The paper explores Burke’s twofold solution to the paradox of negative emotions. His Philosophical Enquiry (1757/59) employs two models that stand on different anthropological principles: the Exercise Argument borrowed from authors like the Abbé Du Bos, guided by the principle of self-preservation, and the Sympathy Argument, propageted by notable men of lettres such as Lord Kames, ruled by the principle of sociability. Burke interlocks these two arguments through a teleologically-ordered physiology, in which the natural laws of the human (...) body and mind, secretly working in the depth of the nerve fibres, ensure both self-preservation and sociability. Utilizing both efficient and final causes throughout his Enquiry, Burke argues that the experiences of pain and terror – under certain conditions – are made agreeable (delight) by providence,so that the physiological mechanisms underlying these experiences could ensure the health and strenuousness of the nerve fibres amidst the corrupting pleasures of commercial society (Exercise Argument). Furthermore, due to the ambiguous character of this delight annexed to such experiences, they also function as exercises for our social passions (Sympathy Argument). Te 'egoistic' anthropological drive to remove the visceral uneasiness that dominates these experiences facilitates moral action when it is needed the most: when others in pain need our help. In accordance with the anthropocentric providentialism of the moderate Enlightenment, it is the design of the human frame that ensures the activities essential to our health (self-preservation) and moral conduct (sociability), a design that not only guarantees that pleasure, if exclusive and excessive, is 'inconvenient', and pain, if mitigated and harmless, is aesthetically agreeable, but also that our 'egoistic' drive to self-preservation ultimately improves sociability. (shrink)

The literature on the venerable aesthetic category of the sublime often provides us with lists of sublime phenomena — mountains, storms, deserts, volcanoes, oceans, the starry sky, and so on. But it has long been recognized that what matters is the experience of such objects. We then find that one of the most consistent claims about this experience is that it involves an element of fear. Meanwhile, the recognition of the sublime as a category of aesthetic appreciation implies that attraction, (...) admiration or pleasure is also present.1However, there is also a sense of fear and attraction when we watch car chases or fights. Neither of these is an occasion for the sublime so much as a visceral sort of excitement.2 As .. (shrink)

The objective of this article is to review extant empirical studies of empathy in narrative reading in light of (i) contemporary literary theory, and (ii) neuroscientific studies of empathy, and to discuss how a closer interplay between neuroscience and literary studies may enhance our understanding of empathy in narrative reading. An introduction to some of the philosophical roots of empathy is followed by tracing its application in contemporary literary theory, in which scholars have pursued empathy with varying degrees of conceptual (...) precision, often within the context of embodied/enactive cognition. The presentation of empirical literary studies of empathy is subsequently contextualized by an overview of psychological and neuroscientific aspects of empathy. Highlighting points of convergence and divergence, the discussion illustrates how findings of empirical literary studies align with recent neuroscientific research. The article concludes with some prospects for future empirical research, suggesting that digitization may contribute to advancing the scientific knowledge of empathy in narrative reading. (shrink)

In the paper I am concerned with various manifestations of aesthetic fear and anxiety, that is, fear and anxiety triggered by works of art, which I am discussing from aesthetic as well as anthropological perspectives. I am analysing the link between fear and pleasure in catharsis, in Edmund Burke’s notion of the sublime, and in reference to Goya’s Black Paintings and to Paul Virilio’s thought. Both aesthetic fear and aesthetic anxiety exist alongside other emotions, such as pity and sadness, (...) and, most notably, with pleasure which is autonomous or arises from the fascination with evil. (shrink)

Many people appear to attach great value to sad music. But why? One way to gain insight into this question is to turn away from music and look instead at why people value sad conversations. In the case of conversations, the answer seems to be that expressing sadness creates a sense of genuine connection. We propose that sad music can also have this type of value. Listening to a sad song can give one a sense of genuine connection. We then (...) explore the nature of this value in two experimental studies. The results suggest a striking relationship between music and conversation. People see something distinctively musical in works that express precisely those emotions that they think most create connection within conversation. (shrink)

