned for public spaces, where the art object can challenge public tastes and movements in a way that is inescapable for those who must live and work in the space. Disturbed by the imposition of a massive and incomprehensible art object in a public plaza, Serra's opponents argued that Tilted Arc frustrated a whole range of socially beneficial activities, labor and leisure alike. And they claimed that Serra's supporters were dangerously anti-democratic. But despite the avant-garde's challenge to majority tastes, this essay makes the case that it remains a democratic value to continue to sponsor avant-garde art in public spaces. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Paradoxical Pleasures of Human ImaginationOmar Sultan HaqueHow Pleasure Works: The New Science of Why We Like What We Like, by Paul Bloom. W. W. Norton, 2010, 280 pp., $26.95.Have you heard about that chump who dished out $48,875 for John F. Kennedy's dusty old tape measure? The rock star who allegedly snorted his father's ashes with some cocaine? The creepy German guy who put out an advertisement for (...) someone who would let themselves be eaten by him (only to have hundreds volunteer)? The story about the man who was tired with his wife, but powerfully aroused when he was convinced he was with an exact duplicate of her? How can a staunch atheist also believe in the numinous? Why do people buy expensive wines, and bottled water, even though in blind taste tests, they can't distinguish them from the cheap stuff? Why buy pâté when your palate can't distinguish it from dog food? Why do people pay hundreds of dollars to hear the famous violinist Joshua Bell perform, but then cannot even spare a dime when a disguised Bell plays the same music on the subway in regular garb? Why might someone who trains people to prevent falls and injury enjoy watching a comedian fall and hurt himself? Why would someone pay a few hundred thousand dollars for art that consisted of someone else's unmade bed?It may be is easy to feel smug when thinking about this panoply of apparent irrationality in individual decisions and general human propensities. But the things that uniquely delight us may not be as [End Page 182] capricious as they seem. Many of the pleasures (curious or ordinary) that we get from our relationships with food, sex, irreplaceable objects, performances, safety and pain, music, literature and the imagination may have a deeper logic. They may be explicable by a better understanding of how our evolved minds work, and don't work, amidst our historically novel environments. Or so argues Paul Bloom—a cognitive developmental psychologist at Yale University—in How Pleasure Works, a brilliant and articulate synthesis of philosophy, psychology, evolutionary biology and the arts that elucidates the seemingly whimsical and once mysterious sources of our uniquely human hedonic satisfactions.The theory Bloom utilizes to systematize aspects of a number of pleasure phenomena is called psychological essentialism. This is an idea that has been developed in the last two decades by Bloom and the psychologists Douglas Medin, Andrew Ortony, Frank Keil, and Susan Gelman, among others.1 Psychological essentialism claims that, as Bloom puts it, people reliably, at a very young age, cross-culturally and throughout history, think that "things have an underlying reality or true nature that one cannot observe directly and it is this hidden nature that really matters." We assume that objects, artifacts, non-human animals, people and groups have invisible essences and unseen orders that account for their surface properties. In one of Keil's experiments, for instance, children thought that a dog made to look like a toy dog, a porcupine that had a surgery to make it look like a cactus, and a tiger stuffed into a lion suit were still a dog, porcupine and tiger, respectively. However, when each animal had its 'innards' altered, children said the animals changed into different categories, like objects or plants.2 Psychological essentialism for artifacts or tools is somewhat different from that for animate entities; the essence of artifacts is their history and the intentions of their creators.3According to How Pleasure Works, because of psychological essentialism, many human delights seem to arise that cannot be explained by simply appealing either to their low-level sensual qualities or their practical utility. Thus, the theory helps clarify some of pleasure's paradoxes. Like parents who affectionately keep tokens of their children's time as a baby, someone can enjoy owning a tape measure from a famous person because of its history of uses or other associations with important places or people. Snorting dad's ashes (however noxious to the nostrils), or pigging out on someone whom you admire, can be deeply meaningful because it feels as if one is... (shrink)

This essay argues that the representation of pain in Beckett’s writing exposes the paradox in his work concerning the relationship of the individual suffering subject and the community. Making reference to studies of pain and literature generally and to salient studies of Beckett, the essay shows how the narration of pain in Beckett’s prose works in particular is closely linked to its more general interrogation of subject-object relations. As the preeminent agent, source as well as repository of pain, writing (...) in Beckett itself comes to occupy, in a transpositional manner, the poles of subject, object and work. If ‘pain’ names the subject-object continuum, that very conjunction exposes the co-habitants to their own mutual espacement – qua subject and object. The common feeling is countermanded in advance by separation. The conjunction gives rise to a sapping, devastating and agonising attempt to conjure an image, an image which holds out the possibility of the felicity, or at least palliation, offered by community. The image is, however, both a wounding regime and a generative regime. The two components, pain and community, are illustrated with specific reference to Texts for Nothing, through an analysis of which a new conjuncture of the themes of pain, community and the role of the work of art is proposed. (shrink)

