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  1. Derek Allan (2014). A Logical Redeemer: Kirillov in Dostoevsky’s 'Demons'. Journal of European Studies 44 (2).
    The engineer Kirillov, a major character in Dostoevsky's 'Demons', has provoked considerable critical disagreement. In 'The Myth of Sisyphus', Albert Camus argues that he expresses the theme of ‘logical suicide’ with ‘the most admirable range and depth’. Some recent commentators, however, have dismissed Kirillov as a madman in the grip of a mad theory. -/- While dissenting from Camus’s analysis in certain respects, this article offers an interpretation consistent with his basic argument. Kirillov’s suicide is based on a simple, if (...)
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  2. Derek Allan (2012). 'Les Liaisons Dangereuses' Through the Eyes of André Malraux. Journal of European Studies 42 (2):123-139.
    Choderlos de Laclos’s novel 'Les Liaisons dangereuses', first published in 1782, is regarded as one of the outstanding works of French literature. This article concerns a well known commentary by the twentieth-century writer André Malraux which, though often mentioned by critics, has seldom been studied in detail. The article argues that, while Malraux endorses the favourable modern assessments of 'Les Liaisons dangereuses', his analysis diverges in important respects from prevailing critical opinion. In particular, he regards the work as the commencement (...)
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  3. Derek Allan (1995). An Inhuman Transcendence: Perken in Malraux's 'La Voie Royale’. Journal of European Studies 25:109-121.
    Examines an aspect of Malraux's exploration of action as a value.
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  4. Derek Allan (1988). André Malraux: The Commitment to Action in 'La Condition Humaine'. In Harold Bloom (ed.), André Malraux's Man's Fate. Chelsea House
    Discusses the function of action in Malraux's third and most famous novel.
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  5. Derek Allan (1982). The Psychology of a Terrorist: Tchen in 'La Condition Humaine'. Nottingham French Studies 21 (1):48-66.
    Discusses the psychology of the terrorist Tchen in Malraux's 'Man's Fate'.
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  6. José Luis Bermúdez & Sebastian Gardner (eds.) (2003). Art and Morality. Routledge.
    Art and Morality is a collection of groundbreaking new papers on the theme of aesthetics and ethics, and the link between the two subjects. A group of world-class contributors tackle the important question that arise when one thinks about the moral dimensions of art and the aesthetic dimension of moral life. The volume is a significant contribution to the philosophical literature, opening up unexplored questions and shedding new light on more traditional debates in aesthetics. The topics explored include the relation (...)
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  7. Bijoy H. Boruah (1988). Fiction and Emotion: A Study in Aesthetics and the Philosophy of Mind. Oxford University Press.
    Why do people respond emotionally to works of fiction they know are make-believe? Boruah tackles this question, which is fundamental aesthetics and literary studies, from a totally new perspective. Bringing together the various answers that have been offered by philosophers from Aristotle to Roger Scruton, he shows that while some philosophers have denied any rational basis to our emotional responses to fiction, others have argued that the emotions evoked by fiction are not real emotions at all. In response to this, (...)
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  8. Stuart Brock (2007). Fictions, Feelings, and Emotions. Philosophical Studies 132 (2):211 - 242.
    Many philosophers suggest (1) that our emotional engagement with fiction involves participation in a game of make-believe, and (2) that what distinguishes an emotional game from a dispassionate game is the fact that the former activity alone involves sensations of physiological and visceral disturbances caused by our participation in the game. In this paper I argue that philosophers who accept (1) should reject (2). I then illustrate how this conclusion illuminates various puzzles in aesthetics and the philosophy of mind.
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  9. 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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  10. Elisabeth Camp, Perspectives in Imaginative Engagement with Fiction.
    I take up three puzzles about our emotional and evaluative responses to fiction. First, how can we even have emotional responses to characters and events that we know not to exist, if emotions are as intimately connected to belief and action as they seem to be? One solution to this puzzle claims that we merely imagine having such emotional responses. But this raises the puzzle of why we would ever refuse to follow an author’s instructions to imagine such responses, since (...)
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  11. William Charlton (1986). Radford and Allen on Being Moved by Fiction: A Rejoinder. British Journal of Aesthetics 26 (4):391-394.
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  12. Florian Cova & Julien Deonna (2013). Being Moved. Philosophical Studies (3):1-20.
    In this paper, we argue that, barring a few important exceptions, the phenomenon we refer to using the expression “being moved” is a distinct type of emotion. In this paper’s first section, we motivate this hypothesis by reflecting on our linguistic use of this expression. In section two, pursuing a methodology that is both conceptual and empirical, we try to show that the phenomenon satisfies the five most commonly used criteria in philosophy and psychology for thinking that some affective episode (...)
