En posant avec clarté des questions de philosophie de l’esprit, d’ontologie et d’épistémologie, ce livre témoigne à la fois de l’intérêt réel de la danse comme objet philosophique et du rôle unique que peut jouer la philosophie dans une meilleure compréhension de cet art. Qu’est-ce que danser ? Que nous apprend le mouvement dansé sur la nature humaine et la relation entre le corps et l’esprit ? À quelles conditions une œuvre est-elle correctement interprétée par les danseurs et bien identifiée (...) par les spectateurs ? (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 105-112 [Access article in PDF] Philosophy of Art Today:Calling Frameworks into QuestionBeyond Aesthetics: Philosophical Essays, by Noël Carroll. Cambridge: Cambridge University Press, 2001, 450 pp., $29.00. Merit: Aesthetic And Ethical, by Marcia Eaton. Oxford University Press, 2001, 252 pp., $52.00. But Is It Art? by Cynthia Freeland. Oxford University Press, 2001, 231 pp., $11.95. In his magisterial study of modern (...) aesthetics, The Theory of the Arts, Francis Sparshott observed that while "normal science" is what T.S. Kuhn called "hackwork" because it is carried out within a framework it never calls into question, there is — in that same sense — no such thing as "normal art" (Princeton: Princeton University Press, 1982). The twenty years since thepublication of Sparshott's book have done nothing but underscore this point. No theme in the arts has been more prominent than the challenging of existing frameworks. Equally, no project in the philosophy of art has proven more important than the remapping and expanding of prior conceptual boundaries. In both the arts and the philosophy of art, the new norm is the foreswearing of the normal. And just as contemporary art challenges the concept we have of art itself, contemporary aesthetics challenges the traditional notion we have of aesthetics. Of late, this challenge has been vigorous, persistent, heated. Yet, although it has produced some affronts to establishedsensibilities, it has not led to the wholesale undoing of prior advances in aesthetic theory, as many had feared.It is this development, rather than any particular movement or advance within the field, that stands out as the distinguishing characteristic of aesthetics today. Similar assaults on basic assumptions, disciplinary borders, and theoretical frameworks have raged in neighboring academic domains where they have inspired debilitating internecine conflict and conceptual disarray. Postmodernist attacks on the very possibility of theoretical coherence have been the most notorious, but far from the exclusive, examples of effects of this sort. Similar skeptical developments have proven corrosive in disciplines from anthropology to theology. Yet the field of aesthetics has generally welcomed framework challenge. It has not been driven by it into warring camps, and has taken this challenge as a positive contribution to the field's strength and importance.Three excellent recent works illustrate different ways in which the a-normality of contemporary aesthetics is being played out, and demonstrate [End Page 105] why it is both constructive and worthwhile. Cynthia Freeland's But Is It Art? is presented as an introduction to art theory, but it is really a provocative analysis of ways in which the visual arts have blown out their parameters and the demands this development places on intelligent response. Noël Carroll's Beyond Aesthetics takes as its theme the idea that, to make proper sense of the present world of aesthetic phenomena, we must "reach beyond aesthetic theories of art and their various prohibitions." And Marcia Eaton's Merit, Aesthetic and Ethical argues that the truly important issues we encounter in making sense of aesthetic experience require an integration of normative considerations formerly thought of as discretely ethical or aesthetic. Each of these works looks at the ways art and aesthetics have forced us to think differently about both of them, due to the way each has recently evolved. Yet none of them takes the radical view that all of what happened before is rendered insignificant by the revolutionary novelty of current work. Instead, these works are syncretic in just the way that contemporary philosophy of art is syncretic; they show how apparent discontinuities can be squared with the general thrust of the best historical work.The picture that emerges from these (as well as many other recent works) is this: Aesthetics today is a discipline pleased both to rethink its own basic concepts and to examine its connections to a variety of regions of concern not traditionally regarded as its province. A century ago, aestheticians were content to think of themselves as custodians of grand and noble values — principally the values of beauty and... (shrink)

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Noel Carroll, film scholar and philosopher, offers the first serious look at the aesthetics of horror. In this book he discusses the nature and narrative structures of the genre, dealing with horror as a "transmedia" phenomenon. A fan and serious student of the horror genre, Carroll brings to bear his comprehensive knowledge of obscure and forgotten works, as well as of the horror masterpieces. Working from a philosophical perspective, he tries to account for how people can find pleasure (...) in having their wits scared out of them. What, after all, are those "paradoxes of the heart" that make us want to be horrified? (shrink)

