Jonathan Lear argues that the established purgation, purification, and cognitive stimulation interpretations of Aristotle’s concepts of catharsis and tragic pleasure are off the mark. In response, Lear defends an anti-cognitivist account, arguing that it is the pleasure associated with imaginatively “living life to the full” and yet hazarding nothing of importance that captures Aristotle’s understanding of catharsis and tragic pleasure. This analysis reveals that Aristotle’s account of imagination in conjunction with his understanding of both specific intellectual virtues and (...) rational emotions of an educated citizen not only tells against Lear’s anti-cognitivist construal, but also divulges an alternative cognitive stimulation reading. (shrink)

This chapter presents Gustave Flaubert’s Madame Bovary and Samuel Beckett’s Trilogy as modern fictions with ancient-skeptical ambitions. Whether in the affective domain (Flaubert) or in the cognitive (Beckett), the aim is to help the reader achieve a position of studied neutrality—ataraxia, époché—thanks not to an a priori decision but to the mutual cancellation of opposing tendencies. Understanding Flaubert and Beckett in this way allows us, first, to enrich our sense of what “catharsis” may involve; second, to see why the (...) apparently odious Charles, in Madame Bovary, suddenly becomes a deeply touching figure; and third, to recognize the severe limitations of empathy-based moralist theories of fiction. (shrink)

Aristotle’s Poetics is the first philosophical account of an art form and is the foundational text in the history of aesthetics. The Routledge Philosophy Guidebook to Aristotle and the Poetics is an accessible guide to this often dense and cryptic work. Angela Curran introduces and assesses: Aristotle’s life and the background to the Poetics the ideas and text of the Poetics , including mimēsis ; poetic technē; the definition of tragedy; the elements of poetic composition; the Poetics’ recommendations for tragic (...) plot patterns; catharsis ; epic and comedy; the nature of our emotional response to drama; the proper pleasure of tragedy; and the role that art plays in a human life the relevance of Aristotle’s work in metaphysics, epistemology, ethics and philosophical psychology to the Poetics a comparison of Plato and Aristotle on the value of mimetic art the continuing importance of Aristotle’s Poetics to contemporary philosophy, aesthetics, and philosophy of film. (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 the ancient Greek world, the concept of 'miasma,' which becomes permanent and has the potential to grow over time due to evil acts such as murder committed in the city, is a concept frequently referred to in many classical tragedies. To the extent that miasma has a bad connotation due to its nature and is a situation that occurs due to evil actions, it can be considered together with the philosophical problem of evil. In this study, we aim to (...) examine the concept of miasma by focusing on the characters in La Jauría, one of the most prominent films of recent South American cinema, rather than a purely conceptual analysis of the concept. Filmed in the jungles of Colombia and directed by Colombian director Andrés Ramírez Pulido, the 2022 film La Jauría is a psychological drama that focuses on the lives of young people involved in crime. The tragic story of Eliu, the protagonist of the film, which takes place mainly in a prison specially designed to rehabilitate inmates, seems to us to be a very suitable focal point for examining the concepts of miasma, catharsis, and ecstasy, which are frequently referred to in ancient Greek tragedy. To do so, we will first address the various contexts in which miasma has been used historically, considering the flow of events in the movie La Jauría. Then, we will look at the relationship of the concept of miasma with the problem of evil. Finally, we will discuss the possibilities of the concept of purification, which is seen as a kind of antidote to miasma. (shrink)

Bob Solomon enjoyed humor, a good laugh. He was not a teller and collector of jokes or of humorous stories, as Ted Cohen and Noël Carroll are. He did not cultivate clever witticisms. Rather, his interest was in viewing life’s contingency and absurdity for the humor that can be found there, and the target of this humor was as likely to be himself or his friends as it was to be strangers. Bob also displayed philosophical courage. He once argued before (...) an incredulous audience of philosophers that the Three Stooges are funny, and admitted unashamedly to being a life-long devotee. In the published version of that talk he observes: “few adults in their chosen professions would dare attempt a Stooges gesture at risk of being terminally dismissed, but most men carry the secret knowledge around with them, and, in a wild fit of catharsis, display a tell-tale Stooges gesture when the door closes and the boss is out of view. I only hesitate to suggest that it is one of the most basic bonds between men, and perhaps the fact that it mystifies and sometimes horrifies women is far more elemental than the mere phrase ‘a sense of humor’ could ever suggest”. (shrink)