Why is it that we respond emotionally to plays, movies, and novels and feel moved by characters and situations that we know do not exist? This question, which constitutes the kernel of the debate on »the paradox of fiction«, speaks to the perennial themes of philosophy, and remains of interest to this day. But does this question entail a paradox? A significant group of analytic philosophers have indeed thought so. Since the publication of Colin Radford's celebrated paper »How (...) Can We Be Moved by the Fate of Anna Karenina?« (1975), the number of proposals to solve, explain, reformulate, dismiss or even revitalize this apparent paradox has continued to proliferate. In line with recent developments in the philosophy of emotion, in this paper I will argue against the sustainability of the paradox, claiming that the only reasonable way to continue our discussions about it consists in using it as a heuristic tool to shed light on problems regarding our involvement with fiction. Against this background, I will then focus on one of the problems related to how our emotional responses to fiction contribute to our appreciation of it. The paper is divided into three main sections. The first section shows the parallel evolution of the paradox of fiction and the analytic philosophy of emotion. Here I claim that, although the paradox is epistemically flawed, since one of its premises is rooted in a limited view on the emotions typical of early cognitiv-ism, the discussions it provokes are still epistemically useful. As Robert Stecker (2011, 295), among others, has pointed out, the paradox was formulated during the heyday of cognitive theories of the emotions in which emotion necessarily requires belief. Today, however, only few authors would endorse this premise. If emotion does not always require belief (as the majority of authors in the contemporary debate admit), let alone belief about the existence of the object towards which it is directed, then there is no reason to speak of a paradox. From this first conclusion, however, it does not follow that the paradox is completely without use from the epistemic point of view. A glimpse at the topics touched on during the discussions about how to solve, reformulate, or negate the paradox reveals their value in shedding light on the interrelation between emotion and fiction. The second section elaborates a phenomenologically inspired cognitive account of the emotions by focusing on their cognitive bases, their influence on Emotion in the Appreciation of Fiction 205 cognitions, and their cognitive function. In this model, emotions are responsible for indicating values, for showing what matters to us, and for being appropriate to their objects. My claim is that this view applies not only to reality, but also to our involvement with fiction. In the final section I draw on this account to focus on one kind of appreciation of fiction which necessarily requires our emotional involvement. Following an idea put forward by Susan Feagin (1996, 1), I employ the concept of »appre-ciation« to refer to a set of abilities exercised with the aim of extracting value from the work. There is a long tradition in aesthetics that condemns any focus on the emotions in the appreciation of art and fiction, and defends the necessity of aesthetic appreciation without emotional influence. To refer to this negative attitude towards the emotions, I will borrow an expression coined by Susan Feagin (2013, 636), who refers to »the intellectualized view of appreciation«. Against this widespread view, I will argue that some aspects of the fiction can only be appreciated with the help of our emotions. The cognitive approach developed in the previous section can explain how the emotions might in fact play a significant role in the appreciation of art and fiction. Attention will be paid to three activities involved in appreciation, for all of which emotion is crucial: processing relevant information about the fictional world, understanding aspects of it, and becoming acquainted with the values it presents. My aim here is to argue that there are particular aspects of the fictional world that can only be appreciated if recipients have the appropriate emotions. (shrink)

The range of the aesthetic has expanded to cover not only a wider range of objects and situations of daily life but also to encompass the negative. This includes terrorism, whose aesthetic impact is central to its use as a political tactic. The complex of positive and negative aesthetic values in terrorism are explored, introducing the concept of the sublime as a negative category to illuminate the analysis and the distinctive aesthetic of terrorism.

This paper concerns the familiar topic of whether we can have genuinely emotional responses such as pity and fear to characters and situations we believe to be fictional1. As is well known, Kendall Walton responds in the negative (Walton (1978); (1990): 195-204 and Chapter 7; (1997)). That is, he is an ‘irrealist’ about emotional responses to fiction (the term is Gaut’s (2003): 15), arguing that such responses should be construed as quasiemotions (Walton (1990): 245), of which their possessor imagines (...) that they are genuine emotions. This is not to deny that an experience in response to a fiction may have a phenomenology very like a given emotion, but to insist that, nonetheless, such responses are not real instances of the emotions which they resemble (Walton (1997)). So, in his most famous example, Charles, who experiences fear-like emotion in relation to a film which depicts the approach of evil slime, does not, despite appearances, experience genuine fear towards the slime, but only quasi-fear (Walton (1990): 195-204)2. Walton’s view presupposes the following view about the nature of emotion3. (shrink)

The article focuses on Burke’s engagement with India and the Impeachment of Warren Hastings. It attempts to trace the way in which Burke, in his rhetoric on India, uses the sentimentalist vocabulary of the Scottish Enlightenment and, more particularly, the concept of sympathy. Burke, it is suggested, passes from a Humean to a Smithian understanding of sympathy, giving however, at every stage of this development, his own turn and character to the concept. Overall, Burke’s writings on India reveal quite advanced (...) for his time political reflexes and oblige us to reconsider the stereotypic image of Burke as an icon of conservatism. (shrink)

An important philosophical issue in the study of addiction is what difference the fact that a person is addicted makes to attributions of autonomy (and responsibility) to their drug-oriented behavior. In spite of accumulating evidence suggesting the role of emotional dysregulation in understanding addiction, it has received surprisingly little attention in the debate about this issue. I claim that, as a result, an important aspect of the autonomy impairment of many addicted individuals has been largely overlooked. A widely shared assumption (...) in the philosophical literature is that for addiction to impair a person’s autonomy it has to make them (in some sense) take drugs against their will. So-called “willing addicts” are therefore usually seen as exempted from the autonomy impairment believed to characterize “unwilling addicts”, the latter being those who ‘truly want’ to stop using drugs but find their attempts repeatedly derailed by failures of self-control. In this article, I argue that the association between addiction and emotional dysregulation shows why this assumption is false. Emotional dysregulation is not only consistent with the possibility that many addicts take drugs ‘willingly’, it supports the hypothesis that they use drugs because they truly want to. The article proposes an explanation for why emotional dysregulation should nevertheless be seen as an aspect of their loss of control and an important reason why they have impaired autonomy. I end by exploring some implications of this account for addict’s decision-making capacity when they are prescribed the drugs to which they are addicted. -/- . (shrink)

