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  1. Mahesh Ananth (2014). A Cognitive Interpretation of Aristotle’s Concepts of Catharsis and Tragic Pleasure. International Journal of Art and Art History 2 (2).
    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 (...)
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  2. Douglas Anderson (1986). Review of Eva Schaper, Pleasure, Preference and Value. [REVIEW] Idealistic Studies 16 (2):186-187.
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  3. John Armstrong (2004). The Secret Power of Beauty. Allen Lane.
    A graceful and lucid study of the power of beauty and the deep significance it has in our lives In defining beauty and our response to it, we are often caught between the concrete and the sublime. We wish to categorize beauty, to clearly label its parts, and yet we wish also to celebrate its mysterious-and at times mythical-power. Armstrong's response is a discursive and graceful journey through various and complementary interpretations, leading us from Hogarth's belief that the essence of (...)
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  4. Rudolf Arnheim (1993). From Pleasure to Contemplation. Journal of Aesthetics and Art Criticism 51 (2):195-197.
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  5. Archie J. Bahm (1947). Beauty Defined. Philosophical Review 56 (5):582-586.
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  6. Katerina Bantinaki (2012). The Paradox of Horror: Fear as a Positive Emotion. Journal of Aesthetics and Art Criticism 70 (4):2012.
  7. Roderick Beaton (2004). Erotic Pathos, Rhetorical Pleasure: Narrative Technique and Mimesis in Eumathios Makrembolites' "Hysmine & Hysminias"Ingela Nilsson. Speculum 79 (3):811-813.
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  8. Leo A. Behrendt (1951). Der Letzte Advent. By Edzard Schaper. Renascence 4 (1):67-68.
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  9. Elizabeth Belfiore (1985). Pleasure, Tragedy and Aristotelian Psychology. Classical Quarterly 35 (02):349-.
    Aristotle's Rhetoric defines fear as a kind of pain or disturbance and pity as a kind of pain . In his Poetics, however, pity and fear are associated with pleasure: ‘ The poet must provide the pleasure that comes from pity and fear by means of imitation’ . The question of the relationship between pleasure and pain in Aristotle's aesthetics has been studied primarily in connection with catharsis. Catharsis, however, raises more problems than it solves. Aristotle says nothing at all (...)
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  10. Ermanno Bencivenga (1987). Economy of Expression and Aesthetic Pleasure. Philosophy and Phenomenological Research 47 (4):615-630.
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  11. Giulia Bonasio (2014). Aesthetic Pleasure: Cognition and Emotion in the Aesthetic Concepts. Remarks After Sibley’s Works. Rivista di Estetica 55:183-201.
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  12. Ben Bramble (2015). On Susan Wolf’s “Good-for-Nothings". Ethical Theory and Moral Practice 18 (5):1071-1081.
    According to welfarism about value, something is good simpliciter just in case it is good for some being or beings. In her recent Presidential Address to the American Philosophical Association, “Good-For-Nothings”, Susan Wolf argues against welfarism by appeal to great works of art, literature, music, and philosophy. Wolf provides three main arguments against this view, which I call The Superfluity Argument, The Explanation of Benefit Argument, and The Welfarist’s Mistake. In this paper, I reconstruct these arguments and explain where, in (...)
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  13. David Brett (2005). Rethinking Decoration: Pleasure and Ideology in the Visual Arts. Cambridge University Press.
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  14. Christopher Butler (2004). Pleasure and the Arts: Enjoying Literature, Painting, and Music. Oxford University Press.
    How do the arts give us pleasure? Covering a very wide range of artistic works, from Auden to David Lynch, Rembrandt to Edward Weston, and Richard Strauss to Keith Jarrett, Pleasure and the Arts offers us an explanation of our enjoyable emotional engagements with literature, music, and painting. The arts direct us to intimate and particularized relationships, with the people represented in the works, or with those we imagine produced them. When we listen to music, look at a purely abstract (...)
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  15. Ann J. Cahill (2003). Feminist Pleasure and Feminine Beautification. Hypatia 18 (4):42-64.