Citation:Christodoulou, Marina. “Technopolis as the Technologised Kingdom of God. Fun as Technology, Technology as Religion in the 21st Century. God sive Fun.” Cahiers d'études germaniques N° 74, 2018. La religion au XXIe siècle - Perpectives et enjeux de la discussion autour d'une société post-séculière. Études reunites par Sébastian Hüsch et Max Marcuzzi, 119-132. -/- -------- -/- Neil Postman starts his book Technopoly: The Surrender of Culture to Technology (1993)1 with a quote from Paul Goodman’s New Reformation: “Whether or not it (...) draws on new scientific research, technology is a branch of moral philosophy, not of science.” (Postman 1993: motto; Goodman 2010: 40). I would extend Postman’s Technopoly to Technopolis, to give it more of a presence in time and space. Hence, I will use the term Technopoly when I am referring to Postman; the term Technopolis is my own. -/- In his book From Faith to Fun: The Secularisation of Humour, Russel Heddendorf argues that humour is a technology (Heddendorf 2009: 32-34), as it is understood and theorized by Neil Postman in Technopoly. Russel Heddendorf also argues that “Technopoly” is a term correlated with Wittgenstein’s use of the term “worldview” (Weltanschauung) (Heddendorf 2009: 11). -/- I would like to draw on these thoughts to propose that Technopoly (or Technopolis) could be the secularized Kingdom of God, namely that Technology is the Religion of the 21st century, and that Fun is a paradigm of such a Technology / Technique. God is yet another technique or Technology of and in Technopoly. -/- The godless individual in the 21st century, I will argue, is as much a believer as the faithful in the Sacred Religion (term used in opposition to Secular or rather Technological or Technologized Religion, which is Fun). He believes in Fun (as a post-modern form of pleasure), as much as the believer believes, or more accurately, believed in God. In the 21st century, the faithful in Sacred Religion believes in a fun God, as opposed to the serious God of the past. Fun is turning into the Technologized Religion for all; for the faithful in Godly / Sacred Religion, as well for as the unfaithful. Fun (pleasure, humour) is the definitive qualia of 21st century pleasure. The mechanics of Fun make it absolutely functional for controlling people; as Aldous Huxley wrote in Brave New World, people “are controlled by inflicting pleasure” (cited in Heddendorf 2009: 158). Now, indulging in pleasure is having Fun. In the 21st century, nobody is unfaithful, nobody disputes God, because God has been manufactured into Fun. We are living in the most religious century of all. -/- The commodity of God, now inextricably blended into work and leisure ethics and culture, is as unavoidable as survival. You don’t work, you don’t survive, you don’t exist. You work, you are entitled to leisure, or free time – the time (“busy-time”) when you are busy is work. The free time of leisure (“fun-time”) is a time for fun (pleasure). The time dedicated to Fun is culturally (capitalistically) pre-defined; no moment is actually free, each moment that is sold as free is to be bought with Work Time tokens –which is money. Believe is Enjoy. Happiness, achieved through pleasure, and pleasure through Fun, and Life as Play, is the recipe for Teleology in the 21st century. -/- The Technological God (Fun), as the Sacred God before him, is sovereignty’s technique or a social “mode of release”: demonstrations, marches, petitions, freedom of speech, citizen and human rights vindications, are “modes of release”, so that the next day, feeling relieved and released that you are working for a better life and a better world, you can wake up cheerfully to walk to your workplace, feeling it will change because of your marching, or your petition, or your speech, or the mass you attended, or the prayer you said yesterday. Thus life continues unchanging, through postponing hope; the tension of the tragedy is always released (lysis) in catharsis: refreshment for the next day of work. Art, especially cinema, (namely, simulated life) follows the same cathartic principles as real life. Thus, you can keep coping, and hoping in the meantime is of much help. Religion, Art, Science, Therapy, and Technology are all technologies used to market life, sell it or lend it, and humans are buying it back. Fun is free to produce, and expensive to buy. (shrink)