This paper sets out to interpret the phrase ‘the city landscape’. Beginning with landscape aesthetics based on two categories — the picturesque and the sublime — the author attempts todemonstrate that a city can be interpreted in terms of a cultural landscape. This necessitates a re‑interpretation of the category of the sublime, whereby, through references to Edmund Burke, Theodor W. Adorno and Arnold Berleant, the sublime assumes the nature of a category which determines the existential situation of a (...) person in the world. Here, the sublime provides people with an impulse to undertake efforts to fashion their surroundings and forge the essence of the living world. As such, the sublime also becomes a category that promotes social activities aimed at improving the quality of life in a city, such as the activities of ‘urban gardeners’. (shrink)

The intent of this article is to discredit the much used concept (often unstated) of virtuous violence. To begin with, it is a paradox hence in need of not easily achieved justification. Here author's critique focuses on the political myth of prophetic righteousness, the ethical myth of a common good, and the myth of the infinite, which is utilized all too often to bypass finite systems. (Article sharply criticized when first presented to a faculty group.).

Mismatch is a prominent concept in evolutionary medicine and a number of philosophers have published analyses of this concept. The word ‘mismatch’ has been used in a diversity of ways across a range of sciences, leading these authors to regard it as a vague concept in need of philosophical clarification. Here, in contrast, we concentrate on the use of mismatch in modelling and experimentation in evolutionary medicine. This reveals a rigorous theory of mismatch within which the term ‘mismatch’ is indeed (...) used in several ways, not because it is ill-defined but because different forms of mismatch are.distinguished within the theory. Contemporary evolutionary medicine has unified the idea of ‘evolutionary mismatch’, derived from the older idea of ‘adaptive lag’ in evolution, with ideas about mismatch in development and physiology derived from the Developmental Origins of Health and Disease (DOHaD) paradigm. A number of publications in evolutionary medicine have tried to make this theoretical framework explicit. We build on these to present the theory in as simple and general a form as possible. We introduce terminology, largely drawn from the existing literature, to distinguish the different forms of mismatch. This integrative theory of mismatch captures how organisms track environments across space and time on multiple scales in order to maintain an adaptive match to the environment, and how failures of adaptive tracking lead to disease. Mismatch is a productive organising concept within this theory which helps researchers articulate how physiology, development and evolution interact with one another and with environmental change to explain health outcomes. (shrink)

The “staccato run,” in which a runner stops infinitely often while running from one point to another, is a prototypical “superfeat,” that is, a feat involving the completion in a finite time of an infinite sequence of distinct acts. There is no widely accepted demonstration that superfeats are impossible logically, but I argue here, contra Grunbaüm, that they are impossible dynamically. Specifically, I show that the staccato run is excluded by Newton’s three laws of motion, when those laws are supplemented (...) with a defensible philosophical judgment. (shrink)

This article develops the philosophical work of Joanna Macy. It argues that ecological grief is a fitting response to our ecological predicament and that much of the ‘mental ill health’ that we are now seeing is, in fact, a perfectly sane response to our ecological reality. This paper claims that all ecological emotions are grounded in love/compassion. Acceptance of these emotions reveals that everything is fine in the world as it is, providing that we accept our ecological emotions as part (...) of what is ‘in the world’. This is non-dualistic acceptance or ‘fierce’ acceptance. This paper focuses primarily on the revolutionary qualities of ecological grief: a paradoxical revolution, coming as it does from a profound process of acceptance. (shrink)

The article sets the most eminent defender of the French Revolution, Immanuel Kant, against its most eminent critic, Edmund Burke, articulating their radically different stance toward the French Revolution. Specifically, this juxtaposition is attempted through the concept of enthusiasm; a psychological state of intense excitement, which can refer to both actors and spectators, to both the motivation of someone, acquiring thus a practical significance, or to their distanced contemplation, thereby acquiring the character of aesthetic appreciation. Using the concept of (...) enthusiasm, Ι aspire to bring out Kant’s and Burke’s radically different approaches to society as well as its history and prospects of progress, ultimately suggesting that enthusiasm can provide a vantage point for the dialogue between the enlightenment and counter-enlightenment theses. (shrink)

Most theories of suspense implicitly or explicitly have as a background assumption what I call suspense realism, i.e., that suspense is itself a genuine, distinct emotion. I claim that for a theory of suspense to entail suspense realism is for that theory to entail a contradiction, and so, we ought instead assume a background of suspense eliminativism, i.e., that there is no such genuine, distinct emotion that is the emotion of suspense. More precisely, I argue that i) any suspense realist (...) (...) theory must resolve the paradox of suspense, ii) if suspense is itself a genuine, distinct emotion, then in order to resolve the paradox of suspense it must be a radically sui generis genuine, distinct emotion, iii) according to any minimally adequate theory of the emotions, there can be no radically sui generis emotion, and so iv) there can be no genuine, distinct emotion that is the emotion of suspense. Quite simply, if a theory of suspense must entail suspense realism, then we ought to be eliminativists about suspense. This I call the Paradox of Suspense Realism, which I take to constitute a productive viability condition for any theory of suspense, i.e., any viable theory of suspense must be mutatis mutandis compatible with suspense eliminativism. (shrink)