    : This paper explores the conditions under which feminine beautification constitutes a feminist practice. Distinguishing between the process and product of beautification allows us to isolate those aesthetic, inter-subjective, and embodied elements that empower rather than disempower women. The empowering characteristics of beautification, however, are difficult and perhaps impossible to represent in a sexist context; therefore, while beautifying may be a positive experience for women, being viewed as a beautified object in current Western society is almost always opposed to women's (...)
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  16. William Charlton (1988). Mary Mothersill on Aesthetic Pleasure. Analysis 48 (1):40 - 44.
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  17. Jean-Pierre Cléro (2014). On The Ambiguous Status of Pleasure in Bentham's Theory of Fictions. Utilitas 26 (4):346-366.
    If pleasure is more open than pain to a double definition, first as a real sensation, second as a more indirect impression, it is clear that the calculus cannot be identical for pleasure and pain alike. Sensations may be combined in the infinitesimal calculus in a substantive way, but this is impossible for the more indirect reflective impressions, which require other sorts of mathematics. For Bentham, it is not a question of eschewing calculation, but of facilitating it, perhaps through a (...)
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  18. Francis J. Coleman (1971). Is Aesthetic Pleasure a Myth? Journal of Aesthetics and Art Criticism 29 (3):319-332.
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  19. Fabrizio Conca (2003). Erotic Pathos, Rhetorical Pleasure. Narrative Technique and Mimesis in Eumathios Makrembolites' Hysmine & Hysminias. [REVIEW] Byzantinische Zeitschrift 95 (2):708-710.
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  20. Fabrizio Conca (2003). I. NILSSON, Erotic Pathos, Rhetorical Pleasure. Narrative Technique and Mimesis in Eumathios Makrembolites' Hysmine & Hysminias. Byzantinische Zeitschrift 95 (2).
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  21. Steven Connor (1992). Aesthetics, Pleasure and Value. In Stephen Regan (ed.), The Politics of Pleasure: Aesthetics and Cultural Theory. Open University Press 203--20.
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  22. Stanley Corngold (1998). Complex Pleasure: Forms of Feeling in German Literature. Stanford University Press.
    Complex Pleasure deals with questions of literary feeling in eight major German writers—Lessing, Kant, Hölderlin, Nietzsche, Musil, Kafka, Trakl, and Benjamin. On the basis of close readings of these authors Stanley Corngold makes vivid the following ideas: that where there is literature there is complex pleasure; that this pleasure is complex because it involves the impression of a disclosure; that this thought is foremost in the minds of a number of canonical writers; that important literary works in the German tradition—fiction, (...)
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  23. E. M. Dadlez (2013). The Pleasures of Tragedy. In James A. Harris (ed.), The Oxford Handbook of British Philosophy in the Eighteenth Century. Oxford University Press 450.
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  24. E. M. Dadlez (2004). Pleased and Afflicted: Hume on the Paradox of Tragic Pleasure. Hume Studies 30 (2):213-236.
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  25. Eva M. Dadlez (2004). Pleased and Afflicted: Hume on the Paradox of Tragic Pleasure. Hume Studies 30 (2):213-236.
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  26. E. S. Dallas (1969). The Gay Science. Johnson Reprint Corporation.
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  27. Eric Dayton (1999). The Pleasures of Aesthetics: Philosophical Essays Jerrold Levinson Ithaca, NY: Cornell University Press, 1996, Xiv + 312 Pp. [REVIEW] Dialogue 38 (01):214-.
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  28. Eric Dayton (1999). The Pleasures of Aesthetics. Dialogue 38 (1):214-214.
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  29. Rafael De Clercq (2013). Beauty. In Berys Gaut Gaut & Dominic Lopes (eds.), Routledge Companion to Aesthetics 3rd Edition. Routledge
    This survey chapter focuses on two questions concerning the nature of beauty. First, can “beauty” be defined, and if so, how? Second, what is the relation between beauty and the mind; for example, between being beautiful and being judged beautiful, or between being beautiful and being the object of pleasure?