The chapter revisits the relationship between restorative justice and punishment through the eyes of Classical Greek philosophy and tragedy, the School of Collectivists, and contemporary thinkers. The extant literature sees restorative justice either as alternative punishment or an alternative to punishment. This chapter puts forward the notion of restorative punishment by deconstructing the concept of pain, and by reconstructing a new vision through the notion of catharsis. The chapter then takes a bold step in proposing a philosophical framework to (...) justify the normative thinking underpinning its proposed concept of restorative punishment and pain. (shrink)

The Psychology of Gossip Obsession -/- Gossip is a universal human behavior, deeply ingrained in social interactions. While it can serve useful purposes—such as reinforcing social norms and strengthening group bonds—an obsession with gossip can lead to negative consequences, including invasion of privacy, misinformation, and social toxicity. Understanding the psychology behind gossip obsession helps explain why people are so drawn to it and how it can be managed. -/- Why Do People Gossip? -/- 1. Evolutionary Psychology: Survival and Social Bonding (...) -/- In early human societies, gossip helped individuals navigate social hierarchies and avoid potential threats. -/- Sharing information about others’ behaviors allowed groups to regulate social norms and enforce cooperation. -/- People who stayed informed about their peers had an advantage in forming alliances and avoiding deception. -/- 2. Dopamine and the Pleasure of Gossiping -/- Gossip activates the brain’s reward system, releasing dopamine, the same neurotransmitter involved in pleasure and addiction. -/- People feel a sense of excitement or satisfaction when sharing or hearing juicy information, reinforcing the habit. -/- 3. Social Status and Power -/- Gossiping about others can create a sense of social superiority. -/- Those who spread insider knowledge may feel more influential within their social circles. -/- Negative gossip can sometimes be used to diminish the status of others and elevate one’s own standing. -/- 4. Emotional Regulation and Catharsis -/- Talking about others can serve as an emotional outlet, helping people vent frustrations. -/- Sharing experiences of betrayal, unfairness, or scandal can provide a sense of validation and solidarity. -/- 5. Curiosity and the Desire for Novelty -/- Humans are naturally curious, and gossip often involves unpredictable or surprising information. -/- The brain is wired to pay attention to unusual or dramatic events, making gossip irresistible. -/- 6. Fear of Exclusion and the Need for Belonging -/- Staying informed about social dynamics helps people feel included and avoid being left out. -/- Gossiping together strengthens social bonds by creating shared knowledge and experiences. -/- 7. Projection and Psychological Defense Mechanisms -/- Some people gossip to project their insecurities onto others. -/- By focusing on someone else’s flaws, they distract themselves from their own weaknesses. -/- Why Some People Become Obsessed with Gossip -/- 1. Low Self-Esteem and Insecurity -/- Those who lack self-confidence may gossip to shift attention away from themselves. -/- Engaging in gossip can provide a temporary boost in self-worth by making others look worse. -/- 2. Addiction to Drama and Sensationalism -/- Some individuals develop a dependency on the emotional high of gossip. -/- This can be linked to a need for excitement, distraction from boredom, or avoidance of personal issues. -/- 3. Lack of Personal Fulfillment -/- People who are not satisfied with their own lives may focus excessively on the lives of others. -/- Celebrity gossip and social media drama can serve as an escape from their own problems. -/- 4. Peer Pressure and Social Conformity -/- In environments where gossip is a norm, individuals may feel compelled to participate to fit in. -/- Workplace gossip, school cliques, and online communities often encourage this behavior. -/- 5. Media Influence and the Digital Age -/- The internet has made gossip more accessible, encouraging an endless cycle of speculation and commentary. -/- Social media algorithms prioritize sensational and controversial content, reinforcing gossip obsession. -/- Consequences of Gossip Obsession -/- 1. Psychological and Emotional Impact -/- Increased anxiety and paranoia about how one is perceived by others. -/- Reduced trust and deeper insecurities due to constant comparison. -/- 2. Relationship Damage -/- Gossip can ruin friendships, workplace dynamics, and reputations. -/- People who gossip excessively may lose credibility and respect. -/- 3. Ethical and Moral Consequences -/- Spreading false or harmful information can contribute to bullying, defamation, and social division. -/- Unethical gossip can destroy lives and create unnecessary conflict. -/- How to Manage Gossip Obsession -/- 1. Develop Self-Awareness -/- Recognize when gossip is becoming a habit and ask yourself why you are engaging in it. -/- Reflect on whether it serves a meaningful purpose or just fuels negativity. -/- 2. Build Self-Confidence -/- Strengthen your self-worth so you don’t need to elevate yourself by putting others down. -/- Focus on personal growth and meaningful achievements. -/- 3. Seek Positive Social Interactions -/- Surround yourself with people who engage in constructive conversations rather than gossip. -/- Build relationships based on mutual respect and support. -/- 4. Limit Exposure to Toxic Media -/- Avoid celebrity gossip websites, clickbait news, and negative social media feeds. -/- Follow content that promotes personal development, knowledge, and meaningful discussions. -/- 5. Shift the Conversation -/- If a conversation turns into gossip, redirect it to a more positive or neutral topic. -/- Encourage discussions about ideas, experiences, and shared goals instead of personal rumors. -/- 6. Practice Empathy and Compassion -/- Before spreading gossip, consider how it would feel if someone gossiped about you. -/- Recognize that everyone has struggles and flaws, and kindness is more valuable than judgment. -/- 7. Cultivate a Growth Mindset -/- Invest your energy in self-improvement, learning new skills, and pursuing hobbies. -/- The more fulfilled you feel in your own life, the less interest you will have in gossiping about others. -/- Conclusion -/- Gossip obsession is rooted in human psychology, from evolutionary survival instincts to modern social pressures. While gossip can serve as a social tool, excessive engagement in it can be harmful to both individuals and society. By developing self-awareness, practicing empathy, and shifting focus toward meaningful interactions, people can break free from gossip obsession and cultivate a healthier, more positive mindset. -/- . (shrink)

