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F. Contesi
Universitat de Barcelona
  1. Carroll on the Emotion of Horror.Filippo Contesi - 2020 - Projections: The Journal for Movies and Mind 14 (3):47-54.
    Noël Carroll’s influence on the contemporary debate on the horror genre is hard to overestimate. His work on the topic is often celebrated as one of the best instances of interdisciplinary dialogue between film studies and philosophy of art. It has provided the foundations for the contemporary study of horror in art. Yet, for all the critical attention that his views on horror have attracted over the years, little scrutiny has been given to the nature itself of the emotion of (...)
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  2. Korsmeyer on Fiction and Disgust.Filippo Contesi - 2015 - British Journal of Aesthetics 55 (1):109-116.
    In Savoring Disgust, Carolyn Korsmeyer argues that disgust is peculiar amongst emotions, for it does not need any of the standard solutions to the so-called paradox of fiction. I argue that Korsmeyer’s arguments in support of the peculiarity of disgust with respect to the paradox of fiction are not successful.
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  3.  54
    The Affective Nature of Horror.Filippo Contesi - forthcoming - In Max Ryynänen, Heidi Kosonen & Susanne Ylönen (eds.), Cultural Approaches to Disgust and the Visceral. Routledge.
    The horror genre (in film, literature etc.) has, for its seemingly paradoxical aesthetic appeal, been the subject of much debate in contemporary, analytic philosophy of art. At the same time, however, the nature of horror as an affective phenomenon has been largely neglected by both aestheticians and philosophers of mind. The standard view of the affective nature of horror in contemporary philosophy follows Noël Carroll in holding that horror in art (or “art-horror”) is an emotion resulting from the combination of (...)
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  4.  72
    The Paradox of Taste to the Experimental Test.Filippo Contesi, Enrico Terrone, Marta Campdelacreu, Ramón García Moya & Genoveva Martí - manuscript
    In a series of recent experimental philosophy articles, Florian Cova and colleagues have cast doubt on the existence of a traditional tension that aestheticians since Hume and Kant have noted in our aesthetic judgements and practices, viz. the paradox of taste. We argue that Cova et al. misrepresent the way in which the aesthetics tradition has conceived the paradox of taste, and question the relevance of their experiments for the existence of the paradox of taste as traditionally understood in aesthetics.
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  5. Introduction.Filippo Contesi & Enrico Terrone - 2018 - Philosophical Papers 47 (1):1-20.
    In recent years, increasing attention has been devoted to the underrepresentation, exclusion or outright discrimination experienced by women and members of other visible minority groups in academic philosophy. Much of this debate has focused on the state of contemporary Anglophone philosophy, which is dominated by the tradition of analytic philosophy. Moreover, there is growing interest in academia and society more generally for issues revolving around linguistic justice and linguistic discrimination (sometimes called ‘linguicism’ or ‘languagism’) (see e.g. Van Parijs 2011). Globalization (...)
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  6.  89
    Unconscious Bias or Deliberate Gatekeeping?Louise Chapman, Filippo Contesi & Constantine Sandis - 2021 - The Philosophers' Magazine (95):9-11.
    Louise Chapman, Filippo Contesi and Constantine Sandis ask whether philosophy has a language problem.
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  7. The Meanings of Disgusting Art.Filippo Contesi - 2016 - Essays in Philosophy 17 (1):68-94.
    It has been recently argued, contrary to the received eighteenth-century view, that disgust is compatible with aesthetic pleasure. According to such arguments, what allows this compatibility is the interest that art appreciators sometimes bestow on the cognitive content of disgust. On this view, the most interesting aspect of this cognitive content is identified in meanings connected with human mortality. The aim of this paper is to show that these arguments are unsuccessful.
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  8.  97
    Peter Lamarque.Filippo Contesi - 2021 - In Alessandro Giovannelli (ed.), Aesthetics: The Key Thinkers. Bloomsbury. pp. 301–308.
    Peter Vaudreuil Lamarque is one of the most prominent members of the golden generation of analytic aestheticians born immediately after the Second World War. If, to follow Archilochus via Isaiah Berlin (via Peter Kivy), “a fox knows many things, but a hedgehog one important thing,” Lamarque is perhaps the biggest hedgehog of his generation. Lamarque’s “important thing” is not a single idea but, as he would put it, the practice that we call “literature.” His distinctive achievement has been to integrate (...)
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  9.  9
    Balance or Propel? Philosophy and the Value of Unpleasantness.Filippo Contesi - 2022 - Journal of Philosophy of Emotion 3 (2):10-18.
    In Propelled, Elpidorou persuasively argues that the three prima facie undesirable conditions of boredom, frustration and anticipation are, in fact, importantly valuable to human life. His method is an interesting combination of existentialist explorations and reporting of cognitive science research, all written in a style more friendly to the analytic-philosophical tradition. However, I argue, the book’s precision and depth of philosophical analysis have some limitations. This is so in two main respects: first, in the relative lack of discussion of important (...)
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  10. Savoring Disgust: The Foul and the Fair in Aesthetics. [REVIEW]Filippo Contesi - 2012 - British Journal of Aesthetics 52 (1):113-116.
  11. A Taxonomy of Disgust in Art.Noël Carroll & Filippo Contesi - 2019 - In Kevin Tavin, Mira Kallio-Tavin & Max Ryynänen (eds.), Art, Excess, and Education. Palgrave Macmillan. pp. 21–38.
    Disgust has been a perennial feature of art from medieval visions of hell to postmodern travesties. The purpose of this chapter is to chart various ways in which disgust functions in artworks both in terms of content and style, canvassing cases in which the content and/or style is literally disgusting in contrast to cases where the disgust serves to characterize the content, often for moral or political or broader cultural purposes.
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  12. Art and Emotion.Filippo Contesi - 2018 - Oxford Bibliographies in Philosophy.
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  13. Disgust’s Transparency.Filippo Contesi - 2016 - British Journal of Aesthetics 56 (4):347-354.
    The transparency thesis for disgust claims that what is disgusting in nature is always also disgusting in art. Versions of the thesis have been endorsed by, among others, Kant, Lessing, Mendelssohn, and, more recently, Arthur Danto, Carolyn Korsmeyer, and Jenefer Robinson. The present paper articulates and discusses different readings of the thesis. It concludes that the transparency thesis is false.
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  14. How Transparent is Disgust?Filippo Contesi - 2017 - European Journal of Philosophy 25 (4):1810-1823.
    According to the so-called transparency thesis, what is disgusting in nature cannot but be disgusting in art. This paper critically discusses the arguments that have been put forward in favour of the transparency thesis, starting with Korsmeyer's (2011) sensory view of disgust. As an alternative, it offers an account of the relationship between disgust and representation that explains, at least in part, whatever truth there is in the transparency thesis. Such an account appeals to a distinction between object-centric and situation-centric (...)
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  15. Forma E Immagine: Una Lettura Critica.Filippo Contesi - 2018 - Rivista di Estetica 69:124-130.
    In a recent book, Immagine, Alberto Voltolini offers a rich and carefully written discussion of theories of depiction, which have drawn so much attention in recent Anglophone philosophy. Although Voltolini’s book has indisputable virtues, it also makes some questionable formal choices. The present essay presents a formal analysis of the book.
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  16.  23
    Things: In Touch with the Past. [REVIEW]Filippo Contesi - 2019 - Notre Dame Philosophical Reviews 201909.
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