ABSTRACTMatthen usefully distinguishes between mere ‘r-pleasures’ and ‘f-pleasures’: ‘facilitating’ pleasures that are valuable in drawing out the ‘self-reinforcing’ characteristic of good art. But there are reasons, especially from a Kantian Critical perspective with which Matthen sympathizes, to worry about any such ‘hedonistic’ approach to aesthetics, however valuable its general account of pleasure may be. Especially deserving of emphasis are the role of objectivity and the significance of aesthetic goals other than pleasure.

This thesis explores the ethical impact of literary narrative fictions on the reader. It does so by focusing mainly on the reading experience since one of the main claims of the thesis is that literary narrative fictions are co-products of the author and the reader. In that sense the aforementioned impact cannot be understood without taking into account the creative acts of the reader. The exploration is carried out by focusing on three scholars whose investigations on the problem of literary (...) experience can be read as complementary works. In the first chapter I descriptively lay out Roman Ingarden’s investigation on the ontological and structural character of the literary work of art along with his phenomenological inquiry into the cognition of this work. By examining his basic claims about the nature of the literary work of art and its cognition, I discuss the ontological incompleteness of these works which necessitates the active role of the reader in giving the work its final shape. In the second chapter I focus upon Wolfgang Iser’s reader-response theory. Iser’s theory goes parallel to Ingarden’s in the sense that they both accept the openness of the work to the creative acts of the reader. Iser, however by his notions of depragmatization, negation and negativity suggest us a two-way traffic between the fictional work and the reader. Through the reading proses, by virtue of the negations and de-pragmatizations, the work invites the reader to reflect on the familiar norms it represents and suggest to her a new model to understand the real world. In this way, while giving a shape to the work, the reader is also shaped by it. The third chapter addresses the phenomenological hermeneutics of Paul Ricoeur. By exploring his notion of “narrative identity” as a mediator between the ipse and idem identities, my aim is to show the influence of the literary fictional narratives in understanding the identity of the individual subject as a temporal, historical, and intersubjective being. It is only through this understanding that we can construe the subject in her ethical identity. I will also focus on Ricoeur’s notions of “emplotment,” and “threefold mimesis,” which implies the active role of the reader in realizing the literary narrative fiction, so that I can reveal how fictional narratives enhance the notion of narrative identity. (shrink)

In the last few decades, several philosophers have written on the topic of moral revolutions, distinguishing them from other kinds of society-level moral change. This article surveys recent accounts of moral revolutions in moral philosophy. Different authors use quite different criteria to pick out moral revolutions. Features treated as relevant include radicality, depth or fundamentality, pervasiveness, novelty and particular causes. We also characterize the factors that have been proposed to cause moral revolutions, including anomalies in existing moral codes, changing honour (...) codes, art, economic conditions and individuals or groups. Finally, we discuss what accounts of moral revolutions have in common, how they differ and how moral revolutions are distinguished from other kinds of moral change, such as drift and reform. (shrink)

A long‐standing aim of cinema – in particular of ‘extreme’, ‘unwatchable’ or ‘feel‐ bad’ cinema – has been to acquaint viewers with extreme suffering. In this article I first offer an explication of that aim in terms of recent work in philosophy of mind, then exploit the resulting framework to examine claims to the effect that a new technological development, Virtual Reality, provides cinema's best shot at achieving that aim.

In this article, I defend moral aesthetic cognitivism, the view that literature is a valuable source of insights related to morally relevant aspects of our world and that it can significantly contribute to our moral education. I am in particular concerned with counterarguments to this view voiced by Greg Currie, who trashes epistemological foundations of literature and emphasizes the lack of empirical corroboration of cognitivism, and by Peter Lamarque, who dismisses educative potential of literature on the account of readers' incapacity (...) to extract morally relevant judgements about the world from literary works. I rely on examples from literary tradition to rebuild the epistemological framework underlying cognitivism and on contemporary insights from moral psychology to show that our engagements with literature are permeated with moral reflections that are valuable for our moral education. (shrink)