Fred Feldman's fascinating new book sets out to defend hedonism as a theory about the Good Life. He tries to show that, when carefully and charitably interpreted, certain forms of hedonism yield plausible evaluations of human lives. Feldman begins by explaining the question about the Good Life. As he understands it, the question is not about the morally good life or about the beneficial life. Rather, the question concerns the general features of the life that is good in itself for (...) the one who lives it. Hedonism says (roughly) that the Good Life is the pleasant life. After showing that received formulations of hedonism are often confused or incoherent, Feldman presents a simple, clear, coherent form of sensory hedonism that provides a starting point for discussion. He then presents a catalogue of classic objections to hedonism, coming from sources as diverse as Plato, Aristotle, Brentano, Ross, Moore, Rawls, Kagan, Nozick, Brandt, and others. One of Feldman's central themes is that there is an important distinction between the forms of hedonism that emphasize sensory pleasure and those that emphasize attitudinal pleasure. Feldman formulates several kinds of hedonism based on the idea that attitudinal pleasure is the Good. He claims that attitudinal forms of hedonism - which have often been ignored in the literature -- are worthy of more careful attention. Another main theme of the book is the plasticity of hedonism. Hedonism comes in many forms. Attitudinal hedonism is especially receptive to variations and modifications. Feldman illustrates this plasticity by formulating several variants of attitudinal hedonism and showing how they evade some of the objections. He also shows how it is possible to develop forms of hedonism that are equivalent to the allegedly anti-hedonistic theory of G. E. Moore and the Aristotelian theory according to which the Good Life is the life of virtue, or flourishing. He also formulates hedonisms relevantly like the ones defended by Aristippus and Mill. Feldman argues that a carefully developed form of attitudinal hedonism is not refuted by objections concerning 'the shape of a life'. He also defends the claim that all of the alleged forms of hedonism discussed in the book genuinely deserve to be called 'hedonism'. Finally, after dealing with the last of the objections, he gives a sketch of his hedonistic vision of the Good Life. (shrink)

"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.

This paper presents a new account of aesthetic pleasure, according to which it is a distinct psychological structure marked by a characteristic self-reinforcing motivation. Pleasure figures in the appreciation of an object in two ways: In the short run, when we are in contact with particular artefacts on particular occasions, aesthetic pleasure motivates engagement and keeps it running smoothly—it may do this despite the fact that the object we engagement is aversive in some ways. Over longer periods, it plays a (...) critical role in shaping how we engage with objects to get this kind of pleasure from them. This account is yoked to a broadly functional understanding of art: it is not the nature of the object that makes it art, but the nature of the response that it is designed to elicit. The view does not, however, rest on individual psychology alone, as some other functional accounts do. Crucially, it is argued that shared cultural context is a key determinant of the pleasure we derive from aesthetic artefacts. The pleasure of art is always communal and communicative. (shrink)

For Pleasure argues that aesthetic pleasure and formal experimentalism hold the twinned capacity to maintain a global racial order and also to undo it.

This paper responds to a new objection, due to Ben Bramble, against attitudinal theories of sensory pleasure and pain: the objection from unconscious pleasures and pains. According to the objection, attitudinal theories are unable to accommodate the fact that sometimes we experience pleasures and pains of which we are, at the time, unaware. In response, I distinguish two kinds of unawareness and argue that the subjects in the examples that support the objection are unaware of their sensations in only a (...) weak sense, and this weak sort of unawareness of a sensation does not preclude its being an object of one’s attitudes. (shrink)

C. C. W. Taylor presents a selection of his essays in ancient philosophy, drawn from forty years of writings on the subject. The central theme of the volume is the moral psychology of Plato and Aristotle, with a special focus on pleasure and related concepts, an area central to Greek ethical thought. Taylor also discusses Socrates and the Greek atomists, showing how Plato's ethics grows out of the thought of Socrates, and that pleasure is also a central concept for the (...) atomists. Pleasure, Mind, and Soul provides a fascinating survey of a range of important topics in the work of some of the greatest ancient philosophers, and which remain the subject of lively philosophical debate today. (shrink)

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)

Pleasure and Desire The Case of Hedonism Reviewed.