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  30. T. J. Diffley (1984). Review of Pleasure, Preference, and Value: Studies in Philosophical Aesthetics. [REVIEW] Journal of Aesthetics and Art Criticism 43 (1):96-98.
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  31. Fabian Dorsch (2000). The Nature of Aesthetic Experiences. Dissertation, University College London
    This dissertation provides a theory of the nature of aesthetic experiences on the basis of a theory of aesthetic values. It results in the formulation of the following necessary conditions for an experience to be aesthetic: it must consist of a representation of an object and an accompanying feeling; the representation must instantiate an intrinsic value; and the feeling must be the recognition of that value and bestow it on the object. Since representations are of intrinsic value for different reasons, (...)
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  32. Andreas Dorschel (2011). Individualism for the Masses: Aesthetic Paradox in Mahler’s Symphonic Thought. In Elisabeth Kappel (ed.), The Total Work of Art: Mahler’s Eighth Symphony in Context. Universal Edition 46-60.
    In his Eighth Symphony Gustav Mahler envisions modern artistic production to steer clear of an alternative emerging at the time: that between popular music on the one hand and esoteric avantgarde music on the other; Mahler’s music is meant to reach the masses, but without descending to audiences’ lowest common denominator. One query through which Mahler’s paradoxical aesthetic vision of an ‘individualism for the masses’ can be explored has been hinted at by the composer himself: Does his integral symphonic work (...)
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  33. Andreas Dorschel (2004). Vom Genießen. Reflexionen zu Richard Strauss. In Gemurmel unterhalb des Rauschens. Theodor W. Adorno und Richard Strauss. Universal Edition 23-37.
    The work of Richard Strauss has been disparaged as a music designed to be relished (“Genußmusik” was Adorno’s term), lacking any dimension of ‘transcendence’. The notion of ‘relish’ or ‘pleasure’ (“Genuß”), used for characterization rather than disparagement, can disclose crucial aspects of Strauss’s art, though it does not exhaust it. To oppose ‘relish’ or ‘pleasure’ (“Genuß”) to ‘transcendence’, however, either uses hidden theological premises or disregards that ‘relish’ or ‘pleasure’ (“Genuß”), bound to be pervious to its object, does transcend towards (...)
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  34. Kenneth Dorter (1994). The Tragedy and Comedy of Life. Review of Metaphysics 47 (4):799-801.
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  35. D. C. Durst (1997). The Politics of Aesthetic Pleasure. Philosophical Inquiry 19 (1-2):18-34.
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  36. D. C. Durst (1997). The Politics of Aesthetic Pleasure. Philosophical Inquiry 19 (1-2):18-34.
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  37. Denis Dutton (2010). The Art Instinct: Beauty, Pleasure, and Human Evolution. OUP Oxford.
    The need to create art is found in every human society, manifest in many different ways across many different cultures. Is this universal need rooted in our evolutionary past? The Art Instinct reveals that it is, combining evolutionary psychology with aesthetics to shed new light on fascinating questions about the nature of art.
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  38. Denis Dutton (2009). The Art Instinct: Beauty, Pleasure, & Human Evolution. Bloomsbury Press.
    Introduction -- Landscape and longing -- Art and human nature -- What is art? -- But they don't have our concept of art -- Art and natural selection -- The uses of fiction -- Art and human self-domestication -- Intention, forgery, dada : three aesthetic problems -- The contingency of aesthetic values -- Greatness in the arts.
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  39. Denis Dutton (2004). The Pleasures of Fiction. Philosophy and Literature 28 (2):453-466.
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  40. Marcia Muelder Eaton (1973). Aesthetic Pleasure and Pain. Journal of Aesthetics and Art Criticism 31 (4):481-485.
