Many philosophical accounts of the emotions conceive of them as susceptible to assessments of rationality, fittingness, or some other notion of aptness. Analogous assumptions apply in cases of emotions directed at what are taken to be only fictional or only imagined. My question is whether the criteria governing the aptness of emotions we have toward what we take to be real things apply invariantly to those emotions we have toward what we take to be only fictional or imagined. I argue (...) that what counts as a reason justifying an emotion can differ across real, fictional, and imagined domains. (shrink)

Two assumptions are common in discussions of the paradox of tragedy: (1) that tragic pleasure requires that the work be fictional or, if non-fiction, then non-transparently represented; and (2) that tragic pleasure may be provoked by a wide variety of art forms. In opposition to (1) I argue that certain documentaries could produce tragic pleasure. This is not to say that any sad or painful documentary could do so. In considering which documentaries might be plausible candidates, I further argue, against (...) (2), that the scope of tragic pleasure is limited to works that possess certain thematic and narrative features. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Hume Studies Volume XXIV, Number 2, November 1998, pp. 335-354 "An Unaccountable Pleasure": Hume on Tragedy and the Passions ALEX NEILL Hume begins his essay "Of Tragedy" with a description of what he calls "a singular phaenomenon": It seems an unaccountable pleasure, which the spectators of a well-written tragedy receive from sorrow, terror, anxiety, and other passions, that are in themselves disagreeable and uneasy. The more they are touched (...) and affected, the more are they delighted with the spectacle; and as soon as the uneasy passions cease to operate, the piece is at an end.... They are pleased in proportion as they are afflicted, and never are so happy as when they employ tears, sobs, and cries to give vent to their sorrow, and relieve their heart, swoln with the tenderest sympathy and compassion. The few critics who have had some tincture of philosophy, have remarked this singular phaenomenon, and have endeavoured to account for it.1 The account of the audience's experience of tragedy that Hume goes on to offer in "Of Tragedy" has been the target of criticism since the essay was published. My purpose in what follows is to show that some of what may appear to be the most damaging of that criticism is based on a misinterpretation of the thesis that Hume develops in the essay. I shall not attempt to argue that Hume's thesis is persuasive; indeed, I believe and have argued Alex Neill is at the Department of Philosophy, University of Southampton, Hants Sl 7 IBJ ENGLAND. 336 Alex Neill elsewhere that it is not.2 My project here is almost entirely interpretive: it is an attempt to get clear about what Hume's thesis concerning our experience of tragedy really is. To that end, it should be noted that the apparently "unaccountable" pleasure Hume describes at the beginning of "Of Tragedy" is something that he has remarked on before. In Book I of the Treatise, he notes that in matters of religion men take a pleasure in being terrify'd, and that no preachers are so popular, as those who excite the most dismal and gloomy passions. In the common affairs of life, where we feel and are penetrated with the solidity of the subject, nothing can be more disagreeable than fear and terror; and 'tis only in dramatic performances and in religious discourses, that they ever give pleasure? The phenomenon that Hume finds so remarkable in these passages from "Of Tragedy" and the Treatise is thus, at a minimum, that in certain circumstances, such as when we are at the theatre, we may find agreeable the experience of "the most dismal and gloomy passions." The explanation he gives of this phenomenon in the Treatise is as follows: In these latter cases the imagination reposes itself indolently on the idea; and the passion, being soften'd by the want of belief in the subject, has no more than the agreeable effect of enlivening the mind, and fixing the attention. (T 115) Hume's explanation of how the experience of "uneasy" passions can be enjoyed when we are in church and at the theatre thus has two components. First, because we do not believe the stories we are told in church4 and at the theatre, the uneasy passions we experience are not so very uneasy; as he puts it later in the Treatise, in such circumstances the passion in question "lies not with that weight upon us: It feels less firm and solid" (T 631). Second, a weakly disagreeable passion of this sort agreeably "enlivens" the mind and "fixes" (or as he says later, "rouzes") our attention. By the time he wrote "Of Tragedy," however, Hume had come to regard this explanation of his "singular phaenomenon" as inadequate. With regard to the idea that the passions, even if "uneasy," have the pleasurable effect of "enlivening" the mind (an idea which in "Of Tragedy" he attributes to Dubos), Hume objects that having one's mind "enlivened," one's attention "fixed" or "rouzed," need not be pleasurable: "the same object of distress, which pleases in a tragedy, were it really set before us, would give the most unfeigned uneasiness; though it... (shrink)

While there is hardly an aspect of Hume’s work that has not produced controversy of one sort or another, deciphering and evaluating his views on aesthetics involves overcoming interpretive barriers of a particular sort. In addition to what is generally taken as the anachronistic attribution of “aesthetic theories” to any thinker of the eighteenth century, Hume presents the added difficulty that unlike the other founding-fathers of modern philosophical aesthetics, he produced no systematic work on the subject, and certainly nothing comparable (...) to his efforts in epistemology, morals, politics, history, and religion. Even interpreting Hume’s most definitive expression of his views on aesthetic questions—the famous essay “Of the Standard of Taste”—is fraught with difficulties and, as the diversity of views on the piece demonstrates, only the most confident reader would take it as an unambiguous statement of Hume’s position. (shrink)