[Final version in Philosophical Papers, 2000] Much has been made over the past few decades of two related problems in aesthetics. First, the "feeling fiction problem," as I will call it, asks: is it rational to be moved by what happens to fictional characters? How can we care about what happens to people who we know are not real?[i] Second, the so-called "paradox of tragedy" is embodied in the question: Why or how is it that we take pleasure in artworks (...) which are clearly designed to cause in us such feelings as sadness and fear?[ii] Various solutions to these puzzles have been proposed, but my primary aim is neither to offer a novel solution nor to summarize and critique most of the alternatives.[iii] My focus instead will be on the issue of consciousness and, more specifically, to view these problems from the point of the view of the so-called "higher-order thought theory of consciousness" . Although some work on these puzzles have raised important questions about the nature of consciousness and "aesthetic experience," no attempt has yet been made to examine them in light of a specific theory. (shrink)

I ARGUE THAT WE RECEIVE PLEASURE FROM TRAGEDIES BECAUSE WE ARE PLEASED TO FIND OURSELVES RESPONDING IN AN UNPLEASANT WAY TO HUMAN SUFFERING AND INJUSTICE. THE PLEASURE IS THUS A METARESPONSE, AND REFLECTS FEELINGS WHICH ARE AT THE BASIS OF MORALITY. THIS HELPS EXPLAIN WHY TRAGEDY IS SUPPOSED TO BE A HIGHER ART FORM THAN COMEDY, AND PROVIDES A NEW WAY OF SEEING THE RELATIONSHIP BETWEEN THE MORALITY OF AN ARTWORK AND ITS VALUE.

One of the oldest platitudes about beauty is that it is pleasant to perceive or experience. In this article, I take this platitude at face value and try to explain why experiences of beauty are seemingly always accompanied by pleasure. Unlike explanations that have been offered in the past, the explanation proposed is designed to suit a “realist” view on which beauty is an irreducibly evaluative property, that is, a value. In a nutshell, the explanation is that experiences of beauty (...) are experiences in which it appears that something is beautiful, and that such experiences are identical to experiences of aesthetic pleasure. (shrink)

Human lives are full of pleasures and pains. And humans are creatures that are able to think: to learn, understand, remember and recall, plan and anticipate. Ancient philosophers were interested in both of these facts and, what is more, were interested in how these two facts are related to one another. There appear to be, after all, pleasures and pains associated with learning and inquiring, recollecting and anticipating. We enjoy finding something out. We are pained to discover that a belief (...) we hold is false. We can think back and enjoy or be upset by recalling past events. And we can plan for and enjoy imagining pleasures yet to come. This book is about what Plato, Aristotle, the Epicureans and the Cyrenaics had to say about these relationships between pleasure and reason. (shrink)

In this study, George Rudebusch addresses whether Socrates was a hedonist--whether he believed pleasure to be the good. In attempting to locate Socrates' position on hedonism, Rudebusch examines the passages in Plato's early dialogues that are the most disputed on the topic. He maintains that Socrates identifies pleasant activity with virtuous activity, describing Socrates' hedonism as one of activity, not sensation. This analysis allows for Socrates to find both virtue and pleasure to be the good, thus solving the textual puzzle (...) and showing the power of Socratic argument in leading human beings toward the good. (shrink)