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  41. C. E. Emmer (2001). The Senses of the Sublime: Possibilities for a Non-Ocular Sublime in Kant's Critique of Judgment. In Volker Gerhardt, Rolf Horstmann & Ralph Schumacher (eds.), Kant und die Berliner Aufklärung: Akten des IX. Internationalen Kant-Kongresses, Vol. 3. Walter de Gruyter
    It might at first seem that the senses (the five traditionally recognized conduits of outer sense) would have very little to contribute to an investigation of Kant's aesthetics. Is not Kant's aesthetic theory based on a relation of the higher cognitive faculties? Much however can be revealed by asking to what degree sight is essential to aesthetic judgment (of beauty and the sublime) as Kant describes it in the 'Critique of Judgment.' Here the sublime receives particular attention.
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  42. Daan Evers & Natalja Deng (2016). Acknowledgement and the Paradox of Tragedy. Philosophical Studies 173 (2):337-350.
    We offer a new answer to the paradox of tragedy. We explain part of the appeal of tragic art in terms of its acknowledgement of sad aspects of life and offer a tentative explanation of why acknowledgement is a source of pleasure.
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  43. Susan L. Feagin (1984). Some Pleasures of Imagination. Journal of Aesthetics and Art Criticism 43 (1):41-55.
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  44. Susan L. Feagin (1983). The Pleasures of Tragedy. American Philosophical Quarterly 20 (1):95 - 104.
    I ARGUE THAT WE RECEIVE PLEASURE FROM TRAGEDIES BECAUSE WE ARE PLEASED TO FIND OURSELVES RESPONDING IN AN UNPLEASANT WAY TO HUMAN SUFFERING AND INJUSTICE. THE PLEASURE IS THUS A METARESPONSE, AND REFLECTS FEELINGS WHICH ARE AT THE BASIS OF MORALITY. THIS HELPS EXPLAIN WHY TRAGEDY IS SUPPOSED TO BE A HIGHER ART FORM THAN COMEDY, AND PROVIDES A NEW WAY OF SEEING THE RELATIONSHIP BETWEEN THE MORALITY OF AN ARTWORK AND ITS VALUE.
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  45. G. R. F. Ferrari (1999). Aristotle's Literary Aesthetics. Phronesis 44 (3):181 - 198.
    Against the consensus that Aristotle in the "Poetics" sets out to give tragedy a role in exercising or improving the mature citizen's moral sensibilities, I argue that his aim is rather to analyse what makes a work of literature successful in its own terms, and in particular how a tragic drama can achieve the effect of suspense. The proper pleasure of tragedy is produced by the plotting and eventual dispelling of the play's suspense. Aristotle claims that poetry 'says what is (...)
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  46. Iskra Fileva (2013). Playing with Fire: Art and the Seductive Power of Pain. In Jerrold Levinson (ed.), Suffering Art Gladly. Palgrave Macmillan
    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.
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  47. Damien Freeman (2012). Aesthetic Experience as the Transformation of Pleasure. The Harvard Review of Philosophy 17 (1):56-75.
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  48. Damien Freeman (2010). Aesthetic Experience as the Transformation of Pleasure. The Harvard Review of Philosophy 17 (1):56-75.
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  49. Stacie Friend (2007). The Pleasures of Documentary Tragedy. British Journal of Aesthetics 47 (2):184-198.
    Two assumptions are common in discussions of the paradox of tragedy: (1) that tragic pleasure requires that the work be fictional or, if non-fiction, then non-transparently represented; and (2) that tragic pleasure may be provoked by a wide variety of art forms. In opposition to (1) I argue that certain documentaries could produce tragic pleasure. This is not to say that any sad or painful documentary could do so. In considering which documentaries might be plausible candidates, I further argue, against (...)
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  50. Elisa Galgut (2001). The Poetry and the Pity: Hume's Account of Tragic Pleasure. British Journal of Aesthetics 41 (4):411-424.
    I defend Hume's account of tragic pleasure against various objections. I examine his account of the emotions in order to clarify his "conversion theory". I also argue that Hume does not give us a theory of tragedy as an aesthetic genre, but rather elucidates the felt experience of a particular work of tragedy. I offer a partial reading of King Lear by way of illustration. Finally, I suggest that the experiences of aesthetic pleasure, and aesthetic sadness, share certain qualities. "Tragic (...)
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