In this paper I will argue that our own society's philosophy of death and dying has a largely negative effect on public policies towards the elderly, and that these policies will be changed for the better when and if we come to appreciate our elderly as the principal sources of our collective wisdom. Towards these ends, I shall consider in turn some basic types of theories about death, some basic attitudes towards dying and the duration of dying, some models (...) of aging as they affect and/or embody attitudes towards old age, and finally the place of creative expansion in one's advanced years. (shrink)

This review of Ellul's The Technological System plus a book of essays that attempt to interpret Ellul notes how negatively his earlier work was received by English-speaking readers and how poorly he wins them over in this book. He argues that there is "a technological system" that is embedded in society and cannot be controlled however much government may try. Government may be deemed the villain of this book and computers the heroes. The Third World, not yet subject to the (...) system, will in time become so. According to the essays in the other book, the best way to view technology is from the perspective of Christian theology, and Ellul agrees. (shrink)

This collection of writings on aesthetics includes selections from Theodor Adorno, Walter Benjamin, Mikhail Bakhtin, Sigmund Freud, Martin Heidegger, Amy Mullin, Friedrich Nietzsche, and Frederich Wilhelm Joseph von Schelling. This collection may still be available as a print-on-demand title at the Ryerson University bookstore.

This collection in the area of continental philosophy of language, aesthetics, and semiotics includes articles and book selections from Derrida, Ricouer, McCumber, Oliver, Sheshradi-Krooks, Lacan, and Kristeva. This collection is available in the University of Guelph bookstore.

This out-of-print, two-volume, photocopy packet, in the area of "Surrealism and the Politics of the Particular" includes readings on language, meaning, and surrealism from Adorno, Benjamin, McCumber, Breton, Heidegger, Freud, Kristeva, Ricouer, and Bataille.

This chapter argues that Kant’s aesthetic theory of the sublime has particular relevance for his ethics of virtue. Kant contends that our readiness to revel in natural sublimity depends upon a background commitment to moral ends. Further lessons about the emotional register of the sublime allow us to understand how Kant can plausibly contend that the temperament of virtue is both sublime and joyous at the same time.

Purpose. The research is aimed at determining the influence of negative ethical emotions on social life and the activity of the individual, which involves solving the following problems: a) to find out approaches to the typology of ethical emotions, b) to highlight individual negative ethical emotions and to determine their ability to influence human behaviour. Theoretical basis. The theoretical and methodological basis of the research is the recognition of the significant influence of negative emotions on human activity (...) in society. In this regard, it is proposed to consider them as a complex multidisciplinary phenomenon, which is predetermined by both social and personal factors of origin and has a certain specificity of objectification. Originality. The authors determined that in addition to destructive effects on a person of negative emotions, they can also have a constructive effect on person’s behaviour, due primarily to the fact that a person does not want to experience these emotions and therefore tries to avoid situations they cause. Conclusions. The ethical emotions of guilt, embarrassment, anger, disgust and contempt can affect, through the cognitive aspect of the emotional process, the decision-making process of people when they predict situations in which they risk to feel such emotions. So the emotion of guilt creates a constructive setup aimed at correcting inappropriate social norms of human behaviour. The emotion of embarrassment motivates a person to behave more benevolently in society in order to integrate in it and get its approval, thus encouraging the person to adhere to social and moral agreements and norms. The emotion of anger motivates a person to act to eliminate injustice, herewith not only in relation to himself, but also in relation to others. Rejecting those people who cause moral and social aversion, society creates a system of punishments and rewards that acts as a strong deterrent to the socio-cultural behaviour. The emotion of contempt performs the function of preventing punishment in relation to the despised individual. (shrink)

I offer the first sustained defence of the claim that ugliness is constituted by the disposition to disgust. I advance three main lines of argument in support of this thesis. First, ugliness and disgustingness tend to lie in the same kinds of things and properties (the argument from ostensions). Second, the thesis is better placed than all existing accounts to accommodate the following facts: ugliness is narrowly and systematically distributed in a heterogenous set of things, ugliness is sometimes enjoyed, and (...) ugliness sits opposed to beauty across a neutral midpoint (the argument from proposed intensions). And third, ugliness and disgustingness function in the same way in both giving rise to representations of contamination (the argument from the law of contagion). In making these arguments, I show why prominent objections to the thesis do not succeed, cast light on some of the artistic functions of ugliness, and, in addition, demonstrate why a dispositional account of disgustingness is correct, and present a novel problem for warrant-based accounts of disgustingness (the ‘too many reasons’ problem). (shrink)