As topics in the philosophy of emotion, pleasure and displeasure get less than their fair share of attention. On the one hand, there is the fact that pleasure and displeasure are given no role at all in many theories of the emotions, and secondary roles in many others.1 On the other, there is the centrality of pleasure and displeasure to being emotional. A woman who tears up because of a blustery wind, while an ill-advised burrito weighs heavily upon her digestive (...) tract, feels an impressive number of the sensations felt by someone who is gut-wrenchingly sad. Yet, unless she feels bad, the way she feels is only a pale echo of the feeling of sadness. If she feels good in spite of the burrito and the wind, then she does not feel at all the way she would if she were sad. Likewise, a man falling asleep can hardly fail to feel his muscles relax, his heart rate fall, and so on, but unless he feels good his state is only a shadow of feeling content. This paper will begin with a sketch of the nature of pleasure and displeasure, and the relation between them and the feelings that are characteristic of emotions. It will then argue that the capacity to feel pleased and displeased is, quite literally, a sense modality: one allowing us to perceive net change in the satisfaction of our intrinsic desires. As with any sense modality, the capacity to feel pleased and displeased displays substantial modularity. The paper concludes by considering the ways in which the modularity of pleasure and displeasure contributes to effects that might reasonably be called “the modularity of the emotions.”. (shrink)

What is the contrary of pleasure? “Pain” is one common answer. This paper argues that pleasure instead has two natural contraries: unpleasure and hedonic indifference. This view is defended by drawing attention to two often-neglected concepts: the formal relation of polar opposition and the psychological state of hedonic indifference. The existence of mixed feelings, it is argued, does not threaten the contrariety of pleasure and unpleasure.

This volume deals with the general theory of pleasure of Plato and his successors.The first part describes the two paradigms between which all theories of ...

Some experiences—like the experience of eating cheesecake—are good experiences to have. But when we try to explain why they are good, we encounter a clash of intuitions. First, we have an objectivist intuition: plausibly, the experiences are good because they feel the way that they do. Second, we have a subjectivist intuition: if a person were indifferent to that kind of experience, then it might fail to be good for that person. Third, we have a possibility intuition: for any kind (...) of experience, possibly there is a subject who is indifferent to that kind of experience. The pleasure problem is the problem we face in reconciling these three claims. I explain the problem and argue for a solution. I argue that we ought to reject the most common solutions: rejecting the objectivist or subjectivist intuitions. Instead, we ought to follow Timothy Sprigge in rejecting the possibility claim. We should embrace the view that experiences bear necessary connections to our attitudes. (shrink)

A good deal of recent debate over the nature of pleasure and pain has surrounded the alleged phenomenon of unconscious sensory pleasure and pain, or pleasures and pains whose subjects are entirely unaware of them while experiencing them. According to Ben Bramble, these putative pleasures and pains present a problem for attitudinal theories of pleasure and pain, since these theories claim that what makes something a sensory pleasure or pain is that one has a special sort of pro- or con-attitude (...) toward it at the time one experiences it. In this paper, I look at the two existing defenses of attitudinal theories against this worry and explain (following Bramble) that each is inadequate. I show that this inadequacy is in part a result of existing attitudinal theories failing to recognize an important distinction in pro- and con-attitudes, and I propose and defend an amended attitudinal view that does recognize this distinction. I then offer a more promising response to the objection from unconscious sensory pleasures and pains: that experiences of apparently unconscious pleasure or pain only seem pleasant or unpleasant because their subjects are disposed to experience pleasantness or unpleasantness. In this sense, unconscious pleasures and pains are not really pleasures or pains at all. (shrink)

This paper defends hedonic intentionalism, the view that all pleasures, including bodily pleasures, are directed towards objects distinct from themselves. Brentano is the leading proponent of this view. My goal here is to disentangle his significant proposals from the more disputable ones so as to arrive at a hopefully promising version of hedonic intentionalism. I mainly focus on bodily pleasures, which constitute the main troublemakers for hedonic intentionalism. Section 1 introduces the problem raised by bodily pleasures for hedonic intentionalism and (...) some of the main reactions to it. Sections 2 and 3 rebut two main approaches equating bodily pleasures with non- intentional episodes. More precisely, section 2 argues that bodily pleasures cannot be purely non-intentional self-conscious feelings, by relying on Brentano’s objection to Hamilton’s theory of pleasure. Section 3 argues that bodily pleasures cannot be non-intentional sensory qualities by relying on Brentano’s objections to Stumpf’s theory of pleasure. Section 4 develops a brentanian view of the intentionality of bodily pleasures by claiming bodily pleasures are directed at a sui generis class of sensory qualities. Section 5 presents an objection to Brentano’s later theory of pleasure according to which all sensory pleasures are directed at sensing acts. (shrink)

