An Introduction to the Philosophy of Art

These three claims are paradoxical, since any pair of them entails the negation of the third. Such paradoxes can readily be gene ...

pain, or suffer in our presence. We can do nothing to respond to them (other than read, watch, or listen). Our interactions with ...

Since such afflictions are not pleasing in real life away from the theatre, then whence, Hume wonders,“this singular phenomenon. ...

uneasiness of the melancholy passions is not only overpowered and effaced by something stronger of an opposite kind, but the who ...

is tosay,religionisin generala matter offantasy, not knowledge.Itis onlywhen religious principles do not“remain merely principle ...

Instead, then, offeeling actualemotions, Waltonproposesthat wemake-believe that we feel them. It is“fictional that we feel sorro ...

their situations.”^27 All of these suggestions seem apt answers to the first question of why we play such games. But they sidest ...

like them, then we are back with the puzzle of how and why we havethemin response to“mere sound.” Susan Feagin suggests a soluti ...

Lear and his feelings, and in Cordelia and hers. I typically also imagine what Lear may be thinking and feeling that might lead ...

aestheticizing manipulativeness of Adam Verver inThe Golden Bowlshould be exposed, but I do not imagine myself doing this, nor d ...

Gregory Currie has noted, there are genuine emotions in life that are not connected with any disposition to immediate action, fo ...

of consciousness and control. Such immediate responses to potential dangers (as well as to pleasures) are presumably evolutionar ...

Danto endorses what he describes as“Hegel’s wonderful thought [that] the work exists for the spectator and not on its own accoun ...

do thus identify with others, in both art and life, to some extent through acts of imagination and imaginative attention. Follow ...

instead also respond to courage, style, and achievement (and failure) under conditions of risk and threat, often enough no matte ...

paradigm, central case of understanding something to be the recognitive perception of an object present to the senses. They perh ...

fear), and how is feeling these emotions toward protagonists in tragedy an aspect of metaphorical identification with them? In t ...

the inverses of pity and fear: admiration and exhilaration. We admire another who accomplishes what we too think worth accomplis ...

care only or centrally about well-being (eudaimonia) and its achievement or inhibition.^64 We have a greater sense than Aristotl ...

viewer’s perception of the floor.”^67 In forming his sculptures, Caro is himself working through visual experiences of surprise, ...