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  1. Making Sense of Affective Property.Li-Hsiang Hsu - manuscript
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  2. How Much Should We Be Moved by the Fate of Anna Karenina?Aaron Smuts - manuscript
    It is widely assumed that we can meaningfully talk about emotional reactions as being appropriate or inappropriate. Much of the discussion has focused on one kind of appropriateness, that of fittingness. An emotional response is appropriate only if it fits its object. For instance, fear only fits dangerous things. There is another dimension of appropriateness that has been relatively ignored — proportionality. For an emotional reaction to be appropriate not only must the object fit, the reaction should be of the (...)
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  3. Emotion and Aesthetic Value.Jesse Prinz - manuscript
    Aesthetics is a normative domain. We evaluate artworks as better or worse, good or bad, great or grim. I will refer to a positive appraisal of an artwork as an aesthetic appreciation of that work, and I refer to a negative appraisal as aesthetic depreciation. (I will often drop the word “aesthetic.”) There has been considerable amount of work on what makes an artwork worthy of appreciation, and less, it seems, on the nature of appreciation itself. These two topics are (...)
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  4. Starting From the Muses: Engaging Moral Imagination Through Memory’s Many Gifts.Guy Axtell - forthcoming - In Brian Robinson (ed.), The Moral Psychology of Amusements. Lanham, MD: Rowman & Littlefield.
    In Greek mythology the Muses –patron goddesses of fine arts, history, humanities, and sciences– are tellingly portrayed as the daughters of Zeus and Mnemosyne, the goddess Memory, who is of the race of Titans, older still than Zeus and other Olympian deities. The relationship between memory and such fields as epic poetry, history, music and dance is easily recognizable to moderns. But bards/poets like Homer and Hesiod, who began oral storytelling by “invoking the Muses” with their audience, knew well that (...)
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  5. Thick and Perceptual Moral Beauty.Ryan P. Doran - forthcoming - Australasian Journal of Philosophy.
    Which traits are beautiful? And is their beauty perceptual? It is argued that moral virtues are partly beautiful to the extent that they tend to give rise to a special emotion—ecstasy—and that compassion tends to be more beautiful than fair-mindedness because it tends to give rise to this emotion to a greater extent. It is then argued, on the basis that emotions are best thought of as a special, evaluative kind of perception, that this argument suggests that moral virtues are (...)
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  6. Ingredients of Emotional Music: An Overview of the Features That Contribute to Emotions in Music.T. Eerola - forthcoming - Frontiers in Human Neuroscience. Conference Abstract: Tuning the Brain for Music.
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  7. Music and Affect: The Praxial View.David J. Elliott - forthcoming - Philosophy of Music Education Review.
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  8. Really Boring Art.Andreas Elpidorou & John Gibson - forthcoming - Ergo: An Open Access Journal of Philosophy.
    There is little question as to whether there is good boring art, though its existence raises a number of questions for both the philosophy of art and the philosophy of emotions. How can boredom ever be a desideratum of art? How can our standing commitments concerning the nature of aesthetic experience and artistic value accommodate the existence of boring art? How can being bored constitute an appropriate mode of engagement with a work of art as a work of art? More (...)
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  9. Jonathan Gilmore: Apt Imaginings, Feelings for Fictions and Other Creatures of the Mind.Ekin Erkan - forthcoming - Journal of Value Inquiry:1-9.
    Are the emotions elicited by real-life occurrences in analogous with those which occur in fictions? The position that Jonathan Gilmore stakes in Apt Imaginings: Feelings for Fictions and Other Creatures of the Mind is that our emotions are not governed by the same standards of appropriateness or rationality across life and art—there is a kind of separation, barrier or “quarantine” (to borrow Gilmore’s parlance). For instance, we may admire or root for Tony Soprano when watching The Sopranos but would abhor (...)
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  10. Aesthetic Agency.Keren Gorodeisky - forthcoming - In Luca Ferrero (ed.), Routledge Handbook for the Philosophy of Agency. pp. 456-466.