For many, the word 'pleasure' conjures associations with hedonism, indulgence, and escape from the life of the mind. However little we talk about it, though, pleasure also plays an integral role in cognitive life, in both our sensory perception of the world and our intellectual understanding. This previously important but now neglected philosophical understanding of pleasure is the focus of the essays in this volume, which challenges received views that pleasure is principally motivating of action, unanalyzable, and caused, rather than (...) responsive to reason. Like other books in the Oxford Philosophical Concepts series, it traces the development of the focal idea from ancient times through the 20th century. The essays highlight points of departure for new lines of inquiry rather than attempting to provide a full picture of how the idea of pleasure has been explored in philosophy. The volume begins by showing how Plato, Aristotle, early Islamic philosophers, and philosophers in the Medieval Latin tradition, such as Aquinas, honed in on the challenge of unifying the variety of pleasures so that they fall under one concept. In the early modern period, philosophers shifted from understanding the logic of pleasure to treating pleasure as a mental state. As the studies of Malebranche, Berkeley and Kant show, the central problem becomes understanding the relation of pleasure to other sensory experiences, and the role of pleasure in human cognition and knowledge. Short interdisciplinary reflections interspersed between essays focus on art of 16th and 17th century textbooks and the difficult music of composers like Bach, which demonstrate translation of these concerns to cultural production in the period. As the essay on Mill shows, the 19th century development of scientific psychology narrowed the definition of pleasure, and so its philosophical focus. Contemporary accounts of pleasure, however, in both philosophy and psychology, are now recognizing the limitations of this narrow focus, and are once again recognizing the complexity of pleasure and its role in human life. (shrink)

What Is Aesthetic Pleasure? When is pleasure in an object properly denominated aesthetic? The characterization of aesthetic pleasure is something that ...

이 글은 『필레보스』에서 소크라테스가 나누는 즐거움의 종류가 대상의 존재론적 지위에 달려있기 때문에 오직 순수한 대상에 대한 즐거움만이 참된 즐거움이라는 기존의 해석을 비판적으로 검토하고 즐거움의 종류를 새롭게 구분하는 방법을 제안한다.『필레보스』의 소크라테스는 즐거움이라는 사태가 몸과 혼 모두 혹은 혼에만 작용하는 것이라고 보기 때문에, 극단적인 쾌락주의자의 입장을 비판하면서 즐거움이라는 경험에 있어서 판단이 핵심적이라는 점을 보인다. 그리고 판단의 참과 거짓 여부에 따라서 즐거움 또한 참과 거짓으로 구분된다고 주장한다. 모든 종류의 즐거움은 이에 대한 판단이 참되어야만 참될 수 있으며, 이때 판단이 참된 것은 기대의 내용 혹은 (...) 즐거움의 크기를 정확하게 판정할 수 있는지에 달려있다. (shrink)

As topics in the philosophy of emotion, pleasure and displeasure get less than their fair share of attention. On the one hand, there is the fact that pleasure and displeasure are given no role at all in many theories of the emotions, and secondary roles in many others.1 On the other, there is the centrality of pleasure and displeasure to being emotional. A woman who tears up because of a blustery wind, while an ill-advised burrito weighs heavily upon her digestive (...) tract, feels an impressive number of the sensations felt by someone who is gut-wrenchingly sad. Yet, unless she feels bad, the way she feels is only a pale echo of the feeling of sadness. If she feels good in spite of the burrito and the wind, then she does not feel at all the way she would if she were sad. Likewise, a man falling asleep can hardly fail to feel his muscles relax, his heart rate fall, and so on, but unless he feels good his state is only a shadow of feeling content. This paper will begin with a sketch of the nature of pleasure and displeasure, and the relation between them and the feelings that are characteristic of emotions. It will then argue that the capacity to feel pleased and displeased is, quite literally, a sense modality: one allowing us to perceive net change in the satisfaction of our intrinsic desires. As with any sense modality, the capacity to feel pleased and displeased displays substantial modularity. The paper concludes by considering the ways in which the modularity of pleasure and displeasure contributes to effects that might reasonably be called “the modularity of the emotions.”. (shrink)

Pleasure is one of the strongest candidates for an occurrence that might be good, in some respect, unconditionally. Malicious pleasure is one of the most often cited alleged counter-examples to pleasure’s being an unconditional good. Correctly evaluating malicious pleasure is more complex than people realize. I defend pleasure’s unconditionally good status from critics of malicious pleasure.