The Bible has influenced contemporary culture both positively and negatively. The present volume is a collection of papers that were discussed at an international colloquium on the use of the Bible in Ethics in the Department of Biblical Studies at the University of Sheffield in April 1995. Participants came from many parts of the world and from different backgrounds, and the papers reflect their varied interests and the contexts in which they work. The contributors, in addition to the three editors, (...) are John Barton, Bruce Birch, Mark Brett, Mark Chapman, David Clines, Philip Davies, Cheryl Exum, Stephen Fowl, Norman Gottwald, John Haldane, Walter Houston, Sharon Ringe, Chrisopher Rowland, Lisa Sowle Cahill and Gerald West. (shrink)

It is critical to remember details about meetings with healthcare providers. Forgetting could result in inadequate knowledge about ones' health, non-adherence with treatments, and poorer health outcomes. Hearing the health care provider plays a crucial role in consolidating information for recall. The recent COVID-19 pandemic has meant a rapid transition to videoconference-based medicine, here described as telehealth. When using telehealth speech must be filtered and compressed, and research has shown that degraded speech is more challenging to remember. Here we present (...) preliminary results from a study that compared memory for health information provided in-person to telehealth. The data collection for this study was stopped due to the pandemic, but the preliminary results are interesting because the pandemic forced a rapid transition to telehealth. To examine a potential memory deficit for health information provided through telehealth, we presented older and younger adults with instructions on how to use two medical devices. One set of instructions was presented in-person, and the other through telehealth. Participants were asked to recall the instructions immediately after the session, and again after a 1-week delay. Overall, the number of details recalled was significantly lower when instructions were provided by telehealth, both immediately after the session and after a 1-week delay. It is likely that a mix of technological and communication strategies by the healthcare provider could reduce this telehealth memory deficit. Given the rapid transition to telehealth due to COVID-19, highlighting this deficit and providing potential solutions are timely and of utmost importance. (shrink)

Noel Carroll, film scholar and philosopher, offers the first serious look at the aesthetics of horror. In this book he discusses the nature and narrative structures of the genre, dealing with horror as a "transmedia" phenomenon. A fan and serious student of the horror genre, Carroll brings to bear his comprehensive knowledge of obscure and forgotten works, as well as of the horror masterpieces. Working from a philosophical perspective, he tries to account for how people can find pleasure (...) in having their wits scared out of them. What, after all, are those "paradoxes of the heart" that make us want to be horrified? (shrink)

Beyond Aesthetics brings together philosophical essays addressing art and related issues by one of the foremost philosophers of art at work today. Countering conventional aesthetic theories - those maintaining that authorial intention, art history, morality and emotional responses are irrelevant to the experience of art - Noël Carroll argues for a more pluralistic and commonsensical view in which all of these factors can play a legitimate role in our encounter with art works. Throughout, the book combines philosophical theorizing (...) with illustrative examples including works of high culture and the avant-garde, as well as works of popular culture, jokes, horror novels, and suspense films. (shrink)

Humour is a universal feature of human life. In this Very Short Introduction Noel Carroll considers the nature and value of humour, from its leading theories and its relation to emotion and cognition, to ethical questions of its morality and its significance in shaping society.

Margaret Moore offers a comprehensive normative theory of territory.