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  13. Gregory Currie (1995). The Moral Psychology of Fiction. Australasian Journal of Philosophy 73 (2):250 – 259.
    What can we learn from fiction? I argue that we can learn about the consequences of a certain course of action by projecting ourselves, in imagination, into the situation of the fiction's characters.
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  14. E. M. Dadlez (2009). Mirrors to One Another: Emotion and Value in Jane Austen and David Hume. Wiley-Blackwell.
    Illustrates how Hume and Austen complement one another, each providing a lens that allows us to expand and elaborate on the ideas of the other Proposes that ...
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  15. E. M. Dadlez (1996). Fiction, Emotion, and Rationality. British Journal of Aesthetics 36 (3):290-304.
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  16. R. M. J. Dammann (1992). Emotion and Fiction. British Journal of Aesthetics 32 (1):13-20.
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  17. A. E. Denham (2015). Celan's Song: Pictures, Poetry and Epistemic Value. In John Gibson (ed.), Philosophy & Poetry. Oxford University Press
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  18. Wolfgang Detel (2015). Zur Interpretation der Emotionen Fiktiver Figuren in Fiktionaler Literatur: Eine Systematische Analyse Anhand von Flauberts "Madame Bovary". In Jan Borkowski, Stefan Descher, Felicitas Ferder & Philipp David Heine (eds.), Literatur interpretieren: Interdisziplinäre Beiträge zur Theorie und Praxis. Mentis 277-314.
    Die Hypothese meines Beitrags ist, dass Interpretationen fiktionaler Romane zum Teil rationale Erklärungen der emotionalen Zustände fiktiver Romanfiguren sein sollten. Der Hintergrund dieser Hypothese ist zum einen die generelle Definition von Interpretationen als rationalen Erklärungen und zum anderen die neue Theorie der affektiven Intentionalität von Gefühlen (eine Variante der kognitiven Gefühlstheorie). Diese Theorie unterscheidet mehrere Komponenten von Gefühlen und weist nach, dass eine überwiegend rationale Vernetzung dieser Komponenten eine notwendige Bedingung für ihre Interpretation ist (Abschnitt 1). Dieser methodische Zugriff lässt (...)
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  19. Andreas Dorschel (2015). Passions of the Intellect: A Study of Polemics. Philosophy 90 (4):679-684.
    Polemics are a sort of critique typically suffused with inimical emotions and passions. But how are these emotions and passions to be construed? Neither authorial expression nor actual arousal properly account for their rôle in polemics. Rather, the polemicist must stage an unequal battle between a polemical self and the polemical target vis-à-vis an anticipated audience, skilfully handling, through his words, the emotions ascribed to each of them.
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  20. Susan Feagin (2010). Giving Emotions Their Due. British Journal of Aesthetics 50 (1):89-92.
    It is a widespread view that affective and emotional responses to many works of literature are often components of an appreciation of literature that is richer than it would be without them. In this paper, I raise three points designed to show that Lamarque does not give emotional and other affective responses their due. First, I propose that he does not sufficiently distinguish emotion and imagination from concerns about knowledge and truth. Second, he does not sufficiently distinguish appreciation, and the (...)
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  21. Susan L. Feagin (1997). Book Review: Reading with Feeling. [REVIEW] Philosophy and Literature 21 (1).
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  22. Susan L. Feagin (1984). Some Pleasures of Imagination. Journal of Aesthetics and Art Criticism 43 (1):41-55.
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  23. Maurizio Ferraris (2013). Pleurer et rire pour de vrai. Philosophiques 40 (1):23-44.
    Maurizio Ferraris | : L’une des réponses au paradoxe de la fiction consiste à dire que les émotions que nous éprouvons face aux oeuvres de fiction ne sont pas véritables. Mais qu’est-ce que pleurer ou rire pour de vrai ? En fait, presque toutes les formes de rire ou de larmes, et de réactions émotionnelles, sont compatibles avec la fiction, y compris celles qui sont des émotions vraies. Ce qui pose problème dans le paradoxe est la prémisse selon laquelle nos (...)
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  24. Curtis Fogel (2008). Jenefer Robinson, Deeper Than Reason: Emotion and its Role in Literature, Music, and Art. [REVIEW] Minds and Machines 18 (2):289-292.
  25. Rick Anthony Furtak (2012). The Value of Being: Thoreau on Appreciating the Beauty of the World. In Rick A. Furtak, Jonathan Ellsworth & James D. Reid (eds.), Thoreau's Importance for Philosophy (Fordham, 2012). 112-126.