This essay argues that the representation of pain in Beckett’s writing exposes the paradox in his work concerning the relationship of the individual suffering subject and the community. Making reference to studies of pain and literature generally and to salient studies of Beckett, the essay shows how the narration of pain in Beckett’s prose works in particular is closely linked to its more general interrogation of subject-object relations. As the preeminent agent, source as well as repository of pain, writing (...) in Beckett itself comes to occupy, in a transpositional manner, the poles of subject, object and work. If ‘pain’ names the subject-object continuum, that very conjunction exposes the co-habitants to their own mutual espacement – qua subject and object. The common feeling is countermanded in advance by separation. The conjunction gives rise to a sapping, devastating and agonising attempt to conjure an image, an image which holds out the possibility of the felicity, or at least palliation, offered by community. The image is, however, both a wounding regime and a generative regime. The two components, pain and community, are illustrated with specific reference to Texts for Nothing, through an analysis of which a new conjuncture of the themes of pain, community and the role of the work of art is proposed. (shrink)

In this study, Alan Paskow first asks why fictional characters, such as Hamlet and Anna Karenina, matter to us and how they emotionally affect us. He then applies these questions to painting, demonstrating that certain paintings beckon us to view their contents as real. As emblematic of the fundamental concerns of our lives, paintings, he argues, are not simply in our heads but in our world. Paskow also situates the phenomenological approach to the experience of painting in relation to contemporary (...) schools of thought, particularly Marxist, feminist, and deconstructionist. (shrink)

Why do people seemingly want to be scared by movies and feel pity for fictional characters when they avoid situations in real life that arouse these same negative emotions? Although the domain of relevant artworks encompasses far more than just tragedy, the general problem is typically called the paradox of tragedy. The paradox boils down to a simple question: If people avoid pain then why do people want to experience art that is painful? I discuss six popular (...) solutions to the paradox: conversion, control, compensatory, meta-response, catharsis, and rich experience theories. (shrink)

Much recent discussion in philosophical aesthetics has focused on the issue of defining art, particularly visual art. Such efforts generally presume that art is important without explaining why it is important. It is the latter question that Alan Paskow addresses. He is interested in discovering how and why art, and especially painting, matter in our lives. This is an important topic. If art did not matter to people in some deeply personal sense, it would not be the subject of such (...) intense interest, whether on the part of the art-appreciating public or of academic philosophers. Paskow attempts to link the work of art to the viewer’s existence, to show its continuity with life, and to provide a framework that makes sense of the many effects art can have on those who experience it. To classify something as an artwork is to identify it as the kind of thing that can and should have value in our lives; and such value is not a question of pure, disinterested contemplation cut off from quotidian existence. (shrink)

Philosophers often assume that folk hold pain to be a mental state – to be in pain is to have a certain kind of feeling – and they think this state exhibits the classic Cartesian characteristics of privacy, subjectivity, and incorrigibility. However folk also assign pains (non-brain-based) bodily locations: unlike most other mental states, pains are held to exist in arms, feet, etc. This has led some (e.g. Hill 2005) to talk of the ‘paradox of pain’, whereby the folk (...) notion of pain is inherently conflicted. Recently, several authors have rejected the paradox view, arguing instead that folk hold a univocal, bodily view (i.e. pains are properties of various body parts, not of minds). This paper presents six objections to the bodily view of the folk concept of pain. We then outline a direction for future research – the ‘polyeidic approach’ – whereby the folk notion of pain is held to encompass various divergent (potentially conflicting) strands and we suggest that certain problems surrounding the treatment and communication of pain might be usefully be viewed through the lens of the polyeidic approach. (shrink)

I consider the field of aesthetics to be at its most productive and engaging when adopting a broadly philosophically informative approach to its core issues (e.g., shaping and testing putative art theoretic commitments against the relevant standard models employed in philosophy of language, metaphysics, and philosophy of mind) and to be at its most impotent and bewildering when cultivating a philosophically insular character (e.g., selecting interpretative, ontological, or conceptual models solely for fit with pre-fixed art theoretic commitments). For example, when (...) philosophical aesthetics tends toward insularity, we shouldn’t be surprised to find standard art-ontological categories incongruous with those standardly employed in contemporary metaphysics. Of course, when contemporary metaphysics tends to ignore aesthetic and art theoretic concerns, perhaps we likewise shouldn’t be surprised to find the climate of contemporary metaphysics inhospitable for a theory of art. While this may seem to suggest at least a prima facie tension between our basic art theoretic commitments considered from within philosophical aesthetics and our standard ontological commitments considered from without, I think any perceived tension or antagonism largely due to metaphysicians and aestheticians (at least implicitly) assuming there to be but two available methodological positions with respect to the relationship between contemporary metaphysics and philosophical aesthetics (in the relevant overlap areas). I call these two opposing views the Deference View and the Independence View. I argue that either view looks to lead to what I call the Paradox of Standards. (shrink)

