1,720,986 research outputs found
Forma e _Immagine_: una lettura critica
Full text linkIn a recent book, Immagine, Alberto Voltolini offers a rich and carefully written discussion of theories of depiction, which have drawn so much attention in recent Anglophone philosophy. Although Voltolini’s book has indisputable virtues, it also makes some questionable formal choices. The present essay presents a formal analysis of the book
Carroll on the Emotion of Horror
No full textNoël Carroll's influence on the contemporary debate on the horror genre is hard to overestimate. His work on the topic is often celebrated as one of the best instances of interdisciplinary dialogue between film studies and philosophy of art. It has provided the foundations for the contemporary study of horror in art. Yet, for all the critical attention that his views on horror have attracted over the years, little scrutiny has been given to the nature itself of the emotion of horror in the genre. This article offers a critical understanding of the nature of the emotion of horror for Carroll, with a view to informing future investigations into the nature of horror in film (and beyond)
A Taxonomy of Disgust in Art
Full text linkDisgust has been a perennial feature of art from medieval visions of hell to postmodern travesties. The purpose of this chapter is to chart various ways in which disgust functions in artworks both in terms of content and style, canvassing cases in which the content and/or style is literally disgusting in contrast to cases where the disgust serves to characterize the content, often for moral or political or broader cultural purposes
The defectiveness of propaganda
Full text linkWe argue that political propaganda is a negative phenomenon, against a recent strain of philosophical theorizing that argues that political propaganda can sometimes be neutral or even positive. After an exploration of the sense and connotation of the word 'propaganda' in ordinary use and in the scholarly literature, we discuss Ross's initial account of propaganda as an epistemically defective form of political communication. We claim that, with some refinements, it is an explanatorily useful analysis. We then assess two prominent attempts that aim at classifying legitimate cases of public communication as cases of propaganda, namely Ross's revision of her previous model and Stanley's influential account. We show that some of the cases in contention are problematic and that the arguments the authors offer for classifying other non-problematic cases as propaganda are inconclusive. We also argue that the idea of considering legitimate public communication as propaganda is unmotivated
The problem of taste to the experimental test
Full text linkA series of recent experimental studies have cast doubt on the existence of a traditional tension that aestheticians have noted in our aesthetic judgements and practices, namely the problem of taste. The existence of the problem has been acknowledged since Hume and Kant, though not enough has been done to analyse it in depth. In this paper, we remedy this by proposing six possible conceptualizations of it. Drawing on our analysis of the problem of taste, we argue that the experimental results in question are not a real challenge to its existence. By contrast, they provide empirical evidence in its support
Carroll on the Emotion of Horror
Full text linkNoël Carroll’s influence on the contemporary debate on the horror genre is hard to overestimate. His work on the topic is often celebrated as one of the best instances of interdisciplinary dialogue between film studies and philosophy of art. It has provided the foundations for the contemporary study of horror in art. Yet, for all the critical attention that his views on horror have attracted over the years, little scrutiny has been given to the nature itself of the emotion of horror in the genre. This article offers a critical understanding of the nature of the emotion of horror for Carroll, with a view to informing future investigations into the nature of horror in film (and beyond)
The Affective Nature of Horror
Full text linkThe horror genre (in film, literature etc.) has, for its seemingly paradoxical aesthetic appeal, been the subject of much debate in contemporary, analytic philosophy of art. At the same time, however, the nature of horror as an affective phenomenon has been largely neglected by both aestheticians and philosophers of mind. The standard view of the affective nature of horror in contemporary philosophy follows Noël Carroll in holding that horror in art (or “art-horror”) is an emotion resulting from the combination of disgust and fear. The view is also often accompanied by the view that horror in art is a distinct affect from horror in real life. This raises the question of what the relationship between horror in art and in real life might be. By looking within and outside art and the horror genre, and using a combination of historical, philosophical and empirical arguments, I argue for a departure from such standard views on the affective nature of horror. In alternative, I outline a novel view, on which horror is common to both real life and art and is primarily, typically individuated by a set of (output) affective reactions
The Language of Contemporary Philosophy
Full text linkPhilosophy’s place, at the intersection of the scientific and humanities disciplines, makes it an interesting test case for the role of English and other languages and cultures in our contemporary knowledge economy. The humanities’ attention to the richness of the world’s languages and cultures is in tension with the science’s essentially cosmopolitan project. This tension is perhaps especially evident in ‘analytic’ or ‘Anglo-American’ philosophy. Despite complementarity in earlier stages of the discipline, the humanities and scientific tendencies are now clashing with undesirable results. This is in an important part due to analytic philosophy’s underexamined focus on a single vehicular language. One symptom of this malaise is that the voices of non-native-speaking philosophers are significantly less heard than those of native speakers. Especially problematic is, I argue, the current emphasis given to aesthetic considerations, and in particular linguistic form or style, as a sign of scientific rigour in the analysis of philosophical problems. I discuss this emphasis critically, arguing that it is not justifiable, in part because it deprives contemporary analytic philosophy of a wider variety of philosophical perspectives arising from different languages and cultures. I conclude by briefly presenting a recent attempt to make contemporary philosophy more linguistically inclusive
Stylistic Appearances and Linguistic Diversity
Full text linkContemporary philosophy is beginning to pay to problems of linguistic justice the attention that they deserve in today’s heavily interconnected world. However, contemporary philosophy, as a part of today’s world, has problems of linguistic justice of its own which deserve meta-philosophical attention. At least in the philosophical tradition that is mainstream in much of the world today, viz. analytic philosophy, methodological and sociological mechanisms make it the case that the voices of non-native-speaking philosophers are substantially less heard. In this essay, I briefly outline the problems non-native speakers face in contemporary analytic philosophy. I then move on to analysing the possible causes of the current problems. Among these reasons, I argue, is the emphasis given to linguistic style and appearances as signs of clarity, precision and rigour in the treatment of philosophical problems. I argue that the current emphasis on linguistic style in analytic philosophy is not justifiable, in part because it deprives contemporary analytic philosophy of a wider variety of philosophical perspectives. I argue that an important remedy for the emphasis on linguistic appearances within philosophy is to foster greater linguistic diversity. I conclude by presenting and motivating a recent initiative that aims to achieve such a goal
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