A música pode causar emoções fortes. Como havemos de compreender as respostas afetivas à música? Este artigo apresenta os principais enigmas filosóficos atinentes às emoções musicais. O problema principal diz respeito ao chamado "contágio": os ouvintes percebem a música como sendo expressiva de uma certa emoção (por exemplo, tristeza) e a música suscita neles essa mesma emoção. O contágio é desconcertante, pois entra em conflito com a principal teoria da emoção, de acordo com a qual as emoções são experiências de (...) valores (cognitivismo). Este artigo gira, sobretudo, em torno da apresentação crítica das várias respostas a este desafio ao cognitivismo. Apresenta, também, o paradoxo da música triste, isto é, a questão do motivo pelo qual apreciamos música triste. -/- Music can induce strong emotions. How are we to understand affective responses to music? This article presents the main philosophical puzzles pertaining to musical emotions. The chief problem concerns so-called "contagion": listeners perceive music as expressive of some emotion (say, sadness), and the music elicits the same emotion in them. Contagion is perplexing because it collides with the leading theory of emotion, according to which emotions are experiences of values (cognitivism). This article mostly revolves around the critical presentation of the various responses to this challenge to cognitivism. It also presents the paradox of sad music, i.e. the question of why we enjoy sad music. (shrink)

Negative emotions are often thought to lack value—they’re pernicious, inherently unpleasant, and inconsistent with human virtue. Taking anxiety as a case study, I argue that this assessment is mistaken. I begin with an account of what anxiety is: a response to uncertainty about a possible threat or challenge that brings thoughts about one’s predicament (‘I’m worried,’ ‘What should I do?’), negatively valenced feelings of concern, and a motivational tendency toward caution regarding the potential threat one faces. Given this account (...) of what anxiety is, I show it can be instrumentally valuable: in sensitizing us to uncertainty and prompting caution and risk assessment efforts, it’s an emotion that can help us better recognize and respond to uncertain threats and challenges. But anxiety can also be aretaically valuable—that is, it’s an emotion that can contribute positively to one’s character. For instance, your anxiety about how best to care for your aging mother not only prompts helpful brainstorming about what you should do, but also reflect well on you—your unease demonstrates both an admirable sensitivity and emotional attunement to what’s at stake. (shrink)

I discuss the aesthetic power of painful art. I focus on artworks that occasion pain by “hitting too close to home,” i.e., by presenting narratives meant to be “about us.” I consider various reasons why such works may have aesthetic value for us, but I argue that the main reason has to do with the power of such works to transgress conversational boundaries. The discussion is meant as a contribution to the debate on the paradox of tragedy.

In the Critique of the Power of Judgment, Immanuel Kant characterizes the sublime as a negative pleasure derived from the encounter with something absolutely great. Some scholars have claimed that Kant’s notion of the sublime only applies to objects in nature (Abaci 2008, 239). Others contend that the object that provokes the sublime experience is not confined to objects of nature since the sublime is an experience in the mind (Clewis 2010, 169). This paper argues that Kant’s Critique and (...) the Grateful Dead’s song “The Other One” provide a framework for understanding the artistic mathematical sublime in music, wherein the pleasure and displeasure experienced when engaging with music can be identified as instances of the sublime. Beginning with an elucidation of Kant’s concepts of judgments of taste and the sublime, the paper explores their similarities and differences. Notably, his theory of the sublime is less developed than his theory of the beautiful. This provides an opportunity to interrogate arguments surrounding which objects can elicit the sublime and how artworks represent or present it to their viewers. After demonstrating a textual disparity of the role of music in Kant’s Critique, I show how music without words, also known as jams, can fit the definition of free beauty and can be classified as art. The discussion further delineates the process of experiencing the mathematical sublime and describes indicators in music theory for discerning the sublime in musical compositions. I use the Grateful Dead’s performance of “The Other One” on April 7, 1972, to illustrate how particular works of art manifest the mathematical sublime. The paper concludes by reflecting on how the qualitative description of the piece highlights why “The Other One” should be seen as both artistic (because, while the piece is coherent, there is no discernible concept that seems to unify it) and sublime (because it is mind-blowingly complex). How we engage with music like the Grateful Dead can allow us to discuss why particular works of art are meaningful to us. (shrink)

The aesthetics of body and dress are in a continuous flux. The body, being the locus where fashion challenges the traditional norms, escapes from the narrow boundaries of the conventionally beautiful; the disgusting soma, in the realm of Negative Aesthetics, takes its place. In this paper, I attempt to define what is disgusting fashion and how can contribute to the deliberation of the body from the restricting margins of the aesthetically beautiful. The distorted imagery of the feminine (...) soma is the center of the analysis of the non-beautiful as an aesthetically pleasing phenomenon. Different examples of repulsive clothing are analyzed from a philosophical point of view, in order to understand the relation between the negative emotional responses towards disgusting fashion and its aesthetic value. -/- . (shrink)

What is kitsch? The varieties of phenomena which can fall under the name are bewildering. Here, I focus on what has been called “traditional kitsch,” and argue that it often turns on the emotional effect specifically captured by Edmund Burke’s concept of “beauty” from his 1757 'A Philosophical Enquiry into the Sublime and Beautiful.' Burkean beauty also serves to distinguish “traditional kitsch” from other phenomena also often called “kitsch”—namely, entertainment. Although I argue that Burkean beauty in domestic decoration allows (...) for us to see “traditional kitsch” as resting on natural and even healthy impulses, I also argue that an all-too-common political function of traditional kitsch directs it to dangerous ends. (shrink)