    Until very recently, there has been no discussion of aesthetic agency. This is likely because aesthetics has traditionally focused not on action, but on appreciation, while the standard approach identifies ‘agency’ with the will, and, more specifically, with the capacity for intentional action. In this paper, I argue, first, that this identification is unfortunate since it fails to do justice to the fact that we standardly attribute beliefs, emotions, desires, and other conative and affective attitudes that aren’t formed ‘at will,’ (...)
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  11. Aesthetic Knowledge.Keren Gorodeisky & Eric Marcus - forthcoming - Philosophical Studies:1-29.
    What is the source of aesthetic knowledge? Empirical knowledge, it is generally held, bottoms out in perception. Such knowledge can be transmitted to others through testimony, preserved by memory, and amplified via inference. But perception is where the rubber hits the road. What about aesthetic knowledge? Does it too bottom out in perception? Most say “yes”. But this is wrong. When it comes to aesthetic knowledge, it is appreciation, not perception, where the rubber hits the road. The ultimate source of (...)
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  12. The Aesthetic Achievement and Cognitive Value of Empathy for Rough Heroes.William Kidder - forthcoming - Journal of Value Inquiry.
    Modern television is awash in programs that focus on the rough hero, a protagonist that is explicitly depicted as immoral. In this paper I examine why audiences find these characters so compelling, focusing on archetypal rough heroes in two programs: The Sopranos and Breaking Bad. I argue that the ability of rough-hero programs to engender a certain degree of empathy for morally deviant characters despite viewers' resistance to empathizing with these characters' moral views is an aesthetic achievement. In addition, I (...)
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  13. Musical Scaffolding and the Pleasure of Sad Music: Comment on “An Integrative Review of the Enjoyment of Sadness Associated with Music".Joel Krueger - forthcoming - Physics of Life Reviews.
    Why is listening to sad music pleasurable? Eerola et al. convincingly argue that we should adopt an integrative framework — encompassing biological, psycho-social, and cultural levels of explanation — to answer this question. I agree. The authors have done a great service in providing the outline of such an integrative account. But in their otherwise rich discussion of the psycho-social level of engagements with sad music, they say little about the phenomenology of such experiences — including features that may help (...)
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  14. Consciousness.Anezka Kuzmicova - forthcoming - In Leah Price & Matthew Rubery (eds.), Further Reading. New York: Oxford University Press.
    This chapter revisits three common ideas about how consciousness works when we read fiction. Firstly, I contest the notion that the reading consciousness is a container of sorts, containing a circumscribed amount of textual stimulus. Secondly, I argue against the view that readers abstract their personal concerns away in reading, and that they do so with benefit. Thirdly, I show how the reading consciousness encompasses rather than excludes the physical situation and environment of reading. For each idea revisited, I discuss (...)
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  15. Literature and Readers' Empathy: A Qualitative Text Manipulation Study.Anezka Kuzmicova, Anne Mangen, Hildegunn Støle & Anne Charlotte Begnum - forthcoming - Language and Literature 26.
    Several quantitative studies (e.g. Kidd & Castano, 2013a; Djikic et al., 2013) have shown a positive correlation between literary reading and empathy. However, the literary nature of the stimuli used in these studies has not been defined at a more detailed, stylistic level. In order to explore the stylistic underpinnings of the hypothesized link between literariness and empathy, we conducted a qualitative experiment in which the degree of stylistic foregrounding was manipulated. Subjects (N = 37) read versions of Katherine Mansfield's (...)
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  16. Connecting Beauty and Love.Nick Riggle - forthcoming - In Christy Mag Uidhir & Alex King (eds.), Art and Philosophy: New Essays at the Intersection. Oxford University Press.
