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 lieu of an abstract, here is a brief excerpt of the content:Notes and Fragments ENJOYING NEGATIVE EMOTIONS IN FICTIONS by John Morreall There is a puzzle going back to Aristotle and Augustine that has sometimes been called the "paradox of tragedy": how is it that nonmasochistic, nonsadistic people are able to enjoy watching or reading about fictional situations which are filled with suffering? The problem here actually extends beyond tragedy to our enjoyment of horror films and other fictional depictions (...) of situations which we would not enjoy in real life. What is it about fiction that turns intensely unpleasant situations into situations we can enjoy? Ofthe many solutions proposed to this puzzle, I shall mentionjust four. Aristotle held that in viewing tragedy we experience negative emotions — pity and fear — but get pleasure from the experience nonetheless because we are thereby purged of excess pity and fear. For Aristotle, too, there is a pleasure which tragedy shares with fiction in general, the delight we take in representations.1 Hume put more weight on this latter delight. Our pleasure in tragedy, he said, is based on our appreciation of the skill with which the literary or other artist has depicted the unpleasant scenes.2 Susan Feagin has recently located the pleasure we take in tragic art not in our direct responses to the work, which are "unpleasant experiences," she says, but in our meta-response of moral self-congratulation at these responses.3 The fourth solution to our puzzle is really a dissolution: it consists of denying that we actually feel fear, pity, and other negative emotions in our experience of fiction. The guiding principle here is that in order to have some emotion toward a situation, we must believe that it is a real situation. This principle is articulated in an influential article by Kendall Walton, though he does not apply it to our puzzle.4 95 96Philosophy and Literature I believe that this last solution is no solution at all because we do in fact feel emotions in our appreciation of fiction (a point I will develop later). The other three solutions above address the puzzle, and the pleasures they appeal to all have some explanatory power. But these solutions seem to me to overlook perhaps the most basic pleasure we take in tragedy, horror films, and the like — the direct pleasure of feeling (ear, pity, and similar emotions. The idea of enjoying negative emotions seems counterintuitive at first; indeed it may seem analytically false. But let us look more closely at those emotions to see what there might be to enjoy in them. Because the idea that we experience real emotions in response to fiction is controversial, we will begin not with fiction but with real life. After seeing how negative emotions can be enjoyed in real life, we can then consider their enjoyment in response to fiction. Fear is perhaps the most basic negative emotion, and at first glance one of the least likely to be enjoyed. To feel fear, many have claimed, we have tojudge that we are in danger, and danger is disturbing to us. And so it is natural that in fear there is the motivation to eliminate the danger, by fleeing, protecting ourselves, or attacking. Changes in the autonomic nervous system and the endocrine system equip us forjust such actions. They produce an increase in alertness and muscle tension, a faster and stronger heartbeat, a redistribution of the blood from the skin and internal organs to the voluntary muscles and brain, and a release of stored sugar from the liver into the bloodstream. Now although we may not be able to identify all these changes when we are in a state of fear, we can feel many of them directly, and we certainly feel the overall excitement which they produce. It is this excitement, I think, that makes fear potentially enjoyable. Especially for someone who leads a relatively dull life, the stimulation provided by fear can be pleasurable by contrast with the ordinary lack of stimulation. Many people, indeed, go to considerable trouble to put themselves into dangerous situations, in part, at least, for the thrill of fear that the danger will provide. Consider mountain climbers and skydivers, for instance. Now there are many sources... (shrink)

The aim of this article is to explore in a systematic way the rationality of emotions elicited when we engage with works of fiction. I first lay out the approach to the emotions on which my discussion is premised. Next, I concentrate on two facets of emotional rationality—the first pertains to the relation between emotions and the mental states on which they are based, the second to the relation between emotions and the judgements and behaviour they elicit. These observations about (...) emotional rationality are then applied to emotions elicited by works of fiction. After having distinguished several families of emotions, I concentrate on what I call blob-emotions and emotions-for. I argue that, given their nature as direct responses to a restricted range of stimuli, blob-emotions are not irrational. As regards emotions-for fictional entities, I emphasize that a subject’s rationality shows in the way her emotions-for respond to evidence. On this basis, I discard an influential reason to think that emotions-for fictional entities are irrational. Finally, I offer an argument to conclude that they are typically correct and rational. (shrink)