Memphis Elvis is cool; Vegas Elvis is cheesy. How come? To call something cheesy is, ostensibly, to disparage it, and yet cheesy acts are some of the most popular in popular culture today. How is this possible? The concepts of cheese, cheesy, and cheesiness play an important and increasingly ubiquitous role in popular culture today. I offer an analysis of these concepts, distinguishing them from nearby concepts like kitchy and campy. Along the way I draw attention to the important roles (...) of cultural/historical context, background knowledge, and especially artist’s intentions as they are relevant to aesthetic assessments involving cheese and related concepts. I go on to contend that these concepts, properly understood, serve as helpful test cases concerning some important issues in contemporary aesthetics, such as the paradox of negative art and the contentious debate between intentionalists and anti-intentionalists. (shrink)

The present study aims to examine the relationship between the cortical midline structures (CMS), which have been regarded to be associated with selfhood, and moral decision making processes at the neural level. Traditional moral psychological studies have suggested the role of moral self as the moderator of moral cognition, so activity of moral self would present at the neural level. The present study examined the interaction between the CMS and other moral-related regions by conducting psycho-physiological interaction analysis of functional (...) images acquired while 16 subjects were solving moral dilemmas. Furthermore, we performed Granger causality analysis to demonstrate the direction of influences between activities in the regions in moral decision-making. We first demonstrate there are significant positive interactions between two central CMS seed regions—i.e., the medial prefrontal cortex (MPFC) and posterior cingulate cortex (PCC)—and brain regions associated with moral functioning including the cerebellum, brainstem, midbrain, dorsolateral prefrontal cortex, orbitofrontal cortex and anterior insula (AI); on the other hand, the posterior insula (PI) showed significant negative interaction with the seed regions. Second, several significant Granger causality was found from CMS to insula regions particularly under the moral-personal condition. Furthermore, significant dominant influence from the AI to PI was reported. Moral psychological implications of these findings are discussed. The present study demonstrated the significant interaction and influence between the CMS and morality-related regions while subject were solving moral dilemmas. Given that, activity in the CMS is significantly involved in human moral functioning. (shrink)

The aesthetic tradition has identified as paradigmatically sublime such objects as imposing mountains and intense storms, as well as monumental art. But the tradition also acknowledges less paradigmatic cases, including sometimes mathematical structures or abstract concepts. In this paper, we argue that there is also a case for considering phenomenal consciousness – the experiential quality of subjective awareness – as a sublime phenomenon. One appreciates this, we argue, when one is struck by (fitting) awe upon contemplating (a) the perplexing existence (...) of something like phenomenal consciousness in an otherwise completely material universe and (b) the role of consciousness in injecting meaning and value in an otherwise brutally factual reality. (shrink)

This article demonstrates a novel conceptualization of sublimity: the sublime in the pedestrian. This pedestrian mode of sublimity is exemplified by the Biblical Abraham, the central figure of Kierkegaard’s pseudonymous Fear and Trembling. It is rooted in the analysis of one of the foundational stories of the three monotheistic religions: Abraham’s averted sacrifice of his son Isaac. The defining feature of this new, pedestrian mode of sublimity is that is remains hidden behind what I call a total incognito. It is (...) similar to the classical ‘elevated mode of sublimity’ as developed by Burke, Kant, and Schiller insofar as it denotes two contrasting feelings at once: repulsion and attraction. It is different insofar as Kierkegaard’s pedestrian mode of sublimity remains hidden from view and can only be shown indirectly. This article expounds the new, pedestrian mode of sublimity by investigating the relation between the incognito and the sublime in Fear and Trembling. It achieves that goal by engaging three perspectives: (1) the sublime failure that comes to the fore in the incognitos of an imaginary Abraham; (2) the ‘fear without being afraid’ that is invoked by God’s incognitos; (3) the total incognito of the pedestrian which conceals Abraham’s sublimity. (shrink)

Recent academic fashions have posited visual images of colonial landscape space as forming part of a network of intellectual influences that promoted both a culture of imperialism and an imperial culture in the nineteenth century. Frequently these analyses concentrate on constructing an overarching socio-political interpretation into which to place this art, thereby ignoring the influence of artistic and aesthetic theory in the creation, assessment and reception of these images.

Edmund Burke grounds politics and the state over the pre-political network of moral relations, starting from the family, evolving, through the village, the parish and the town, up to the class and corporation, finally arriving to the nation. These subordinate affections can be geometrically imagined as expanding circles of belonging and, though strictly linked to the state, they are not reducible to it, nor can the state replace them. In Burke’s vision, the state of civil society is humankind’s state (...) of nature, for the reason that man is always, and since ever, a member of a community: we are from somewhere, Burke seems to suggest. Thus, politics is grounded in morality, and morality, in turn, is based on God’s will, which within history takes the form of natural law. The French Revolution, on the contrary, has broken the spontaneity of interactions between individuals and intermediate groups, eventually establishing the Terror. (shrink)