    In aesthetics there is a long tradition according to which beauty is the object of love. Is there a way of making sense of aesthetic affect as a kind of love? I suggest that there is by taking up a thought from Frank Sibley, according to whom aesthetic properties reflect non-aesthetic values that “go deep into human life and interests” or that “mean much to us” given the kind of life we live. I show how we might think that aesthetic (...)
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  17. Admiration, Appreciation, and Aesthetic Worth.Daniel Whiting - forthcoming - Australasian Journal of Philosophy.
    What is aesthetic appreciation? In this paper, I approach this question in an indirection fashion. First, I introduce the Kantian notion of moral worthy action and an influential analysis of it. Next, I generalize that analysis from the moral to the aesthetic domain, and from actions to affects. Aesthetic appreciation, I suggest, consists in an aesthetically worthy affective response. After unpacking the proposal, I show that it has non-trivial implications while cohering with a number of existing insights concerning the nature (...)
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  18. Grounding Confucian Moral Psychology in Rasa Theory: A Commentary on Shun Kwong-Loi’s “Anger, Compassion, and the Distinction Between First and Third-Person.”.Lee Wilson - forthcoming - Australasian Philosophical Review 6 (1).
    Shun Kwong-loi argues that the distinction between first- and third-person points of view does not play as explanatory a role in our moral psychology as has been supposed by contemporary philosophical discussions. He draws insightfully from the Confucian tradition to better elucidate our everyday experiences of moral emotions, arguing that it offers an alternative and more faithful perspective on our experiences of anger and compassion. However, unlike the distinction between first- and third-person points of view, Shun’s descriptions of anger and (...)
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  19. The Nature of Horror Reconsidered.Lorraine Yeung - forthcoming - International Philosophical Quarterly.
    There is a growing interest in the role of non-cognitive affective responses in the philosophical literature on fiction and emotion. This flurry of scholarly interest is partly a reaction to cognitivist accounts of fiction and emotion that have been found to be inadequate. The inadequacy is particularly salient when this approach is employed to account for narrative horror. Cognitivist conceptions of the emotion engendered by narrative horror prove to be too restrictive. Cognitivist accounts also fail to give the formal devices (...)
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  20. Moved by Music Alone.Tom Cochrane - 2021 - British Journal of Aesthetics 61 (4):455-470.
    In this paper I present an account of musical arousal that takes into account key demands of formalist philosophers such as Peter Kivy and Nick Zangwill. Formalists prioritise our understanding and appreciation of the music itself. As a result, they demand that any feelings we have in response to music must be directed at the music alone, without being distracted by non-musical associations. To accommodate these requirements I appeal to a mechanism of contagion which I synthesize with the expectation-based arousal (...)
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  21. Moral Beauty, Inside and Out.Ryan P. Doran - 2021 - Australasian Journal of Philosophy 99 (2):396-414.
    In this article, robust evidence is provided showing that an individual’s moral character can contribute to the aesthetic quality of their appearance, as well as being beautiful or ugly itself. It is argued that this evidence supports two main conclusions. First, moral beauty and ugliness reside on the inside, and beauty and ugliness are not perception-dependent as a result; and, second, aesthetic perception is affected by moral information, and thus moral beauty and ugliness are on the outside as well.
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  22. On Liking Aesthetic Value.Keren Gorodeisky - 2021 - Philosophy and Phenomenological Research 102 (2):261-280.
    According to tradition, aesthetic value is non-contingently connected to a certain feeling of liking or pleasure. Is that true? Two answers are on offer in the field of aesthetics today: 1. The Hedonist answers: Yes, aesthetic value is non-contingently connected to pleasure insofar as this value is constituted and explained by the power of its possessors to please (under standard conditions). 2. The Non-Affectivist answers: No. At best, pleasure is contingently related to aesthetic value. The aim of this paper is (...)
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  23. Kierkegaard, Mimesis, and Modernity: A Study of Imitation, Existence, and Affect.Wojciech Kaftanski - 2021 - Routledge.