Pleasure, in the inclusive usages most important in moral psychology, ethical theory, and the studies of mind, includes all joy and gladness — all our feeling good, or happy. It is often contrasted with similarly inclusive pain, or suffering, which is similarly thought of as including all our feeling bad. Contemporary psychology similarly distinguishes between positive affect and negative affect.[1..

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.

This paper uses readings of two classic autobiographies, Edmund Gosse's Father & Son and John Stuart Mill's Autobiography, to develop a distinctive answer to an old and central question in value theory: What role is played by pleasure in the most successful human life? A first section defends my method. The main body of the paper then defines and rejects voluntarist, stoic, and developmental hedonist lessons to be taken from central crises in my two subjects' autobiographies, and argues for a (...) fourth, diagnostic lesson: Gosse and Mill perceive their individual good through the medium of pleasure. Finally, I offer some speculative moral psychology of human development, as involving the waking, perception, management, and flowering of generic and individual capacities, which I suggest underlies Gosse and Mill's experiences. The acceptance of one's own unchosen nature, discovered by self-perceptive pleasure in the operation of one's nascent capacities, is the beginning of a flourishing adulthood in which that nature is fully developed and expressed. (shrink)

This paper presents the Universality Argument that pleasure is goodness. The first premise defines goodness as what should please all. The second premise reduces 'should' to perceptual accuracy. The third premise invokes a universal standard of accuracy: qualitative identity. Since the pleasure of all is accurate solely about pleasure, pleasure is goodness, or universal moral value. The argument proceeds from a moral sense theory that analyzes moral concepts as concerned with what all should hope for, feel guilty about, and admire. (...) This requires rejecting practical anti-empiricism, the view that moral judgment concerns empirically inaccessible norms governing action. (shrink)

What is the role and value of pleasure in addiction? Foddy and Savulescu have claimed that substance use is just pleasure-oriented behavior. They describe addiction as "strong appetites toward pleasure" and argue that addicts suffer in significant part because of strong social and moral disapproval of lives dominated by pleasure seeking. But such lives, they claim, can be autonomous and rational. The view they offer is largely in line with the choice model and opposed to a disease model of addiction. (...) Foddy and Savulescu are sceptical of self-reports that emphasize the ill effects of addiction such as loss of family and possessions, or that claim an absence of pleasure after tolerance sets in. Such reports they think are shaped by social stigma which makes available a limited set of socially approved addiction narratives. We will not question the claim that a life devoted to pleasure can be autonomously chosen. Nor do we question the claim that the social stigma attached to the use of certain drugs increases the harm suffered by the user. However our interviews with addicts reveal a genuinely ambivalent and complex relationship between addiction, value, and pleasure. Our subjects did not shy away from discussing pleasure and its role in use. But though they usually valued the pleasurable properties of substances, and this played that did not mean that they valued an addictive life. Our interviews distinguished changing attitudes towards drug related pleasures across the course of substance use, including diminishing pleasure from use over time and increasing resentment at the effects of substance use on other valued activities. In this paper we consider the implications of what drug users say about pleasure and value over the course of addiction for models of addiction. Well don't get me wrong, I love using mate. If I could use successfully I would. I'd still be using. I love using. I just don't like the shit that comes with it. (shrink)

