ASAGE - American Society for Aesthetics Graduate E-Journal
Not a member yet
96 research outputs found
Sort by
Emotions in the Listener: A Criterion of Artistic Relevance
No full textPhilosophers of music and psychologists have examined the various ways in which music is capable of arousing emotions in a listener. Among philosophers, opinions diverge as to the different types of music-induced emotions and as to their relevance to music listening. A somewhat neglected question concerns the possibility of developing a general criterion for the artistic relevance of music-induced emotions. In this paper, I will try to formulate such a criterion. In whatever way music may induce emotions and regardless of the sorts of emotion music is taken to arouse, a given emotion will qualify as artistically relevant if and only if it is caused by appropriate listening, it is dependent on features of the piece of music as a work of art and is capable of further directing our attention to such features
How to Create Dialogue Between Theory and Practice: Stand-Up Comedy's Demand for Interdisciplinary Engagement
No full text
Cover Artist - Dinao MacCormick
No full textSee more of Dinao's work at http://www.dinaomaccormick.com
The Mental Functions of Appreciating Fiction
No full textIn Fiction and Narrative, Derek Matravers argues that what is fundamental in philosophy of fiction is not the distinction between non-fiction and fiction, but the distinction between confrontation and representation. Moreover, he argues that there is no significant difference between our appreciating fiction and our appreciating non-fiction. His solutions, however, do not fix all of the problems with fiction. There are many similarities between the processes of appreciating fiction and non-fiction, but there are also important differences. In particular, it seems reasonable to think that the responses of appreciators who believe what they read is fiction will differ from those of appreciators who believe what they read is non-fiction. If there are differences in their emotional responses, then the appreciation differs too. I argue that Matravers is not successful in this respect, and explain the peculiarity of our appreciating fiction from the standpoint of mental functions. There are mental function of immersing ourselves in fiction, and also mental function of recognizing the background knowledge required to understand the context of the fictional works. Because these functions work together, we can appreciate fictional works without confusing reality with fiction.