    This book challenges the widespread view of Kierkegaard’s idiosyncratic and predominantly religious position on mimesis. -/- Taking mimesis as a crucial conceptual point of reference in reading Kierkegaard, this book offers a nuanced understanding of the relation between aesthetics and religion in his thought. Kaftanski shows how Kierkegaard's dialectical-existential reading of mimesis interlaces aesthetic and religious themes, including the familiar core concepts of imitation, repetition, and admiration as well as the newly arisen notions of affectivity, contagion, and crowd behavior. Kierkegaard’s (...)
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  24. Cracks Filled with Images: Mental Disability, Trauma, and Crip Rhetoric in Cereus Blooms at Night.Jennifer Marchisotto - 2021 - In Jina B. Kim, Joshua Kupetz, Crystal Yin Lie & Cynthia Wu (eds.), Sex, Identity, Aesthetics: The Work of Tobin Siebers and Disability Studies. Ann Arbor: University of Michigan Press. pp. 58-76.
  25. Emotion as Feeling Towards Value: A Theory of Emotional Experience.Jonathan Mitchell - 2021 - Oxford, UK: Oxford University Press.
    This book proposes and defends a new theory of emotional experience. Drawing on recent developments in the philosophy of emotion, with links to contemporary philosophy of mind, it argues that emotional experiences are sui generis states, not to be modelled after other mental states – such as perceptions, judgements, or bodily feelings – but given their own analysis and place within our mental economy. More specifically, emotional experiences are claimed to be feelings-towards-values.
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  26. Affective Shifts: Mood, Emotion and Well-Being.Jonathan Mitchell - 2021 - Synthese (5-6):1-28.
    It is a familiar feature of our affective psychology that our moods ‘crystalize’ into emotions, and that our emotions ‘diffuse’ into moods. Providing a detailed philosophical account of these affective shifts, as I will call them, is the central aim of this paper. Drawing on contemporary philosophy of emotion and mood, alongside distinctive ideas from the phenomenologically-inspired writer Robert Musil, a broadly ‘intentional’ and ‘evaluativist’ account will be defended. I argue that we do best to understand important features of these (...)
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  27. How Museums Make Us Feel: Affective Niche Construction and the Museum of Non-Objective Painting.Jussi A. Saarinen - 2021 - British Journal of Aesthetics 61 (4):543-558.
    Art museums are built to elicit a wide variety of feelings, emotions, and moods from their visitors. While these effects are primarily achieved through the artworks on display, museums commonly deploy numerous other affect-inducing resources as well, including architectural solutions, audio guides, lighting fixtures, and informational texts. Art museums can thus be regarded as spaces that are designed to influence affective experiencing through multiple structures and mechanisms. At face value, this may seem like a somewhat self-evident and trivial statement to (...)
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  28. Aesthetic Reasons and the Demands They (Do Not) Make.Daniel Whiting - 2021 - Philosophical Quarterly 71 (2):407-427.
    What does the aesthetic ask of us? What claims do the aesthetic features of the objects and events in our environment make on us? My answer in this paper is: that depends. Aesthetic reasons can only justify feelings – they cannot demand them. A corollary of this is that there are no aesthetic obligations to feel, only permissions. However, I argue, aesthetic reasons can demand actions – they do not merely justify them. A corollary of this is that there are (...)
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  29. Apt Imaginings: Feelings for Fictions and Other Creatures of the Mind by Jonathan Gilmore. [REVIEW]Nicholas Wiltsher - 2021 - Estetika: The European Journal of Aesthetics 58 (1):95-99.
    A book review of Jonathan Gilmore. Apt Imaginings: Feelings for Fictions and Other Creatures of the Mind. New York and London: Oxford University Press, 2020, x + 258pp. ISBN978-0-19-009634-2.
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  30. Why Literary Devices Matter.Lorraine K. C. Yeung - 2021 - Polish Journal of Aesthetics 60 (1):19-37.