Plato links pleasure with illusion, and this link explains his rejection of the view that all desires are rational desires for the good. The Protagoras and Gorgias show connections between pleasure and illusion; the Republic develops these into a psychological theory. One part of the soul is not only prone to illusions, but also incapable of the kind of reasoning that can dispel them. Pleasure appears good; therefore this part of the soul (the appetitive part) desires pleasures qua good but (...) ignores reasoning about what is really good. Hence the new moral psychology of the Republic: not all desires are rational, and thus virtue depends on bringing one's non-rational desires under the control of reason. (shrink)

This paper discusses the structural relationship between ideals on pleasure and pleasure as a human psychological phenomenon in Chinese thought. It describes the psychological phenomenon of pleasure, and compares different approaches by pre-Qin Confucian and Daoist scholars. It also analyzes its development in Song and Ming Confucianism. Finally, in the conclusion, the issue is transferred to a general understanding of happiness, so as to demonstrate the modern value of the classical ideological experience.

The Key Themes in Ancient Philosophy series provides concise books, written by major scholars and accessible to non-specialists, on important themes in ancient philosophy that remain of philosophical interest today. In this volume Professor Wolfsdorf undertakes the first exploration of ancient Greek philosophical conceptions of pleasure in relation to contemporary conceptions. He provides broad coverage of the ancient material, from pre-Platonic to Old Stoic treatments; and, in the contemporary period, from World War II to the present. Examination of the nature (...) of pleasure in ancient philosophy largely occurred within ethical contexts but in the contemporary period has, to a greater extent, been pursued within philosophy of mind and psychology. This divergence reflects the dominant philosophical preoccupations of the times. But Professor Wolfsdorf argues that the various treatments are complementary. Indeed, the Greeks' examinations of pleasure were incisive and their debates vigorous, and their results have enduring value for contemporary discussion. (shrink)

In this essay, I’ll argue, first, that an art object's aesthetic value (or merit) depends not just on its intrinsic properties, but on the response it evokes from a consumer who shares the producer's cultural background. My question is: what is the role of culture in relation to this response? I offer a new account of aesthetic pleasure that answers this question. On this account, aesthetic pleasure is not just a “feeling” or “sensation” that results from engaging with a work (...) of art. It is rather a mental state that facilitates engagement with an artwork, and (in the long run) enables a consumer to learn how to maximize this kind of pleasure. This is where culture comes in. If you belong to a culture, you know how to engage pleasurably with an artwork that is produced so you can engage with it in just this way. The aesthetic value of an artwork is that it plays into such a culture-pleasure nexus. -/- . (shrink)

The object of the present work is to rectify the neglect that pleasure and displeasure have been suffering from in the philosophy of mind, and to give an account of pleasure and displeasure which reveals a striking degree of unity and theoretical tractabiliy underlying the diverse phenomena: a representationalist account.

Experientialist accounts of wellbeing are those accounts of wellbeing that subscribe to the experience requirement. Typically, these accounts are hedonistic. In this article I present the claim that hedonism is not the most plausible experientialist account of wellbeing. The value of experience should not be understood as being limited to pleasure, and as such, the most plausible experientialist account of wellbeing is pluralistic, not hedonistic. In support of this claim, I argue first that pleasure should not be understood as a (...) broad term to describe valuable experiences generally. I then analyze responses to the main argument against a monistic view on the value of experience: the philosophy of swine objection. I argue that such responses deviate from the central hedonistic view that only pleasure and pain matter for wellbeing. I then argue that the argument can be avoided on a pluralistic account, and formulate a plausible candidate for an account of pluralistic experientialism, in which, besides pleasure, non-hedonic aspects of experience like novelty, compassion, and aesthetic value also contribute to wellbeing. (shrink)

In the Critique of Judgment Kant repeatedly points out that it is only the pleasure of taste that reveals to us the need to introduce a third faculty of the mind with its own a priori principle. In order to elucidate this claim I discuss two general principles about pleasure that Kant presents, the transcendental definition of pleasure from § 10 and the principle from the Introduction that connects pleasure with the achievement of an aim. Precursors of these principles had (...) been employed by Kant and others in empirical psychology. But how can such principles of empirical psychology be transferred to transcendental philosophy? I suggest that Kant accomplishes this by deriving the connection of pleasure with achievement of an aim from the transcendental definition and the assumption that faculties have interests. I finally reconstruct § 11 as a ‘regressive argument’ from the peculiarities of the pleasure of taste to the need to acknowledge a new faculty. (shrink)

