Recent results from the neurosciences demonstrate that pleasure and pain are not two symmetrical poles of a single scale of experience but in fact two different types of experiences altogether, with dramatically different contributions to well-being. These differences between pleasure and pain and the general finding that “the bad is stronger than the good” have important implications for our treatment of nonhuman animals. In particular, whereas animal experimentation that causes suffering might be justified if it leads (...) to the prevention of more suffering, it can never by justified merely by leading to increased levels of happiness. (shrink)

Pluralistic theories of well-being might appear unable to accommodate just how important pleasure and pain are to well-being. Intuitively, there is a finite limit to how well your life can go for you if it goes badly enough hedonically (e.g. because you never feel any pleasure and you spend two years in unrelenting agony). But if there is some basic good distinct from pleasure, as any pluralistic theory must claim, then it seems that you could be (...) made arbitrarily well off by being given enough of that good even if your life is hedonically terrible. My aim is to defend pluralistic theories against this objection. After replying to the simplest version of it, I will answer a more sophisticated version of it that has recently been leveled by Theron Pummer. (shrink)

In this dissertation I analyse the concepts of pleasure and unpleasantness and outline an approach whereby the insights gained about pleasure and unpleasantness are applied to the analysis of a number of feeling and emotion concepts. In trying to understand what pleasure is and hew it is related to pain and unpleasantness, I tackle various basic questions about the role of pleasure, pain, and unpleasantness in motivation and about the intrinsic goodness of pleasure (...) and the intrinsic badness of pain and unpleasantness. In pleasure's nature of being good, wanted, and sought and pairfs nature of being bad, unwanted, and avoided we locate the way in which pleasure and pain are opposites and the central defining properties of the 'pleasant' and the 'unpleasant'. Within my analysis of pleasure and unpleasantness I reach the conclusion that pleasure and unpleasantness are 'special experiences' : I explain what is involved in this claim and defend it against the objections which Ludwig Wittgenstein raised in his Private Language Argument. The view of the emotions which I outline and defend is the view which Aristotle, Spinoza, and many other philosophers have held. According to this view, emotions or 'feelings' such as con¬ fidence or fear, delight or misery, and pride or shame, are 'modes' of pleasure or unpleasantness. Given my views on pleasure and unpleasantness, it would follow that a number of emotions are, in part, the 'special experiences' of pleasure and unpleasantness. (shrink)

This paper posits a feminist aesthetic of reading, ‘re-captivation,’ which accounts for both the reader's pleasure and his/her ethical responsibility. Re-captivation is distinguished by its introspective and ethical characteristics; it is a pleasure informed by the pain of misrecognition, i.e. acknowledgement of one's own complicity in systems of oppression. After a brief explanation of re-captivation, this paper describes my experience viewing the film Menace II Society. Using my paths of identification and emotional response to this film as (...) my data, I analyze the complexities and ambiguities resulting from my practice of re-captivation. (shrink)

I distinguish two kinds of pleasures – value–based pleasures, which can be explained in terms of the values of those who experience them, and brute pleasures, which cannot be so explained. I apply this distinction to three related projects. First, I critically examine a recent discussion of moral character by Colin McGinn, arguing that McGinn offers a distorted view of good character. Second, I try to elucidate certain remarks Aristotle makes about the relationships between pleasure and courage and (...) class='Hi'>pleasure and temperance. Third, I appeal to the distinction to elucidate the topic of moral improvement. (shrink)

If there is such a thing as a genuine property appropriately called "intrinsic value" this property must be such that recognition that something does, or would, possess it, has a necessary tendency to motivate towards sustaining that thing in existence or producing it (if possible). There is just one thing which possesses that property and that is the property of being pleasurable (properly conceived) which, therefore, is the same as intrinsic value. (The same, mutatis mutandis, applies to intrinsic disvalue and (...) painfulness.) Why this seems not to be so is explained. (shrink)

In this paper I shall speak sympathetically of a hedonistic theory of intrinsic value which, ignoring any other such theories, I shall simply call the hedonistic theory of value. How far I am finally committed to it will partly appear at the end.