    This paper investigates the emotional import of literary devices deployed in fiction. Reflecting on the often-favored approach in the analytic tradition that locates fictional characters, events, and narratives as sources of readers’ emotions, I attempt to broaden the scope of analysis by accounting for how literary devices trigger non-cognitive emotions. I argue that giving more expansive consideration to literary devices by which authors present content facilitates a better understanding of how fiction engages emotion. In doing so, I also explore the (...)
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  31. Denis Diderot, Samuel Richardson and the Colour of Philosophy.Juliette Christie - 2020 - le Monde Français du Dix-Huitième Siècle 5 (1).
    This essay responds to scholarly neglect which Diderot’s “Éloge de Richardson” has met for being regarded as too colourful (“trop coloré”). Focus on the emotive aspect of the “Éloge” is, here, shown to reveal commentary on philosophy itself; Samuel Richardson’s work thus occasions a fresh take on philosophical discourse. Diderot’s “Éloge” proves to be a new twist in literary criticism as well as an important contribution to philosophy proper.
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  32. Awe and Wonder in Scientific Practice: Implications for the Relationship Between Science and Religion.Helen De Cruz - 2020 - Issues in Science and Theology: Nature – and Beyond.
    This paper examines the role of awe and wonder in scientific practice. Drawing on evidence from psychological research and the writings of scientists and science communicators, I argue that awe and wonder play a crucial role in scientific discovery. They focus our attention on the natural world, encourage open-mindedness, diminish the self (particularly feelings of self-importance), help to accord value to the objects that are being studied, and provide a mode of understanding in the absence of full knowledge. I will (...)
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  33. Aesthetic Emotions Reconsidered.Joerg Fingerhut & Jesse J. Prinz - 2020 - The Monist 103 (2):223-239.
    We define aesthetic emotions as emotions that underlie the evaluative assessment of artworks. They are separated from the wider class of art-elicited emotions. Aesthetic emotions historically have been characterized as calm, as lacking specific patterns of embodiment, and as being a sui generis kind of pleasure. We reject those views and argue that there is a plurality of aesthetic emotions contributing to praise. After presenting a general account of the nature of emotions, we analyze twelve positive aesthetic emotions in four (...)
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  34. Gratitude to Beautiful Objects: On Nietzsche's Claim That the Beautiful “Promises Happiness”.Joshua Isaac Fox - 2020 - Journal of Nietzsche Studies 51 (2):169.
    Nietzsche suggests that part of what it is to experience something as beautiful is to experience it as beneficial in the highest degree. He defends this claim by suggesting that it alone captures the experience of beauty typical of artists. I argue that this is best understood as pointing to an explanatory argument: Nietzsche takes his view to make sense of an effect beautiful objects have on artists. This effect is, I suggest, gratitude. Beautiful objects inspire feelings of gratitude within (...)
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  35. Fiction and Emotion: The Puzzle of Divergent Norms.Stacie Friend - 2020 - British Journal of Aesthetics 60 (4):403-418.
    A familiar question in the literature on emotional responses to fiction, originally put forward by Colin Radford, is how such responses can be rational. How can we make sense of pitying Anna Karenina when we know there is no such person? In this paper I argue that contrary to the usual interpretation, the question of rationality has nothing to do with the Paradox of Fiction. Instead, the real problem is why there is a divergence in our normative assessments of emotions (...)
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  36. Lost in Intensity: Is There an Empirical Solution to the Quasi-Emotions Debate?Steve Humbert-Droz, Amanda Ludmilla Garcia, Vanessa Sennwald, Fabrice Teroni, Julien Deonna, David Sander & Florian Cova - 2020 - Aesthetic Investigations 4:460-482.
    Contrary to the emotions we feel in everyday contexts, the emotions we feel for fictional characters do not seem to require a belief in the existence of their object. This observation has given birth to a famous philosophical paradox (the ‘paradox of fiction’), and has led some philosophers to claim that the emotions we feel for fictional characters are not genuine emotions but rather “quasi-emotions”. Since then, the existence of quasi-emotions has been a hotly debated issue. Recently, philosophers and psychologists (...)