The article analyzes the aesthetic content of the concept of realism in stylistic, genre and ideological aspects. Guided by the comparative method and a comprehensive approach to the study of the problem, the author declares the a priori avant-garde nature of art and, as a result, the groundlessness of confrontation between realists and avant-gardists. The catharsis achieved by the realism of expressive means should be real. Thus, the author's vision of realism presupposes not so much the harmony of art (...) with the displayed epoch, but rather participation, confession of enduring values, which elevates art above the historical and social context. В статье анализируется эстетическое содержание понятия реализма в стилевом, жанровом и мировоззренческом аспектах. Руководствуясь компаративным методом и комплексным подходом к изучению проблемы, автор декларирует априорную авангардность искусства и, как следствие, беспочвенность конфронтации реалистов и авангардистов. Реальным должен быть катарсис, достигаемый реализмом выразительных средств. Таким образом, авторское ви́дение реализма предполагает не столько созвучие искусства отображаемой эпохе, сколько сопричастность, исповедание непреходящих ценностей, что возвышает искусство над историко-социальным контекстом. (shrink)

We are living in a world where power abuse has become the new norm, as well as the biggest, silent driver of persistent inequalities, racism and human rights violations. As humanity is getting to grips with socio-economic consequences that can only be compared with those that followed World War II, this timely book challenges current thinking, while creating a much needed normative and practical framework for revealing and challenging the power structures that feed our subconscious feelings of despair and defeatism. (...) Structured around the four concepts of power - race - justice - restorative justice, the book uses empirical new data and normative analysis to reconstruct the way we prevent power abuse and harm at the inter-personal, inter-community and international levels. This book offers new lenses, which allow us to view power, race and justice in a modern reality where communities have been silenced, but through restorative justice are gaining voice. The book is enriched with twenty-five case studies written by survivors, practitioners and those with direct experiences of power abuse and inequality. Through robust research methodologies, Gavrielides' new monograph reveals new forms of slavery, while creating a new, philosophical framework for restorative punishment through the acknowledgement of pain and the use of catharsis for internal transformation and individual empowerment. This is a powerful book that generates much needed hope. Through a multi-disciplinary dialogue that uses social sciences, criminology, law, psychology and human rights, the book opens new avenues for practitioners, researchers and policy makers internationally. (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)