In lieu of an abstract, here is a brief excerpt of the content:Music, Mind, and Morality:Arousing the Body PoliticPhilip Alperson (bio) and Noël Carroll (bio)I. IntroductionIf like Aristotle one agrees that the responsibility of philosophy is to offer as comprehensive a picture of phenomena as possible, then one must admit that sometimes the methods and goals of analytic philosophy stand in the way of getting the job done properly; they may even distort one's findings. This is not said (...) in order to eschew analytic philosophy. It is simply a reminder that sometimes we need to stand back and check to reassure ourselves that the tail is not wagging the dog.One example of where this danger looms is in the philosophy of art. In the eighteenth century the Modern System of the Arts was born.1 It included the practices that we think nowadays are the appropriate inhabitants of art schools and art centers and the legitimate beneficiaries of programs like the National Endowment for the Arts in the United States. These arts included poetry, painting, sculpture, music, dance, and sometimes gardening. These are what we might call the arts with a "capital A."This is a different way of understanding the notion of the arts and the nomenclature from which they derive in Latin and Greek. For Socrates, Aristotle, and Plato, arts were simply any skilled practice. Poetry, for Aristotle at least, was an art, but so were navigation, medicine, and statecraft. And there were, of course, the martial arts. What happens with the emergence of the Modern System of the Arts—otherwise known as the Fine Arts, or the Beaux Arts, or, for us, the Arts with a capital A—is that a subset of the arts in the Greco-Roman sense were selected out and christened as a class unto itself, [End Page 1] different from the other "small a" arts. Whereas once upon a time chemists and painters might have been grouped together in the same guild in virtue of the fact that both types of workers ground substances, such as pigment; with the advent of the Modern System of the Arts, chemists and painters became first and foremost categorically different.However, the consolidation of the class of Arts with a capital A demanded a theoretical answer to the question of what criterion an art form had to meet in order to gain membership in the Modern System of the Arts. The first suggestion was that a candidate practice had to possess the capacity to imitate the beautiful in nature. This was not a definition that had legs. For when absolute or pure instrumental music—or, as Peter Kivy calls it, music alone2 —took center stage as the most important form of music as well as the Art with a capital A to which all the other arts putatively aspired, the criteria for entry into the Modern System of the Arts had to be reconceived. Since music alone could not creditably be described as the imitation of the beautiful in nature (or, for that matter, the imitation of anything else), a new license for practicing Art with a capital A had to be found. And this has become one of the animating tasks of the analytic philosophy of art.But the analytic philosophy of art comes with a certain bias toward discharging this task. It is committed to finding an essentialist answer to resolving the question of what warrants citizenship in the republic of Art (with a capital A). That is, what makes something an Artistic practice or, for that matter, a work of Art such that it is different from other things? What separates the Arts and the artworks from everything else?Perhaps not surprisingly, one of the most popular and recurring proposals here is that the Arts are what are primarily intended to promote aesthetic experience where that has formerly been characterized as disinterested pleasure but, more recently, as experience valued for its own sake. Experience valued for its own sake, of course, is virtually by definition conceptually independent from any other end, whereas the practices that do not belong to the Modern System of the Arts are primarily devoted to securing other ends—useful or utilitarian ends, knowledge... (shrink)

This handbook brings together essays in the philosophy of film and motion pictures from authorities across the spectrum. It boasts contributions from philosophers and film theorists alike, with many essays employing pluralist approaches to this interdisciplinary subject. Core areas treated include film ontology, film structure, psychology, authorship, narrative, and viewer emotion. Emerging areas of interest, including virtual reality, video games, and nonfictional and autobiographical film also have dedicated chapters. Other areas of focus include the film medium’s intersection with contemporary social (...) issues, film’s kinship to other art forms, and the influence of historically seminal schools of thought in the philosophy of film. Of emphasis in many of the essays is the relationship and overlap of analytic and continental perspectives in this subject. (shrink)

This essay argues that the concept of ‘reasonableness’plays an important role in Scanlon's, Rawls's, and Barry's theories of justice (or morality). The relationship between moral motivation and reasonableness is critically analysed. Specifically, the paper questions whether it is plausible to impute to the agents of construction the desire ‘to justify our actions to others on impartial terms’. It also argues that most of the work is done by the assumption that people are reasonable rather than by the contractarian formulation. Indeed, (...) the paper argues, the argument could proceed entirely by making explicit and arguing for the moral assumptions embedded in the concept of reasonableness [1]. (shrink)

In this essay, then, I would like to address what I believe are the most compelling epistemic arguments against the notion that literature (and art more broadly) can function as an instrument of education and a source of knowledge.

Drawing on his knowledge of the worlds of art, criticism, and philosophy, Noèel Carroll argues that appraisal and evaluation of art are an indispensable part of the conversation of life.

Few today can escape exposure to mass art. Nevertheless, despite the fact that mass art provides the primary source of aesthetic experience for the majority of people, mass art is a topic that has been neglected by analytic philosophers of art. The Philosophy of Mass Art addresses that lacuna. It shows why philosophers have previously resisted and/or misunderstood mass art and it develops new frameworks for understanding mass art in relation to the emotions, morality, and ideology.

In _Comedy Incarnate_, Noël Carroll surveys the characteristics of Buster Keaton’s unique visual style, to reveal the distinctive experience of watching Keaton’s films. Bold and provocative thesis written by one of America’s foremost film theorists Takes a unique look at the philosophies behind Keaton’s style Weighs visual elements over narrative form in the analysis of the Keaton’s work Provides a fresh vantage point for analysis of film and comedy itself.

