This chapter contains sections titled: References.

In lieu of an abstract, here is a brief excerpt of the content:Hume Studies Volume XXIV, Number 2, November 1998, pp. 335-354 "An Unaccountable Pleasure": Hume on Tragedy and the Passions ALEX NEILL Hume begins his essay "Of Tragedy" with a description of what he calls "a singular phaenomenon": It seems an unaccountable pleasure, which the spectators of a well-written tragedy receive from sorrow, terror, anxiety, and other passions, that are in themselves disagreeable and uneasy. The more they (...) are touched and affected, the more are they delighted with the spectacle; and as soon as the uneasy passions cease to operate, the piece is at an end.... They are pleased in proportion as they are afflicted, and never are so happy as when they employ tears, sobs, and cries to give vent to their sorrow, and relieve their heart, swoln with the tenderest sympathy and compassion. The few critics who have had some tincture of philosophy, have remarked this singular phaenomenon, and have endeavoured to account for it.1 The account of the audience's experience of tragedy that Hume goes on to offer in "Of Tragedy" has been the target of criticism since the essay was published. My purpose in what follows is to show that some of what may appear to be the most damaging of that criticism is based on a misinterpretation of the thesis that Hume develops in the essay. I shall not attempt to argue that Hume's thesis is persuasive; indeed, I believe and have argued Alex Neill is at the Department of Philosophy, University of Southampton, Hants Sl 7 IBJ ENGLAND. 336 Alex Neill elsewhere that it is not.2 My project here is almost entirely interpretive: it is an attempt to get clear about what Hume's thesis concerning our experience of tragedy really is. To that end, it should be noted that the apparently "unaccountable" pleasure Hume describes at the beginning of "Of Tragedy" is something that he has remarked on before. In Book I of the Treatise, he notes that in matters of religion men take a pleasure in being terrify'd, and that no preachers are so popular, as those who excite the most dismal and gloomy passions. In the common affairs of life, where we feel and are penetrated with the solidity of the subject, nothing can be more disagreeable than fear and terror; and 'tis only in dramatic performances and in religious discourses, that they ever give pleasure? The phenomenon that Hume finds so remarkable in these passages from "Of Tragedy" and the Treatise is thus, at a minimum, that in certain circumstances, such as when we are at the theatre, we may find agreeable the experience of "the most dismal and gloomy passions." The explanation he gives of this phenomenon in the Treatise is as follows: In these latter cases the imagination reposes itself indolently on the idea; and the passion, being soften'd by the want of belief in the subject, has no more than the agreeable effect of enlivening the mind, and fixing the attention. (T 115) Hume's explanation of how the experience of "uneasy" passions can be enjoyed when we are in church and at the theatre thus has two components. First, because we do not believe the stories we are told in church4 and at the theatre, the uneasy passions we experience are not so very uneasy; as he puts it later in the Treatise, in such circumstances the passion in question "lies not with that weight upon us: It feels less firm and solid" (T 631). Second, a weakly disagreeable passion of this sort agreeably "enlivens" the mind and "fixes" (or as he says later, "rouzes") our attention. By the time he wrote "Of Tragedy," however, Hume had come to regard this explanation of his "singular phaenomenon" as inadequate. With regard to the idea that the passions, even if "uneasy," have the pleasurable effect of "enlivening" the mind (an idea which in "Of Tragedy" he attributes to Dubos), Hume objects that having one's mind "enlivened," one's attention "fixed" or "rouzed," need not be pleasurable: "the same object of distress, which pleases in a tragedy, were it really set before us, would give the most unfeigned uneasiness; though it... (shrink)

This chapter contains sections titled: Notes References Further Reading.