"Contents "--"Introduction: Diving into the Wreck" -- "1. Trial of the Archangels" -- "2. Epicurus at the Scaffold" -- "3. Nasty, British, and Short" -- "4. The Monkey in the Panopticon" -- "5. In Which We Wonder Who Is Crazy" -- "6. Epicurus Unchained" -- "Afterword: The Restoration of the Monarchy" -- "Notes" -- "Bibliography.

That all pleasure is good and all pain bad in itself is an eternally true ethical principle. The common claim that some pleasure is not good, or some pain not bad, is mistaken. Strict particularism (ethical decisions must be made case by case; there are no sound universal normative principles) and relativism (all good and bad are relative to society) are among the ethical theories we may refute through an appeal to pleasure and pain. (...) Daniel Dennett, Philippa Foot, R M Hare, Gilbert Harman, Immanuel Kant, J. L. Mackie, and Jean-Paul Sartre are among the many philosophers addressed. (shrink)

This is a piece written for interdisciplinary audiences and contains very little philosophy. It looks into whether, or in what sense, pains and pleasures are emotions.

The prelims comprise: Pleasure as a Good Aristotle on Pleasure Limitations and Drawbacks The Coherence of Aristotle's Treatment of Pleasure and Pain Conclusions Notes Reference.

Compare your pain when immersing your hand in freezing water and your pleasure when you taste your favourite wine. The relationship seems obvious. Your pain experience is unpleasant, aversive, negative, and bad. Your experience of the wine is pleasant, attractive, positive, and good. Pain and pleasure are straightforwardly opposites. Or that, at any rate, can seem beyond doubt, and to leave little more to be said. But, in fact, it is not beyond doubt. And, true (...) or false, it leaves a good deal more to be said: about the nature of sensory affect; its relations to perception, motivation, and rationality; its value; and the mechanisms underlying it. Much is said about these matters in the contributions that follow. Here, in this introductory essay, we map the dialectical landscape and locate our contributors’ papers within it. (shrink)

It seems self-evident that people prefer painful experiences to be in the past and pleasurable experiences to lie in the future. Indeed, it has been claimed that, for hedonic goods, this preference is absolute (Sullivan, 2018). Yet very little is known about the extent to which people demonstrate explicit preferences regarding the temporal location of hedonic experiences, about the developmental trajectory of such preferences, and about whether such preferences are impervious to differences in the quantity of envisaged past and future (...) pain or pleasure. We find consistent evidence that, all else being equal, adults and children aged 7 and over prefer pleasure to lie in the future and pain in the past and believe that other people will too. They also predict that other people will be happier when pleasure is in the future rather than the past but sadder when pain is the future rather than the past. Younger children have the same temporal preferences as adults for their own painful experiences, but prefer their pleasure to lie in the past, and do not predict that others’ levels of happiness or sadness vary dependent on whether experiences lie in the past or the future. However, from the age of 7, temporal preferences were typically abandoned at the earliest opportunity when the quantity of past pain or pleasure was greater than the quantity located in the future. Past-future preferences for hedonic goods emerge early developmentally but are surprisingly flexible. (shrink)

While Henry and Levinas are often juxtaposed, little attention has been given to their shared views on pain and pleasure. Both phenomenologists converge on the argument that an adequate account of pain and pleasure requires a critical confrontation with the theory of intentionality. This raises further questions. What roles do interiority and exteriority play in pain and pleasure? Should they be conceived as different tonalities of one essence or as heterogenous phenomena? Despite their shared (...) critique of intentionality, Henry and Levinas respond differently to these questions. We argue that Henry’s account suffers from an imprisonment in immanence, leading to a homogenous account of pain and pleasure as derivatives of one essence. In our view, Levinas points toward a more fruitful phenomenological account, both in so far as he does not divorce pain and pleasure from exteriority, and also in the way his phenomenology preserves the heterogeneity of pleasure and pain. (shrink)