In lieu of an abstract, here is a brief excerpt of the content:Scrutinizing the Art of TheaterAaron Meskin (bio)IntroductionIn his 1992 address to the American Society for Aesthetics, Peter Kivy suggested that philosophers of art might do best by giving up on “grand theorizing” (that is, pursuing the definition of art).1 In its place he proposed that they pursue the “careful and imaginative philosophical scrutiny of the individual arts and their individual problems.”2 Of course John Passmore and others had said (...) similar things at earlier points,3 but philosophical aesthetics has, it seems to me, finally and robustly taken the turn toward the philosophies of the arts. Much of the best work in philosophical aesthetics over the last fifteen years or so has pursued the route Kivy suggested. James Hamilton’s The Art of Theater is part of this turn—it is careful and imaginative scrutiny of the art of theater done at the very highest level, and I am delighted to have this opportunity to comment on it.4In what follows I shall address a number of issues raised by Hamilton’s work: the definition of theatrical enactment; the place of pretending and imagining in theatrical performance; the nature of Hamilton’s “ingredients model” and its relation to more traditional accounts of the work/performance relation; the account of theatrical style on offer; and the question of what we have learned from experimental theater.But before I move on to address those aspects of the book’s content in detail, let me say something about the pedagogical significance of this work. Although there are a number of legitimate ways to teach introductory courses on aesthetics and the philosophy of art (for example, by following a historical progression or by structuring it around certain key issues), one increasingly attractive option is to teach a course that focuses on those aforementioned individual arts and their individual problems. So, for example, I used to regularly teach graduate seminars in aesthetics to students enrolled [End Page 51] in a fine arts doctoral program. These students studied music, art education, the visual arts, theater, and dance; the seminars were designed to provide them with a broad foundation in philosophical aesthetics. Since they typically had no background in philosophy, I made the effort to assign readings and topics relevant to their own artistic practices and interests. Providing them with contemporary cutting-edge philosophical material on music and the visual arts was not hard. Kivy’s work, as well as that by Jerrold Levinson, Arthur Danto, Richard Wollheim, and others, makes that fairly easy. And intriguingly—since philosophers are commonly said to have ignored the art of dance—there’s even a decent amount of recent philosophical work on that art form by such authors as Graham McFee, Frances Sparshott, and Noël Carroll and Sally Banes.5 But where to turn to for the theater students? I would often read some of Aristotle’s Poetics with them, but I have to admit that the serious students of the theater that I encountered in those seminars typically knew that text much better than I did. (Still, I hope I challenged their breezy assumptions about catharsis!) We would read Hume on tragedy together—fun, but not really so much about the theater—and sometimes a bit of Nietzsche. But there was never much to give them from contemporary philosophers on the subject—a few articles here and there, of course, but nothing that clearly laid out the big and distinctive issues that the art form of theater raises. Nothing, to put the point a bit differently, that would provide any evidence that there really was a lively and extant philosophy of theater out there, as there are lively and extant philosophies of film, music, literature, and photography. In short, for those attracted to the prospect of teaching aesthetics as the philosophies of arts, the dearth of good work on theater by contemporary philosophers has been a significant source of frustration and even a bit of an embarrassment.The book in question is not the only recent philosophical work on theater. There are fine articles on the topic by David Osipovich, David Saltz, and Paul Woodruff, among others. Hamilton himself has a string of... (shrink)

This paper proposes a neurodevelopmental and phenomenological model of affective imprinting as the foundation for automatic cognitive-emotional responses later misperceived as objective truths. Drawing from developmental neuroscience, affective psychology, and reconsolidation theory, the author introduces the concept of "affective dogmas"—early-formed, emotionally charged perceptual filters that persist into adulthood as epistemic constraints. These dogmas, unless made reflexive, shape reactivity, distort reasoning, and limit cognitive autonomy. The paper explores mechanisms by which such patterns are formed and how they can be structurally rewritten (...) through memory reconsolidation and the phenomenology of insight, offering both explanatory and therapeutic implications. (shrink)