In lieu of an abstract, here is a brief excerpt of the content:KINSHIP AND SEPARATION IN CAVELL'S PURSUITS OF HAPPINESS by Alex Neill In the second part of his article "Getting To Know You,"1 Roger A. Shiner suggests that light can be shed on various epistemological and metaphysical problems through a consideration of what Stanley Cavell has called in his book Pursuits ofHappiness "the Hollywood genre of remarriage."2 Shiner's aim is "to present the genre of remarriage as a (...) figure for the profoundest relationships of epistemology and metaphysics.... Specifically, divorce and remarriage as part of human life are to be seen as figures for separation and kinship, avoidance and acknowledgement in the philosophical sense of those terms" (p. 80). Much of the first part of his paper is concerned with spelling out just what the philosophical sense of these terms in Cavell's work is, and in particular with attempting to draw out the conceptual relationship and balance between the twin notions of kinship and separation. Understanding this relationship is crucial to Shiner's metaphysical and metaphilosophical projects; however, he thinks that it is obscured by Cavell himself: "I believe Cavell's own account in Pursuits ofHappiness to be unstable and its instability importantly instructive" (p. 87). While I share Shiner's view that what he calls Cavell's "conceptual framework" represents an original and important contribution to our understanding of central issues in epistemology and metaphysics, and agree with much of what he has to say about its importance with regard to questions of philosophical method, I find his claim that there is an instability in Cavell's account of the roles of kinship and separation in Pursuits of Happiness unconvincing. There are two elements involved in this claim, and I think that Shiner's discussion of both is seriously misleading with regard to the conceptual relationships between kinship, separation, and acknowledgement. In what follows, I would like to consider 136 Alex Neill137 his claim in some detail, with a view to clarifying the nature of the relationships between these concepts. The standard pattern of the comedies that Cavell discusses in Pursuits ofHappiness is represented by a progression from marriage to divorce to remarriage. A central claim of Shiner's paper is that this pattern reflects a theme which runs through much of Cavell's other work, according to which our relationship to the world and to others is not one of knowing but of acknowledging. 3 Shiner's suggestion is that remarriage is a figure for the condition of acknowledgement, a condition which requires an acceptance of the facts of both human kinship (symbolized here by a first marriage) and human separation (symbolized here by divorce). Shiner's assertion that there is an instability in Cavell's account of the genre of remarriage is based on the latter's inclusion of Bringing Up Baby and It Happened One Night in the genre. His suggestion is that the inclusion of these films obscures the importance of the notion of kinship, a key notion in the genre in its own right, and an important figure for a central concept of metaphysics. The point is that in these films, the protagonists are not at first married to each other: the films begin with their meeting for the first time, and conclude with their marriages. Thus it appears that in Bringing Up Baby and It Happened One Night the kinship stage of the pattern is missing. This is the first element in the instability which Shiner is concerned to bring out. If the inclusion of Bringing Up Baby and It Happened One Night in the genre of remarriage is legitimate, then, it would seem that they must represent or express kinship in some way other than through a first marriage. That is, in order to see Cavell's account as being stable, we need an alternative formulation ofkinship that can be satisfied by these films. A candidate for such an alternative formulation is suggested by Cavell in his reading of The Philadelphia Story: "Having... in some way created a childhood past together, remains a law for the happiness of the pair in the universe of remarriage comedies" {PH, p. 136). However, Shiner finds this formulation of kinship in terms of... (shrink)

The bleakness of Schopenhauer’s notoriously pessimistic take on the human condition is mitigated to some extent by his recognition of the possibilities of aesthetic experience and of denial of the will-to-live. However, as Schopenhauer himself acknowledges, his account of the latter appears inconsistent with his determinism, and we argue that this is no less the case with regard to his account of the former. After outlining what we take to be the basis and extent of Schopenhauer’s deterministic picture of human (...) beings, we develop and discuss the possibility that the apparent inconsistency of this picture with his accounts of denial of the will-to-live and aesthetic experience may in fact be no more than appearance – the extent, that is, to which the latter may be construed as varieties of experience to which we are essentially passive. We argue that while there is something to this suggestion, there are aspects of Schopenhauer’s conceptions of both aesthetic experience and denial that remain in tension with his determinism. Indeed, we suggest, ultimately Schopenhauer’s deterministic picture of human beings portrays a kind of creature for whom aesthetic experience in general, let alone denial of the will, should simply be impossible. We turn next to Schopenhauer’s conception of the ‘moral’ or ‘transcendental’ freedom of human beings, and consider how the latter may be appealed to in explaining the possibility of aesthetic and ascetic experience in Schopenhauer’s terms. Schopenhauer’s own appeal to transcendental freedom in this context is, we argue, unpersuasive. In the end, we conclude, he leaves wholly mysterious the freedom inherent in his conceptions of aesthetic and ascetic experience. (shrink)

Editor's contribution to the edited volume, Better Consciousness: Schopenhauer's Philosophy of Value, which reassesses Schopenhauer's aesthetics and ethics and their contemporary relevance.

Offering a unique 'debate' format, the third edition of_ _the bestselling_ Arguing About Art_ is ideal for newcomers to aesthetics or philosophy of art. This lively collection presents an extensive range of short, clear introductions to each of the discussions which include: sentimentality appreciation interpretation understanding objectivity nature food horror. With revised introductions, updated suggestions for further reading and new sections on pornography and societies without art, _Arguing About Art _provides_ _a stimulating and accessible anthology suitable for those coming to (...) aesthetics for the first time. The book will also appeal to students of art history, literature, and cultural studies. (shrink)

_Better Consciousness: Schopenhauer's Philosophy of Value_ reassesses Schopenhauer's aesthetics and ethics and their contemporary relevance. Features a collection of new essays from leading Schopenhauer scholars Explores a relatively neglected area of Schopenhauer's philosophy Offers a new perspective on a great thinker who crystallized the pessimism of the nineteenth century and has many points of contact with twenty-first century thought.