Edmund Burke grounds politics and the state over the pre-political network of moral relations, starting from the family, evolving, through the village, the parish and the town, up to the class and corporation, finally arriving to the nation. These subordinate affections can be geometrically imagined as expanding circles of belonging and, though strictly linked to the state, they are not reducible to it, nor can the state replace them. In Burke’s vision, the state of civil society is humankind’s state (...) of nature, for the reason that man is always, and since ever, a member of a community: we are from somewhere, Burke seems to suggest. Thus, politics is grounded in morality, and morality, in turn, is based on God’s will, which within history takes the form of natural law. The French Revolution, on the contrary, has broken the spontaneity of interactions between individuals and intermediate groups, eventually establishing the Terror. (shrink)

In this article, we develop a concept of stakeholder dialogue in responsible innovation (RI) processes. The problem with most concepts of communication is that they rely on ideals of openness, alignment and harmony, even while these ideals are rarely realized in practice. Based on the work of Burke, Habermas, Deetz and Levinas, we develop a concept of stakeholder dialogue that is able to deal with fundamentally different interests and value frames of actors involved in RI processes. We distinguish four main (...) characteristics of stakeholder dialogue. Dialogical responsiveness (1) enhances self-criticism, (2) is characterized by the constitution and the destruction of the self or identity of the actors involved, (3) consists only in the actual enactment of the dialogue and (4) is primarily responsive to the grand challenges of our time. Based on our findings, we provide a novel conceptualization of the central notion of responsiveness in the RI literature. (shrink)

Heidegger tries to explain our emotional life applying three schemes: causal explanation, mental internalisation of emotions and metaphorical expression. None of the three schemes explains emotion though. Either because the causal nexus does not always occur or because objects and people in the external world are carriers of emotional agents or because language is already on a metaphorical level. Moreover, how is it possible that there are presently emotions constituting our life without our being aware of their existence? From the (...) analysis of boredom in its three varieties (“bored by X”, “get oneself bored”, and “it is boring”) we will get to the depth where emotions lie, trying to rouse them and to keep them awake. Although it surfaces with the force and energy of the present, every emotion has its past and future constitution. How can we understand the future of a present emotion along with its past? (shrink)

Recently, given the fomenting protests following the murders of George Floyd, Breonna Taylor and Ahmaud Arbery (amongst countless others), much discussion has erupted amongst contemporary artist-activists about the proper place for art and the aestheticization of politics. This is, of course, by no means a novel conversation. Historically, the aestheticization of politics has been disparaged perhaps most vocally by those such as Adorno and Horkheimer, but this critique has its most well-known roots in Plato. Plato’s critique is levelled at the (...) theatre and poetry, particularly the habituation effects of its consumption; specifically, Plato saw that the tragedy embodied by those performers inhabiting the stage and the enraptured audiences who engaged at the level of emotions. Plato censured the putatively groundless feelings demonstrated by actors and their transposition, artificiality’s ripple effect. Consider, for example, the actor performing the role of Achilles who extravagantly expresses grief without truly undergoing it. Audience members inhere towards an unmerited emotional hunger-cum-satisfaction for those putatively irrational feelings of loss by way of weeping and wailing. For Plato, such identification is devoid of proper evaluative grounding and, therefore, is corruptive. Plato’s critique can be considered an evaluation of the kind of rational emotional arrest that occurs through artificial emotional uptake. However, one could counter Plato’s position by noting how, regardless of whether these emotions are performed or the actors “truly” feel them, they may serve a political purpose and greater ends—bridging the audience together with performer/artist, allowing an “as if” simulative scenario. (shrink)

Carolyn Korsmeyer’s Savoring Disgust is a book that, in spite of its seemingly unsavoury subject matter, deserves to be widely read. Written in an accessible yet richly suggestive prose, it is the first systematic investigation in English-speaking contemporary philosophy of the aesthetic and artistic significance of the emotion of disgust. Korsmeyer’s book discusses a wealth of issues that is difficult to match and presents a comprehensive and organic approach to a previously underexplored topic. The intelligence of its analysis and the (...) elegance of its prose prove that one can indeed be pleasurably absorbed in matters disgusting. (shrink)

The limited aim here is to explain what John Dewey might say about the formulation of the grue example. Nelson Goodman’s problem of distinguishing good and bad inductive inferences is an important one, but the grue example misconstrues this complex problem for certain technical reasons, due to ambiguities that contemporary logical theory has not yet come to terms with. Goodman’s problem is a problem for the theory of induction and thus for logical theory in general. Behind the whole discussion of (...) these issues over the last several decades is a certain view of logic hammered out by Russell, Carnap, Tarski, Quine, and many others. Goodman’s nominalism hinges in essential ways on a certain view of formal logic with an extensional quantification theory at its core. This raises many issues, but the one issue most germane here is the conception of predicates ensconced in this view of logic. (shrink)

