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  1. The paradox of painful art.Aaron Smuts - 2007 - Journal of Aesthetic Education 41 (3):59-77.
    Many of the most popular genres of narrative art are designed to elicit negative emotions: emotions that are experienced as painful or involving some degree of pain, which we generally avoid in our daily lives. Melodramas make us cry. Tragedies bring forth pity and fear. Conspiratorial thrillers arouse feelings of hopelessness and dread, and devotional religious art can make the believer weep in sorrow. Not only do audiences know what these artworks are supposed to do; they seek them out in (...)
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  • Evidentialism and skeptical arguments.Dylan Dodd - 2012 - Synthese 189 (2):337-352.
    Cartesian skepticism about epistemic justification (‘skepticism’) is the view that many of our beliefs about the external world – e.g., my current belief that I have hands – aren’t justified. I examine the two most influential arguments for skepticism – the Closure Argument and the Underdetermination Argument – from an evidentialist perspective. For both arguments it is clear which premise the anti-skeptic must deny. The Closure Argument, I argue, is the better argument in that its key premise is weaker than (...)
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  • Two Kinds of Skeptical Argument.Stewart Cohen - 1998 - Philosophy and Phenomenological Research 58 (1):143-159.
    This paper compares two kinds of epistemic principles---an underdetermination principle and a deductive closure principle. It argues that each principle provides the basis for an independently motivated skeptical argument. It examines the logical relations between the premises of the two kinds of skeptical argument and concludes that the deductive closure argument cannot be refuted without refuting the underdetermination argument. The underdetermination argument, however, can be refuted without refuting the deductive closure argument. In this respect, the deductive closure argument is the (...)
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