In lieu of an abstract, here is a brief excerpt of the content:Fear And BeliefAlex NeillIn his recent article “Fear Without Belief,” 1 John Morreall argues that once we have an adequate understanding of fear—and in particular, once we understand that not all fears are based on or conceptually involve beliefs—Kendall Walton’s well-known “puzzle” concerning whether we can fear what we know to be fictional “dissolves.” 2 I would like here to point to some questions and difficulties raised by Morreall’s (...) article.Walton’s puzzle is based on what is often described as a “cognitive” account of the emotions, according to which emotional states, including fear, are founded on beliefs and judgments. Thus he writes, “It seems to be a principle of common-sense, which ought not to be abandoned if there is any reasonable alternative, that fear [for oneself] must be accompanied by, or must involve, a belief that one is in danger” (Walton, p. 7). Radford has made a similar point about other sorts of emotional state: “Roughly speaking,” he argues, “... for someone’s pity for another to be unproblematic, the pitier has to believe that the pitied third-party [is] suffering in some way.” 3 Elsewhere he says, “we have to believe in [a person’s] torment to be tormented by it.” 4 Given that we do not believe in the reality of fictional suffering or torment, nor that we are threatened by fictional beings, it would seem to follow that our affective responses to fictional characters cannot properly be described as states of pity or fear. As Walton says, describing a person watching a horror movie, “Charles does not believe that he is in danger, so he is not afraid” (Walton, p. 7). [End Page 94]Morreall challenges this conclusion, which has been the subject of a great deal of debate over the last fifteen years or so, by attacking the cognitive account of fear. He takes that account to involve two central claims; namely (1) that “fear must have an intentional object,” and (2) that “in order to fear something, one must believe that it is dangerous to her” (p. 360). In response to (1), he offers a number of counterexamples, which he suggests represent “cases of instinctive fear without intentional objects.” How effective are these counterexamples? First, Morreall notes that we may be frightened by loud noises. Yet, “when some joker sneaks up behind us and pops a balloon or shouts ‘Boo!’ we do not have to think of a gunshot or rapist to be scared” (p. 361). Now, suppose that some joker does sneak up behind you and pops a balloon. Your heart leaps, you shriek, you jump. Delighted, the joker says “Got you! You were really afraid that time!” One response to the joker would be this: “I wasn’t afraid; you simply startled me.” I take it that there is a real difference between being afraid and being startled. 5 But what exactly is that difference? It would surely be implausible to try to make it out in phenomenological terms, for one state may feel very like the other. And given Morreall’s account of the physiology of fear (the release of epinephrine into the blood causing a faster and stronger heartbeat, a redistribution of the blood away from the skin and extremities towards the muscles and head, and so on) it looks very unlikely that we shall be able to make out the difference in terms of physiology. In fact, I suggest, the difference between being afraid and being startled is a cognitive difference. A person who is simply startled by a loud noise doesn’t have any thoughts or beliefs about it; a person who is made afraid by the noise is a person who has thoughts about it, thoughts in which the noise is in one way or another associated with danger or harm. These thoughts need not be “occurrent,” nor even conscious. However, unless we suppose that a person does have thoughts in which the noise is associated with danger, we have no reason to describe her as “afraid” rather than “startled.” If we abandon the idea that the fear which a loud noise may arouse in us is intentional, that is... (shrink)

Aaron Meskin and Simon Fokt have recently taken issue with our 2012 paper, ‘Relational Theories of Art: the History of an Error’. Here we respond to their objections.

This anthology is intended as a core text for courses in aesthetics or philosophy of art. It contains a wealth of readings from both classic and contemporary sources, and aims to present substantial selections from those texts rather than mere "snippets." Readings are organized historically within four broad themes so that students can see how concepts of art have evolved and been debated. Each reading is introduced by the authors, who suggest connections between the reading and others in the anthology. (...) Unlike other anthologies on the market, The Philosophy of Art is both comprehensive and affordable, making it the ideal book for course use. (shrink)

The short 'Editorial' introduces the published papers in 'Schopenhauer's Philosophy of Value', and explains their origin in a conference at the University of Southampton in July 2007.