The brain is considered to be the primary generator and regulator of emotions; however, afferent signals originating throughout the body are detected by the autonomic nervous system (ANS) and brainstem, and, in turn, can modulate emotional processes. During stress and negative emotional states, levels of cardiorespiratory coherence (CRC) decrease, and a shift occurs toward sympathetic dominance. In contrast, CRC levels increase during more positive emotional states, and a shift occurs toward parasympathetic dominance. Te dynamic changes in CRC that accompany (...) different emotions can provide insights into how the activity of the limbic system and afferent feedback manifest as emotions. The authors propose that the brainstem and CRC are involved in important feedback mechanisms that modulate emotions and higher cortical areas. That mechanism may be one of many mechanisms that underlie the physiological and neurological changes that are experienced during pranayama and meditation and may support the use of those techniques to treat various mood disorders and reduce stress. (shrink)

Empathy is a topic of continuous debate in the nursing literature. Many argue that empathy is indispensable to effective nursing practice. Yet others argue that nurses should rather rely on sympathy, compassion, or consolation. However, a more troubling disagreement underlies these debates: There’s no consensus on how to define empathy. This lack of consensus is the primary obstacle to a constructive debate over the role and import of empathy in nursing practice. The solution to this problem seems obvious: Nurses need (...) to reach a consensus on the meaning and definition of empathy. But this is easier said than done. Concept analyses, for instance, reveal a profound ambiguity and heterogeneity of the concept of empathy across the nursing literature. Since the term “empathy” is used to refer to a range of perceptual, cognitive, emotional, and behavioral phenomena, the presence of a conceptual ambiguity and heterogeneity is hardly surprising. Our proposal is simple. To move forward, we need to return to the basics. We should develop the concept from the ground up. That is, we should begin by identifying and describing the most fundamental form of empathic experience. Once we identify the most fundamental form of empathy, we will be able to distinguish among the more derivative experiences and behaviors that are addressed by the same name and, ideally, determine the place of these phenomena in the field of nursing. The aim of this article is, consequently, to lay the groundwork for a more coherent concept of empathy and thereby for a more fruitful debate over the role of empathy in nursing. In Part 1, we outline the history of the concept of empathy within nursing, explain why nurses are sometimes warry of adapting concepts from other disciplines, and argue that nurses should distinguish between adapting concepts from applied disciplines and from more theoretical disciplines. In Part 2, we show that the distinction between emotional and cognitive empathy—borrowed from theoretical psychology—has been a major factor in nurses’ negative attitudes toward emotional empathy. We argue, however, that both concepts fail to capture the most fundamental form of empathy. In Part 3, we draw on and present some of the seminal studies of empathy that can be found in the work of phenomenological philosophers including Max Scheler, Edmund Husserl, and Edith Stein. In Part 4, we outline how their understanding of empathy may facilitate current debates about empathy’s role in nursing. (shrink)

The ongoing war on drugs in the Philippines has become the epicenter of discourse and concern regarding human rights, populism, and illiberal democracy. While most studies focus on President Duterte's controversial 'strongman' persona and mass appeal, very few have sought to analyze the locals' attitudes towards him as cognitive-affective phenomena. To address this gap, this paper provides an in-depth qualitative analysis of pre-selected subjects in Davao and Manila, two regions in the Philippines with arguably the most salient pro-and anti-Duterte populations, (...) respectively, in 2019. Using a mapping software modeled after Paul Thagard's emotional coherence theory, this study maps the possible cognitive-affective processes underpinning the political ideologies of an influential leftist organization in the Philippines. Cognitive dissonance theory was used to consolidate the qualitative analyses of data derived from the surveys and interviews. The findings suggest that the two populations' political ideologies were relatively similar, as expected of subjects who belong to the same organization. However, the significant differences in the subjects' stances towards the Duterte administration suggest that the socio-political contexts of Manila and Davao could affect political opinions and views despite their similar core political ideologies. (shrink)

The chapter considers the “paradox of fiction,” understood as the claim that it is in some sense irrational or inappropriate to respond emotionally to mere fictions. Several theorists have held that special features of imagination, or other “arational” mental reflexes, play a role in its resolution. I argue, to the contrary, that imagination need not enter into the solution, and that the paradox can be resolved in a way that shows our responses to fictions to be reasonable and (...) warranted, even if our emotional reactions to fiction are caused by beliefs and desires. Coming to terms with the paradox requires both properly understanding the “rug-pull” structure of the examples used to motivate it, and appreciating the specific emotional norms relevant to fiction appreciation. Related proposals by Livingston & Mele (1997) and Gilmore (2011) are discussed; their relevance to and coherence with the present account are explained. [This is Chapter 11 of Explaining Imagination.]. (shrink)

This paper focuses on negative exemplarity-related emotions (NEREs) and on their educational implications. In this paper, we will first argue for the nonexpendability of negative emotions broadly conceived (section 2) by defending their instrumental and intrinsic role in a good and flourishing life. In section 3, we will make the claim more specific by focusing on the narrower domain of NEREs and argue for their moral and educational significance by evaluating whether they fit the arguments provided in the (...) previous section. In section 4, we will propose three educational strategies to foster NEREs’ positive moral role. In conclusion, we will point out that an exemplarist approach to character education would greatly benefit from a more fine-grained account of the emotions involved in the educational process and from a broader perspective on which of these emotions should be taken as valuable for educational purposes. (shrink)