Sadness is generally seen as a negative emotion, a response to distressing and adverse situations. In an aesthetic context, however, sadness is often associated with some degree of pleasure, as suggested by the ubiquity and popularity, throughout history, of music, plays, films and paintings with a sad content. Here, we focus on the fact that music regarded as sad is often experienced as pleasurable. Compared to other art forms, music has an exceptional ability to evoke a wide-range of feelings and (...) is especially beguiling when it deals with grief and sorrow. Why is it, then, that while human survival depends on preventing painful experiences, mental pain often turns out to be explicitly sought through music? In this article we consider why and how sad music can become pleasurable. We offer a framework to account for how listening to sad music can lead to positive feelings, contending that this effect hinges on correcting an ongoing homeostatic imbalance. Sadness evoked by music is found pleasurable (1) when it is perceived as non-threatening; (2) when it is aesthetically pleasing; and (3) when it produces psychological benefits such as mood regulation, and empathic feelings, caused, for example, by recollection of and reflection on past events. We also review neuroimaging studies related to music and emotion and focus on those that deal with sadness. Further exploration of the neural mechanisms through which stimuli that usually produce sadness can induce a positive affective state could help the development of effective therapies for disorders such as depression, in which the ability to experience pleasure is attenuated. (shrink)

One of the leading approaches to the nature of sensory pleasure reduces it to desire: roughly, a sensation qualifies as a sensation of pleasure just in case its subject wants to be feeling it. This approach is, in my view, correct, but it has never been formulated quite right; and it needs to be defended against some compelling arguments. Thus the purpose of this paper is to discover the most defensible formulation of this rough idea, and to defend it against (...) the most interesting objections. (shrink)

According to attitudinal theories of pleasure and pain, what makes a given sensation count as a pleasure or a pain is just the attitudes of the experiencing agent toward it. In a previous article, I objected to such theories on the grounds that they cannot account for pleasures and pains whose subjects are entirely unaware of them at the time of experience. Recently, Chris Heathwood and Fred Feldman, the two leading contemporary defenders of attitudinal theories, have responded to this objection, (...) in very different ways. In this paper, I reconstruct and evaluate these responses. My conclusion is that neither response succeeds. (shrink)

In The Pursuit of Unhappiness, Daniel Haybron has defended an emotional state theory of happiness, according to which happiness consists in a broadly positive balance of emotions, moods, and mood propensities. In this paper, I argue that Haybron’s theory should be modified in two ways. First, contra Haybron, I argue that sensory pleasures should be regarded as constituents of happiness, alongside emotions and moods. I do this by showing that sensory pleasures are sufficiently similar to emotions for them to be (...) included within the class of happiness-constituting states. Second, I argue that a plausible theory of happiness should not include mood propensities, since their inclusion is either counterintuitive or unnecessary. (shrink)

Hampton illumines the overall structure of the Philebus. Taking the interrelations of pleasure, knowledge, and being as the keys to understanding the unity of the dialogue, she focuses on the central point.

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)

This volume deals with the general theory of pleasure of Plato and his successors. The first part describes the two paradigms between which all theories of pleasure oscillate: Plato's definition of pleasure as the repletion of a lack, and Aristotle's view that pleasure is the perfect performance of an activity. After an excursus on Epicureans and Stoics, the book concentrates on Neoplatonism, opposing the 'standard Neoplatonic view' of Plotinus and Proclus to the original viewpoint of Damascius' commentary on Plato's "Philebus," (...) The volume sheds light on the discussion between hedonists and anti-hedonists, by concentrating on the 'crucial point' at which any philosophical analysis of the good life (hedonistic or other) ought to argue that the life of the philosopher is the most desirable, and thus truly pleasurable, life. (shrink)