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  37. A Not Imaginative Solution to the Paradox of Fiction.Peter Langland-Hassan - 2020 - In Explaining Imagination. Oxford University Press. pp. 234-261.
    The chapter considers the “paradox of fiction,” understood as the claim that it is in some sense irrational or inappropriate to respond emotionally to mere fictions. Several theorists have held that special features of imagination, or other “arational” mental reflexes, play a role in its resolution. I argue, to the contrary, that imagination need not enter into the solution, and that the paradox can be resolved in a way that shows our responses to fictions to be reasonable and warranted, even (...)
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  38. There Are No I-Beliefs or I-Desires at Work in Fiction Consumption and This is Why.Peter Langland-Hassan - 2020 - In Explaining Imagination. Oxford: pp. 210-233.
    Currie’s (2010) argument that “i-desires” must be posited to explain our responses to fiction is critically discussed. It is argued that beliefs and desires featuring ‘in the fiction’ operators—and not sui generis imaginings (or "i-beliefs" or "i-desires")—are the crucial states involved in generating fiction-directed affect. A defense of the “Operator Claim” is mounted, according to which ‘in the fiction’ operators would be also be required within fiction-directed sui generis imaginings (or "i-beliefs" and "i-desires"), were there such. Once we appreciate that (...)
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  39. Feeling the Aesthetic: A Pluralist Sentimentalist Theory of Aesthetic Experience.Rasmus Rosenberg Larsen & David Sackris - 2020 - Estetika 57 (2):116–134.
    Sentimentalist aesthetic theories, broadly construed, posit that emotions play a fundamental role in aesthetic experiences. Jesse Prinz has recently proposed a reductionistic version of sentimentalist aesthetics, suggesting that it is the discrete feeling of wonder that makes an experience aesthetic. In this contribution, we draw on Prinz’s proposal in order to outline a novel version of a sentimentalist theory. Contrasting Prinz’s focus on a single emotion, we argue that an aesthetic experience is rudimentarily composed of a plurality of emotions. We (...)
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  40. Vasily Grossman, Graham Greene and the Nature of Doubt.Venkat Ramanan - 2020 - The Punch Magazine.
    What’s more important: having faith or being human? This essay examines this question by juxtaposing the work of the Russian writer Vasily Grossman against that of the English novelist Graham Greene.
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  41. Inanimation: A Network of Feeling and Perception.Matteo Ravasio - 2020 - Analysis 80 (2):301-309.
    We often use terms primarily concerned with the description of inanimate objects in order to characterize psychological states or dispositions, without being able to specify the connection between the two uses. I call this inanimation. In this paper, I propose an account of inanimation and of its connection to expressiveness.
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  42. Aesthetic Emotions.Jenefer Robinson - 2020 - The Monist 103 (2):205-222.
    This paper investigates what I call aesthetic emotions in the “traditional” sense going back to Burke and Kant. According to Kant, aesthetic pleasure is disinterested, and so maybe for Kant aesthetic emotions would be too, for Kant, but emotions by their very nature cannot be disinterested. After dismissing the idea that aesthetic emotions are a special kind of distanced emotions or refined emotions, I extract from the writings of Clive Bell, Peter Kivy, and Peter Lamarque the view that aesthetic emotions (...)
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  43. Affect in Artistic Creativity: Painting to Feel.Jussi A. Saarinen - 2020 - Lontoo, Yhdistynyt kuningaskunta: Routledge.
    Why do painters paint? Obviously, there are numerous possible reasons. They paint to create images for others’ enjoyment, to solve visual problems, to convey ideas, and to contribute to a rich artistic tradition. This book argues that there is yet another, crucially important but often overlooked reason. -/- Painters paint to feel. -/- They paint because it enables them to experience special feelings, such as being absorbed in creative play and connected to something vitally significant. Painting may even transform the (...)