In lieu of an abstract, here is a brief excerpt of the content:Noël Carroll THE PARADOX OFJUNK FICTION Perhaps on your way to some academic conference, if you had no papers to grade, you stopped in die airport gift shop for something to read on the plane. You saw racks of novels authored by die likes of Mary Higgins Clark, Michael Crichton, John Grisham, Danielle Steele, Sidney Sheldon, Stephen King, Sue Grafton, Elmore Leonard, Sara Paretsky, Tom Clancy, and (...) so on. These are the kinds of novels that, when you lend them to friends, you don't care, unless you live in Bowling Green, Ohio, whether you ever get them back. They are mass, popular fictions. In another era, they would have been called pulp fictions. Following Thomas Roberts,1 I will call diem junk fictions, under which rubric I will also include things like Harlequin romances; sci-fi, horror, and mystery magazines; comic books; and broadcast narratives on either the radio or TV, as well as commercial movies. There are a number of interesting philosophical questions diat we may ask aboutjunk fiction. We could, for example, attempt to characterize its essential features. However, for the present, I will assume that the preceding examples are enough to provide you with a rough-andready notion of what I am calling junk fiction, and I will attempt to explore anotiier feature of the phenomenon, viz., what I call the paradox ofjunk fiction. Thejunk fictions that I have in mind are all narratives. Indeed, dieir story dimension is die most important thing about diem. Stephen King, for instance, makes diis point by saying that he is primarily a story teller rather than a writer. Junk fictions aspire to be page-turners—the blurb on the cover of Stillwatch by Mary Higgins Clark says that it is "designed to be read at breatiitaking speed"—and what motivates turning die page so quickly is our interest in what happens next. We do not dawdle Philosophy and Literature, © 1994, 18: 225-241 226Philosophy and Literature over Clark's diction as we might over Updike's nor do we savor die complexity of her sentence structure, as we do widi Virginia Woolfs. Radier, we read for story. Moreover, junk fictions are die sort of narratives that commentators are wont to call formulaic. That is, junk fictions generally belong to well-entrenched genres, which diemselves are typified by tiieir possession of an extremely limited repertoire of story-types. For example, as John Cawelti has pointed out, one such recurring Western narrative is diat of the recendy pacifist gunfighter, like Shane, who is forced by circumstances to take up his pistols again, widi altogedier devastating effect.2 Junk fictions tell diese generic stories again and again with minor variations. Sometimes diese variations may be quite clever and unexpected. Agatiia Christie was the master of this; she was able to use the conventions of the mystery genre in order to "hide" her murderers. In TheMurderofRogerAckroyd, she "secrets" the murderer in the personage of the narrator; in Ten Little Indians, die murderer is a "dead man"; while in Murder on the Orient Express, all the suspects did it. In each of these cases, Christie's brilliance hinges upon her playing (and preying) upon conventional expectations. Neverdieless, even diese surprising variations require a well-established background of narrative forms. That is, in order to appreciate diese variations, die reader must in some sense know die standard story already. And with junk fiction, it is generally fair to say that in some sense, the reader—or, at least, the reader who has read around in die genre before—knows in rough oudine how die story is likely to go. Readers and/or viewers of Jurassic Park surmised, once die dinosaur enclosures were described, diat in fairly short order die dinosaurs would trample them down and go on the rampage—after all we had already seen or read The Lost World, King Kong, and their progeny. So, junk fictions are formulaic. They rehearse certain narrative formats again and again. And, furthermore, in some very general sense, the audience already knows die story in question. But this knowledge on die part of die audience provokes a question, specifically, why if the reader, viewer or listener already... (shrink)

This article explores several views on the relation of humour, especially tendentious humour, to morality, including comic amoralism, comic ethicism, comic immoralism, and moderate comic moralism. The essay concludes by defending moderate comic moralism.

There seem to be at least two leading conceptions of art appreciation. The first, and by far the most popular, it seems to me, regards “appreciation” as a synonym for “approbation,” which itself can be a synonym for affection or even love. “To appreciate,” in this sense, is “to cherish.” This is the notion of appreciation that most plain speakers have in mind when they say things such as “I appreciate what you’ve done with your garden.” They mean “I like (...) what you’ve done with your garden.” Call this “appreciation-as-liking.” Although I’ve claimed that this is the popular construal of appreciation, it also possesses some estimable philosophical credentials. David Hume, for example, seems to hold a... (shrink)

“Forget Taste” rejects the classical notion of taste as a viable concept for the exercise of critical evaluation and proposes an alternative approach to critical evaluation based crucially on the idea of the constitutive purpose of the artwork. The goal of this paper is to advance an approach—which I call the purpose-driven approach—to the critical evaluation of artworks that develops from and refines the views of art evaluation presented in my previous work. This approach, in virtue of its focus on (...) the constitutive purposes of artworks, regards the artwork as typically singular. For that reason, it follows that this approach is pluralistic in contrast to the hedonic conception of the taste model popularized in the eighteenth century and which still recurs today, if sometimes only subconsciously, and that reduces critical evaluation to feelings of pleasure. I argue that the hedonic taste model, which is noncognitive and reductive, should be abandoned in favor of one that is cognitivist and pluralistic, namely, the purpose-driven approach. (shrink)