Traditional hedonists like Epicurus, Bentham and Sidgwick were quantitative hedonists who assumed that pleasures and pains differ, not just from each other, but also from other pleasures and pains only in such quantitatively measurable ways as intensity, duration, and nearness or remoteness in time. They also differ with respect to their sources or causes. John Stuart Mill introduced an interesting and important complication into the modern theory of hedonism by insisting that pleasures also differ qualitatively as well as quantitatively. This (...) article thoroughly and critically examines Mill’s attempt to explain what qualitative differences might mean, and it proposes, defends, and extends a plausible theory of qualitative differences. (shrink)

Table of Contents: Olivier Massin, 'Pleasure and Its Contraries'; Colin Klein, 'The Penumbral Theory of Masochistic Pleasure'; Siri Leknes and Brock Bastian, 'The Benefits of Pain'; Valerie Gray Hardcastle, 'Pleasure Gone Awry? A New Conceptualization of Chronic Pain and Addiction'; Richard Gray, 'Pain, Perception and the Sensory Modalities: Revisiting the Intensive Theory'; Jonathan Cohen and Matthew Fulkerson, Affect, Rationalization, and Motivation; Murat Aydede, 'How to Unify Theories of Sensory Pleasure: An Adverbialist Proposal'; Adam (...) Shriver, 'The Asymmetrical Contributions of Pleasure and Pain to Subjective Well-Being'. (shrink)

The article starts with a brief overview of the kinds of approaches that have been attempted for the presentation of Phenomenology’s view on the emotions. I then pass to Husserl’s unsatisfactory efforts to disclose the intentionality of emotions and their intentional correlation with values. Next, I outline the idea of a new, “normalized phenomenological” approach of emotions and values. Pleasure and pain, then, are first explored as affective feelings . In the cases examined, it is shown that, primordially, (...) pleasure and pain are recordings for our bodily and spiritual states resulting from our confrontation with beings and situations in the world. Delight and distress are, subsequently, approached as the first full-fledged emotive acts that animate or intentionally interpret pleasure and pain in specific ways. The elementary values of agreeableness and disagreeableness appear correspondingly to the latter in relation to the very pleasure or pain and to what has caused them. In other words, agreeable and disagreeable show how what we confront in the world weighs for us, what value it has for the embodied intentional consciousness, for its state and functioning as well as for its existentio-praxial possibilities in the lifeworld. (shrink)

Against Hume and Epicurus I argue that our selection of pleasure, pain and other objects as our ultimate ends is guided by reason. There are two parts to the explanation of our attraction to pleasure, our aversion to pain, and our consequent preference of pleasure to pain: 1. Pleasure presents us with reason to seek it, pain presents us reason to avoid it, and 2. Being intelligent, human beings (and to a degree, (...) many animals) are disposed to be guided by reason, and hence by what there is reason to choose, seek, and prefer, when they act. (shrink)

Abusive supervision negatively affects its direct victims. However, recent studies have begun to explore how abusive supervision affects third parties. We use the emotion-based process model of schadenfreude as a basis to suggest that third parties will experience schadenfreude and increase their work engagement as a response to peer abusive supervision. Furthermore, we suggest that the context of competitive goal interdependence facilitates the indirect relationship between PAS and third parties’ work engagement on schadenfreude. We use a mixed-method approach to test (...) our hypotheses. Data from an experimental study conducted by facial expression analysis technology and a multi‐wave field study generally support our hypotheses. Overall, our study extends PAS literature and meaningfully informs practitioners who aim to promote ethical workplace environments. (shrink)

PREFACE -/- WHEN first I undertook the study of the theory of Art, many years ago, I was impressed by the emphasis of pleasure attainment in all descriptions of art works, and by the emphatic pleasurableness of my own mental state during the contemplation of artistic productions. -/- My thought being thus turned to the consideration of the relation of æsthetics to hedonics, I was led to make a careful study of the psychology of pleasure and of its (...) correlate pain: the results of this study I here lay before those who may be interested. (shrink)

