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

This paper suggests that quantified negative existentials about fiction—statements of the form “There are some / many / etc. Fs in work W who don't exist”—offer a serious challenge to the theorist of fiction: more serious, in a number of ways, that singular negative existentials. I argue that the temptation to think that only a realist semantics of such statements is plausible should be resisted. There are numerous quantified negative existentials found in other areas that seem equally “true” but where (...) a realist semantics imports ontological commitments that few would want to embrace. In the final part of the paper I sketch an alternative pretense account of one such quantified negative existential, and suggest that the account gives us some reason to believe that quantified negative existentials in general, including quantified negative existentials about fiction, can also be understood in pretense terms. (shrink)

Meinongs Leben vollzog sich in engen räumlichen Grenzen. Es scheint kaum von besonderen Höhepunkten gekennzeichnet zu sein. Als neunjähriger, im Jahre 1862, verließ er seine Geburtsstadt Lemberg und ging nach Wien, um dort die Schule zu besuchen und später deutsche Philologie und Geschichte zu studieren. Nach Abschluß einer Dissertation über Arnold von Brescia wandte er sich der Philosophie zu und habilitierte sich auf Empfehlung von Franz Brentano mit einer Arbeit über David Hume. Ein schweres Augenleiden, das sehr zeitig schon zu (...) einer fast vollständigen Blindheit führte und das er mit großem Erfindungsreichtum vor Familie, Freunden und administrativen Einrichtungen zu verbergen suchte, hat sein Leben maßgeblich bestimmt. Meinongs weitere akademische Karriere, die Beziehungen zu seiner Frau Doris, zu seinen Freunden und Studenten werden unter besonderer Berücksichtigung seiner Sehschwäche nachgezeichnet. (shrink)

Meinongs Leben vollzog sich in engen räumlichen Grenzen. Es scheint kaum von besonderen Höhepunkten gekennzeichnet zu sein. Als neunjähriger, im Jahre 1862, verließ er seine Geburtsstadt Lemberg und ging nach Wien, um dort die Schule zu besuchen und später deutsche Philologie und Geschichte zu studieren. Nach Abschluß einer Dissertation über Arnold von Brescia wandte er sich der Philosophie zu und habilitierte sich auf Empfehlung von Franz Brentano mit einer Arbeit über David Hume. Ein schweres Augenleiden, das sehr zeitig schon zu (...) einer fast vollständigen Blindheit führte und das er mit großem Erfindungsreichtum vor Familie, Freunden und administrativen Einrichtungen zu verbergen suchte, hat sein Leben maßgeblich bestimmt. Meinongs weitere akademische Karriere, die Beziehungen zu seiner Frau Doris, zu seinen Freunden und Studenten werden unter besonderer Berücksichtigung seiner Sehschwäche nachgezeichnet. (shrink)

Noel Carroll, film scholar and philosopher, offers the first serious look at the aesthetics of horror. In this book he discusses the nature and narrative structures of the genre, dealing with horror as a "transmedia" phenomenon. A fan and serious student of the horror genre, Carroll brings to bear his comprehensive knowledge of obscure and forgotten works, as well as of the horror masterpieces. Working from a philosophical perspective, he tries to account for how people can find pleasure in having (...) their wits scared out of them. What, after all, are those "paradoxes of the heart" that make us want to be horrified? (shrink)

Noel Carroll, film scholar and philosopher, offers the first serious look at the aesthetics of horror. In this book he discusses the nature and narrative structures of the genre, dealing with horror as a "transmedia" phenomenon. A fan and serious student of the horror genre, Carroll brings to bear his comprehensive knowledge of obscure and forgotten works, as well as of the horror masterpieces. Working from a philosophical perspective, he tries to account for how people can find pleasure in having (...) their wits scared out of them. What, after all, are those "paradoxes of the heart" that make us want to be horrified? (shrink)

Many philosophers suggest (1) that our emotional engagement with fiction involves participation in a game of make-believe, and (2) that what distinguishes an emotional game from a dispassionate game is the fact that the former activity alone involves sensations of physiological and visceral disturbances caused by our participation in the game. In this paper I argue that philosophers who accept (1) should reject (2). I then illustrate how this conclusion illuminates various puzzles in aesthetics and the philosophy of mind.

Despite protestations to the contrary, philosophers have always been renowned for espousing theories that do violence to common-sense opinion. In the last twenty years or so there has been a growing number of philosophers keen to follow in this tradition. According to these philosophers, if a story of pure fic-tion tells us that an individual exists, then there really is such an individual. According to these realists about fictional characters, ‘Scarlett O’Hara,’ ‘Char-lie Brown,’ ‘Batman,’ ‘Superman,’ ‘Tweedledum’ and ‘Tweedledee’ are not (...) denotationless terms, but names that really refer. What is truly surprising about this situation is that almost no one has inveighed against this unfortunate real-ist tendency. My aim here will be to challenge this new orthodoxy, and to defend an anti-realist position against the arguments proffered by the realist. (shrink)

In addition to his poetry, Coleridge also wrote influential piece of literary criticism, Biographia Literaria, a collection of his thoughts and opinions on literature. The work delivered both biographical explanations of the author's life as well as his impressions on literature. The collection also contained an analysis of a broad range of philosophical principles of literature ranging from Aristotle to Immanuel Kant and Schelling and applied them to the poetry of peers such as William Wordsworth. Coleridge's explanations of metaphysical principles (...) were popular topics of discourse in academic communities throughout the 19th and 20th centuries, and T.S. Eliot stated that he believed that Coleridge was "perhaps the greatest of English critics, and in a sense the last." In Biographia Literaria and his poetry, symbols are not merely "objective correlatives" to Coleridge, but instruments for making the universe and personal experience intelligible and spiritually covalent. Samuel Taylor Coleridge (1772 - 1834) was an English poet, literary critic and philosopher who, with his friend William Wordsworth, was a founder of the Romantic Movement in England and a member of the Lake Poets. He wrote the poems The Rime of the Ancient Mariner and Kubla Khan, as well as the major prose work Biographia Literaria. His critical work, especially on Shakespeare, was highly influential, and he helped introduce German idealist philosophy to English-speaking culture. He coined many familiar words and phrases, including suspension of disbelief. He was a major influence on Emerson, and American transcendentalism. (shrink)