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  44. Art and Selfhood: A Kierkegaardian Account.Antony Aumann - 2019 - Lanham, MD 20706, USA: Lexington Books.
    Drawing on insights from Søren Kierkegaard, Art and Selfhood: A Kierkegaardian Account defends the idea that art matters in our society today because it can play a pivotal role in helping us become better and more authentic versions of ourselves.
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  45. Movies, Narration and the Emotions.Noel Carroll - 2019 - In Christina Rawls, Diana Neiva & Steven Gouveia (eds.), Philosophy and Film: Bridging Divides. Routledge. pp. 209-221.
    In “Movies, Narrative and Emotion” there is an attempt to suggest the ways in which a certain form of narrative organization, to which we can call “erotetic narration,” This can be co-ordinated with the emotional address of the motion picture in terms of what can be called “criterial prefocusing.” On this view, the primary way in which the emotions are engaged is character-directed, the protagonist’s goals providing grounds which generate the narrative questions that the movie goes on to answer.
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  46. What Is Expressed When Emotions Are Expressed in Art?Sabine A. Döring - 2019 - Grazer Philosophische Studien 96 (3):361-380.
    The author argues for a Collingwoodian claim: if an emotion is expressed in art, it is not a content which exists prior to, and independent of, its expression. Artistic emotion expressions rather clarify and complete emotions. The autor backs up this claim by Musil’s Lewinian theory of emotion which displays significant parallels to recent Enactivist Theories of Emotion: it states that embodiment in action is necessary in any case in order for nonspecific dispositions to emotions to shape and consolidate into (...)
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  47. The Affective Experience of Aesthetic Properties.Kris Goffin - 2019 - Pacific Philosophical Quarterly 100 (1):283-300.
    It is widely agreed upon that aesthetic properties, such as grace, balance, and elegance, are perceived. I argue that aesthetic properties are experientially attributed to some non‐perceptible objects. For example, a mathematical proof can be experienced as elegant. In order to give a unified explanation of the experiential attribution of aesthetic properties to both perceptible and non‐perceptible objects, one has to reject the idea that aesthetic properties are perceived. I propose an alternative view: the affective account. I argue that the (...)
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  48. The Authority of Pleasure.Keren Gorodeisky - 2019 - Noûs 55 (1):199-220.
    The aim of the paper is to reassess the prospects of a widely neglected affective conception of the aesthetic evaluation and appreciation of art. On the proposed picture, the aesthetic evaluation and appreciation of art are non-contingently constituted by a particular kind of pleasure. Artworks that are valuable qua artworks merit, deserve, and call for a certain pleasure, the same pleasure that reveals (or at least purports to reveal) them to be valuable in the way that they are, and constitutes (...)
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  49. Monuments as Commitments: How Art Speaks to Groups and How Groups Think in Art.C. Thi Nguyen - 2019 - Pacific Philosophical Quarterly 100 (4):971-994.
    Art can be addressed, not just to individuals, but to groups. Art can even be part of how groups think to themselves – how they keep a grip on their values over time. I focus on monuments as a case study. Monuments, I claim, can function as a commitment to a group value, for the sake of long-term action guidance. Art can function here where charters and mission statements cannot, precisely because of art’s powers to capture subtlety and emotion. In (...)
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  50. The Stability of Laughter: The Problem of Joy in Modernist Literature.James Nikopoulos - 2019 - New York, USA: Routledge.
    A "sad and corrupt" age, a period of "crisis" and "upheaval"—what T.S. Eliot famously summed up as "the panorama of futility and anarchy which is contemporary history." Modernism has always been characterized by its self-conscious sense of suffering. Why, then, was it so obsessed with laughter? From Baudelaire, Nietzsche, Bergson and Freud to Pirandello, Beckett, Hughes, Barnes, and Joyce, no moment in cultural history has written about laughter this much. James Nikopoulos investigates modernity’s paradoxical relationship with mirth. Why was the (...)
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