I examine what happens in the brain when patients experience chronic pain and when subjects are addicted to alcohol. We can find important parallels between these two cases, and these parallels can perhaps point us toward new ways of treating (or at least understanding) both issues. Interestingly, we can understand both cases as our pleasure system gone awry. In brief, I argue that chronic pain and alcohol addiction both stem from a dysregulation in our brain’s reward structure. (...) This dysregulation in what should be our pleasure circuitry pushes individuals to behave in ways counterproductive to their needs and to feel unpleasant things. In other words, there is likely both something quite right and perhaps quite wrong about how some philosophers are thinking about pain as an evaluative state. I shall be arguing that pain is both hedonic and evaluative, though perhaps not in the ways they are imagining. (shrink)

I take up the issue of whether pleasure is a kind of sensation or not. This issue was much discussed by philosophers of the 1950’s and 1960’s, and apparently no resolution was reached. There were mainly two camps in the discussion: those who argued for a dispositional account, and those who favored an episodic feeling view of pleasure. Here, relying on some recent scientific research I offer an account of pleasure which neither dispositionalizes nor sensationalizes pleasure. (...) As is usual in the tradition, I compare pleasure with pain, and try to see its similarities and differences. I argue that pain and pleasure experiences have typically a complex phenomenology normally not so obvious in introspection. After distinguishing between affective and sensory components of these experiences, I argue that although pain experiences normally consist of both components proper to them, pleasure, in contradistinction to pain, is only the affective component of a total experience that may involve many sensations proper and cognitions. Moreover, I hold that although the so-called “physical” pleasure is itself not a sensation proper, it is nevertheless an episodic affective reaction to sensations proper. (shrink)

The target articles by blumberg et al. and berkley reflect some of the recent major theoretical and clinical advances in two areas of pain research. These two articles also represent two very different approaches to which type of variables are considered relevant to the study of pain. These different approaches are contrasted in the context of the different emphases in pain and pleasure research.

Ambiguity in the athlete’s perception and description of pain that opens the door to a series of reinterpretations of athletic experience and events that argue the development of an increasingly inauthentic relation to self and others on the part of those who consume performance as third parties (spectators) and ultimately those who produce it first hand (athletes). The insertion of the spectator into the sport situation as a consumer of the athlete’s activity and the preference given to spectator interpretation (...) shift control of meaning away from the athlete and encourage a demand for athlete suffering in aid of the spectator’s own need for meaning. Through discussions of the function of narrative in sport spectacle, the witnessing role of spectators, and the phenomenon of vicarious substitution, I discuss the representation of the athlete as a character ideal and moral exemplar. At a more developed level of external interpretation, the athlete (or team) becomes the champion of the spectator, the role model or focal point of civic pride whose victory asserts the ascendence of my team and town over yours; and finally, the athlete or team is the intentional object of fan identification: my team is me. I conclude that the existential commitment of the spectator as devoted fan is an inauthentic one. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Pleasure and Pain in LiteratureOliver ConollyWhy do we enjoy the depiction, in imaginative literature, of situations that typically arouse negative emotions such as pity, sadness, and horror? One view, which aims to dissolve rather than solve the problem, is that we do not enjoy them at all. According to this theory—the pure pain theory—the problem does not arise in the first place. But the theory must (...) explain why we chose to undergo such painful experiences. Are we simply aesthetic masochists? The pure pleasure theory, by contrast, denies that there are any painful aspects to our experience of such literature. This theory must explain how we can take pure delight in the literary depiction of suffering. Are we simply aesthetic sadists? Lying between both extremes is the hybrid theory, which asserts that there are both painful and pleasant aspects of such experiences. The hybrid theory must specify which aspects of the experience are painful and which pleasant. In this paper a version of the hybrid theory is advanced and defended.IThe pure pleasure theory denies that we feel painful emotional identification with fictional characters. Why take this view? One reason is that it is a way of resolving the paradox of fiction, as formulated by Colin Radford.1 The paradox asserts that there is an inconsistency between the propositions that: (1) we have emotions for fictional characters, (2) we know that they do not exist, (3) it is irrational to have emotions for non-existent objects. Each proposition seems plausible, yet one must be false. Whilst most of the participants in the debate have attacked the notion that feelings for fictions are irrational, some have [End Page 305] denied that we have such feelings in the first place. One intuition guiding this denial is that the depiction of a fictional horrible event is likely to be less painful than the depiction of an identical but real event. In other words, the mere fictionality of an event is liable, by itself, to diminish the pain we are liable to feel at its depiction in comparison with a real event: I label this the fictionality gap. If the fictionality gap exists, it applies across the board, to the sufferings of Pip in Great Expectations as well as those of King Lear. The characters in those works are fictional, and so the lessening of the pain we feel at their fates must, if the fictionality gap holds, hold merely in virtue of the fact that they are fictional.It has often been noted—rather than argued, but this is question of impression rather than logic—that one would feel more affected were the stories real rather than fictional. The kinds of events depicted in King Lear—ugly struggles for power, the manipulation of the naïve, the impotence of the good, inconsolable grief—are not in themselves other-worldly, and can be imagined taking place in reality. However it is much more difficult to imagine King Lear in its full particularity taking place in the real world, given the theatricality of its form and language. In order to imagine King Lear as real, one would have to rob it of Shakespeare's poetry, which is other-worldly in its eloquence. French proponents of the Three Unities thought that theatre should aim at, among other things, verisimilitude, but never overcame the problem that the fact that characters in French theatre speak in rhyming couplets might detract from that verisimilitude, which it clearly does. This worry about the transplantability of King Lear into the real world appears to be less of a problem in relation to realist novels, which, as their appellation suggests, are easier to imagine taking place in the real world. Not only is the language used in realist novels less exalted than that used in tragedies, the situations such novels depict tend to be more likely to occur. Clearly, the realist novel is capable of depicting horrible or unpleasant events. About such novels, say, Madame Bovary, it seems to make sense to ask ourselves how we would feel about them if we read them as true stories.I would like however to question the very intelligibility of the... (shrink)