Frida Kahlo (1907–1954) was a Mexican artist who is remembered for her self-portraits, pain and passion, and bold, vibrant colors. This work aims to use her life story and her artistic production in a longitudinal study to examine with quantitative tools the effects of physical and emotional pain (rage) on artistic expression. Kahlo suffered from polio as a child, was involved in a bus accident as a teenager where she suffered multiple fractures of her spine and had 30 operations throughout (...) her lifetime. She also had a tempestuous relationship with her painter husband, Diego Rivera. Her physical and personal troubles however became the texture of her vivid visual vocabulary—usually expressed through the depiction of Mexican and indigenous culture or the female experience and form. We applied color analysis to a series of Frida's self-portraits and revealed a very strong association of physical pain and emotional rage with low wavelength colors (red and yellow), indicating that the expression of her ailments was, consciously or not, achieved by increasing the perceived luminance of the canvas. Further quantitative analysis that used the fractal dimension identified “The broken column” as the portrait with higher compositional complexity, which matches previous critical acclaim of this portrait as the climax of her art. These results confirm the ability of color analysis to extract emotional and cognitive features from artistic work. We suggest that these tools could be used as markers to support artistic and creative interventions in mental health. (shrink)

Suffering Art Gladly is concerned with the ostensibly paradoxical phenomenon of negative emotions involved in the experience of art: how can we explain the pleasure felt or satisfaction taken in such experience when it is the vehicle of negative emotions, that is, ones that seem to be unpleasant or undesirable, and that one normally tries to avoid experiencing? The question is as old as philosophical reflection on the arts, beginning with Plato and Aristotle, and subsequently addressed by Hume, Burke, Diderot, (...) Kant, and Schopenhauer, among others. Moreover, it is still an important and unresolved question in contemporary philosophy of art, where the discussion has been notably enlivened by recent research on the nature of imagination, cognition, and the emotions. Suffering Art Gladly comprises essays of two kinds, though the division between them is not airtight. The first kind are essays with a primarily historical focus, examining the problem of negative emotion from art as treated by important figures in the history of aesthetic thought, including Aristotle, Hume, Diderot, Kant, and Schopenhauer. The second kind are essays with a primarily contemporary focus, in which the methods and tools of contemporary analytic philosophy are much in evidence. In addition to the thirteen essays forming the heart of the book there is a general introduction by the editor, motivating the basic problem with which the essays are variously concerned and identifying the presuppositions or assumptions that are involved in different solutions to the problem. The individual essays are wide-ranging, dealing with a variety of artforms, negative emotions, and specific works of art, and the contributors, all recognized scholars in the field of aesthetics, are a mixture of junior and senior figures representing seven nationalities. (shrink)

In this essay, I discuss a few ways in which songs are used, ways in which listeners engage with and find meaning in music. I am most interested in sad songs—those that typically feature narratives about lost love, separation, missed opportunity, regret, hardship, and all manner of heartache. Many of us are drawn to sad songs in moments of emotional distress. The problem is that sad songs do not always make us feel better; to the contrary, they often make us (...) feel worse. So, why do we listen to sad songs? I argue that we seek out sad songs, partly, to intensify distress, which helps us reflect on situations of profound personal significance. (shrink)

Abstract The first several chapters of the Bhagavad Git? set themselves a daunting task: to explain how a life of action can be rendered compatible with a life of renunciation of desire. The situation, in fact, is designed to raise the issue in an excruciatingly intense form. As Krsna and Arjuna pause on the verge of the great battle, Arjuna asks how killing people?including his own teachers and members of his own family?in order to secure power and fame, can be (...) squared with his religious and ethical convictions. This paper is an attempt to explicate Krsna's solution of the paradox, not from the point of view of Hindu tradition (in which it has, of course, driven whole movements of thought), but simply as a philosophical problem in its own right. I will argue that the paradox of the Git? suggests a reconstrual of the way we conceive the relation of means and ends in our activities, a reconstrual that can be profitably elucidated through the concept of art. And I will argue that this reconstrual has the potential to change our relations to our world and to one another in a way that is deeply life?affirming. (shrink)

The paradox of pain refers to the idea that the folk concept of pain is paradoxical, treating pains as simultaneously mental states and bodily states. By taking a close look at our pain terms, this paper argues that there is no paradox of pain. The air of paradox dissolves once we recognize that pain terms are polysemous and that there are two separate but related concepts of pain rather than one.

I argue that a solution to the paradox of horror should accommodate the possibility of enjoying an aesthetic experience partly in virtue of its being painful. This possibility is typically thought to be ruled out by the very nature of pleasure and pain. I argue that this is not so for adverbial accounts of pleasure. Using Aristotle's theory of pleasure as an example of an adverbial account, I show that it is possible for to enjoy an aesthetic experience (...) partly in virtue of its being painful. (shrink)

Two assumptions are common in discussions of the paradox of tragedy: (1) that tragic pleasure requires that the work be fictional or, if non-fiction, then non-transparently represented; and (2) that tragic pleasure may be provoked by a wide variety of art forms. In opposition to (1) I argue that certain documentaries could produce tragic pleasure. This is not to say that any sad or painful documentary could do so. In considering which documentaries might be plausible candidates, I further (...) argue, against (2), that the scope of tragic pleasure is limited to works that possess certain thematic and narrative features. (shrink)