This essay updates Aaron Smuts', 2009 Philosophy Compass piece, “Art and Negative Affect” in light of recent work on the topic. The “paradox of painful art” is the general problem of how it is possible to enjoy or value experiences of art that involve painful emotions. It encompasses both the paradox of tragedy and the paradox of horror. Section 2 lays out a taxonomy of solutions to the paradox of painful art and argues that we should opt for a pluralistic (...) approach rather than seeking a unified solution. Section 3 surveys recent work on the topic, with an emphasis on views holding that it is possible for an experience of art to be pleasant partly in virtue of involving painful emotion. Section 4 suggests a range of phenomena that are not usually considered under the umbrella of the paradox of painful art but that offer promising directions for further research. (shrink)

Why do people seemingly want to be scared by movies and feel pity for fictional characters when they avoid situations in real life that arouse these same negative emotions? Although the domain of relevant artworks encompasses far more than just tragedy, the general problem is typically called the paradox of tragedy. The paradox boils down to a simple question: If people avoid pain then why do people want to experience art that is painful? I discuss six popular solutions to the (...) paradox: conversion, control, compensatory, meta-response, catharsis, and rich experience theories. (shrink)

In paragraph 48 of the Critique of Judgment, Immanuel Kant claimed that ‘only one kind of ugliness cannot be represented in accordance with nature without destroying all aesthetic satisfaction, hence artistic beauty, namely that which arouses disgust.’ However, from Baudelaire to Damien Hirst, there have been artists who delight in arousing disgust through their works, and many of these disgusting works, such as Baudelaire's Une Charogne, have high aesthetic merit. In her splendid new book, Savoring Disgust, Carolyn Korsmeyer rejects Kant's (...) suggestion and argues that there is something called ‘aesthetic disgust,’ that is, ‘the arousal of disgust in an audience, a spectator, or a reader, under circumstances where that emotion both apprehends artistic properties and constitutes a component of appreciation.’. (shrink)

What makes it the case that a given experience is pleasurable? According to the felt-quality theory, each pleasurable experience is pleasurable because of the way that it feels—its “qualitative character” or “felt-quality”. According to the attitudinal theory, each pleasurable experience is pleasurable because the experiencer takes certain attitudes towards it. These two theories of pleasure are typically framed as rivals, but it could be that they are both partly right. It could be that pleasure is partly a matter of felt-quality, (...) and partly a matter of attitudes. It could be that a hybrid theory is true. In this paper, I aim to advance the cause of hybrid theories of pleasure. I do this in two ways. I begin by examining the challenges which motivate the search for a hybrid theory. I call these the HONEST challenges: Heterogeneity, Oppositeness, Normativity, Euthyphro, Separateness, and Togetherness. The first three challenges—HON—are challenges for the felt-quality theory. The second three challenges—EST—are challenges for the attitudinal theory. Having established the HONEST challenges, I then describe and motivate a particular cluster of hybrid theories which I will call dispositional hybrid theories. According to these theories, pleasurable experiences are all and only those experiences which dispose us to desire them in virtue of feeling the way that they do. The dispositional theories deliver on the promise of hybrid theories: because they appeal to both felt-qualities and attitudes, they have the resources to avoid most, if not all, of the HONEST challenges. (shrink)

In this paper, I will argue that Radfords real question is not the conceptual one, as it is usually taken, but the causal one, and show that Waltons account, which treats Radfords puzzle as the conceptual question, is not a satisfactory solution to it. I will also argue that contrary to what Walton claims, the causal question is not only important, but also closely related to the conceptual and normative questions. What matters is not that Walton has not solved Radfords (...) puzzle per se, but that he has not recognized the importance of this puzzle. While doing this, I will suggest a revision to the cognitive theory of emotion. (shrink)

Maurizio Ferraris | : L’une des réponses au paradoxe de la fiction consiste à dire que les émotions que nous éprouvons face aux oeuvres de fiction ne sont pas véritables. Mais qu’est-ce que pleurer ou rire pour de vrai ? En fait, presque toutes les formes de rire ou de larmes, et de réactions émotionnelles, sont compatibles avec la fiction, y compris celles qui sont des émotions vraies. Ce qui pose problème dans le paradoxe est la prémisse selon laquelle nos (...) croyances au sujet de la fiction doivent être vraies ou fausses. | : One of the answers to the paradox of fiction consists in claiming that the emotions that we feel about fictions are not genuine emotions. But what is it to laugh or to cry genuinely? In fact, almost all kinds of laughter and of cry are compatible with fictions, including genuine ones. What is wrong in the paradox of fiction is the premise according to which our beliefs about fictions have to be true or false. (shrink)