Ambiguity in the athlete’s perception and description of pain that opens the door to a series of reinterpretations of athletic experience and events that argue the development of an increasingly inauthentic relation to self and others on the part of those who consume performance as third parties (spectators) and ultimately those who produce it first hand (athletes). The insertion of the spectator into the sport situation as a consumer of the athlete’s activity and the preference given to spectator interpretation (...) shift control of meaning away from the athlete and encourage a demand for athlete suffering in aid of the spectator’s own need for meaning. Through discussions of the function of narrative in sport spectacle, the witnessing role of spectators, and the phenomenon of vicarious substitution, I discuss the representation of the athlete as a character ideal and moral exemplar. At a more developed level of external interpretation, the athlete (or team) becomes the champion of the spectator, the role model or focal point of civic pride whose victory asserts the ascendence of my team and town over yours; and finally, the athlete or team is the intentional object of fan identification: my team is me. I conclude that the existential commitment of the spectator as devoted fan is an inauthentic one. (shrink)

Is it ever bad to take pleasure in the suffering of fictional characters? I think so. I attempt to show when and why. I begin with two powerful objections to my view: (1) engaging with fiction is akin to morally unproblematic autonomous fantasy, and (2) since no one is harmed, it is morally unproblematic. I reply to the objections and defend a Moorean view on the issue: It is intrinsically bad to enjoy evil, actual (past, present, or future) and (...) merely imagined. In support, I offer four examples. Then I argue against Moore's claim that it is equally bad to delight in fictional suffering as it is to enjoy actual suffering. Finally, I argue that even though it is bad to enjoy imagined suffering, the power of fiction is often mitigating. The moral problems are more often with the works of fiction than with the audience. (shrink)

In this paper I aim to show that the restoration model of pleasure as we find it in Plato’s Gorgias, Republic, Timaeus, and Philebus contain a common psychological core, despite the substantial developments and greater sophistication in the later works. I argue that, contrary to the scholarly consensus, all four dialogues take the necessary condition for pain to be a state of imbalance or disharmony rather than a process of destruction or deterioration. Given that the necessary condition for (...) pleasure is a process of restoration, it follows that the restoration model offers a strikingly asymmetrical account of pleasure and pain. This unorthodox interpretation of pain is not only favoured by the textual evidence but is also more charitable, as it attributes to Plato a more plausible view of impure pleasures, a more realistic account of desire, and a more compelling argument for the greater pleasantness of the philosophical life. (shrink)