  26. Elisa Galgut (2010). Projective Properties and Expression in Literary Appreciation. Journal of Aesthetics and Art Criticism 68 (2):143-153.
    The paper defends Wollheim’s account of aesthetic expressive perception by showing that it may fruitfully be extended to artistic genres other than painting. The paper hopes to show the richness of Wollheim’s theory of expressive projection as an account of aesthetic perception. In investigating the application of Wollheim’s account of artistic expression to literature, I shall illustrate how understanding expression as the result of the projective activity of the writer is a useful way of understanding some of the expressive properties (...)
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  27. Elisa Galgut (2009). Tragedy and Reparation. In Pedro Alexis Tabensky (ed.), The Positive Function of Evil. Palgrave Macmillan
    The Kleinian psychoanalyst Hanna Segal argues for the reparative nature of art, and especially of the genre of classical tragedy. According to Kleinian theory, healthy psychological development requires that early infantile aggressive and destructive emotions are worked through; such “working through” is necessary for the development of conscience, for feelings of empathy, as well as for cognitive development. It is also a necessary condition for creative activity. Segal examines the roots of the impulse to create by looking specifically at the (...)
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  28. Tamar Szabo Gendler (2006). Imaginative Resistance Revisited. In Shaun Nichols (ed.), The Architecture of the Imagination. Oxford University Press 149-173.
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  29. Tamar Szabó Gendler (2000). The Puzzle of Imaginative Resistance. Journal of Philosophy 97 (2):55-81.
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  30. Tamar Szabó Gendler & Karson Kovakovich (2006). Genuine Rational Fictional Emotions. In Matthew Kieran (ed.), Contemporary Debates in Aesthetics and the Philosophy of Art. Blackwell 241-253.
    The “paradox of fictional emotions” involves a trio of claims that are jointly inconsistent but individually plausible. Resolution of the paradox thus requires that we deny at least one of these plausible claims. The paradox has been formulated in various ways, but for the purposes of this chapter, we will focus on the following three claims, which we will refer to respectively as the Response Condition, the Belief Condition and the Coordination Condition.
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  31. Rocco J. Gennaro (2000). Fiction, Pleasurable Tragedy, and the HOT Theory of Consciousness. Philosophical Papers 29 (2):107-20.
    [Final version in Philosophical Papers, 2000] Much has been made over the past few decades of two related problems in aesthetics. First, the "feeling fiction problem," as I will call it, asks: is it rational to be moved by what happens to fictional characters? How can we care about what happens to people who we know are not real?[i] Second, the so-called "paradox of tragedy" is embodied in the question: Why or how is it that we take pleasure in artworks (...)
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  32. John Gibson (forthcoming). Professor. In Noël Carroll & John Gibson (eds.), The Routledge Companion to Philosophy of Literature. Routledge
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  33. John Gibson (2015). Empathy. In Noël Carroll & John Gibson (eds.), The Routledge Companion to Philosophy of Literature. Routledge 200-219.
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  34. Jonathan Gilmore (2013). Grief and Belief. British Journal of Aesthetics 53 (1):103-107.
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  35. Jonathan Gilmore (2013). That Obscure Object of Desire: Pleasure in Painful Art. In Jerrold Levinson (ed.), Suffering Art Gladly: The Paradox of Negative Emotions in Art. Palgrave/Macmillan
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  36. Paul R. Goldin (2010). Eifring, Halvor, Ed., Love and Emotions in Traditional Chinese Literature. Dao: A Journal of Comparative Philosophy 9 (2):237-240.
  37. Oswald Hanfling (1996). Fact, Fiction and Feeling. British Journal of Aesthetics 36 (4):356-366.
    I consider and reject two kinds of solution of the problem of feelings about fictional objects: that the relevant beliefs are not really different as between fiction and fact; and that the relevant feelings are not 'really the same'. The problem should be seen in the context of different phases in acquiring the relevant feeling-concepts and I distinguish three such phases. The first is necessarily 'presentational': the child is presented with suitable objects or pictures and responds with appropriate feelings, without (...)
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  38. James Harold (2007). Review of Jenefer Robinson, Deeper Than Reason: Emotion and its Role in Literature, Music, and Art. [REVIEW] Notre Dame Philosophical Reviews 2007 (6).
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  39. James Harold (2005). Infected by Evil. Philosophical Explorations 8 (2):173 – 187.
    In this paper I argue that there is good reason to believe that we can be influenced by fictions in ways that matter morally, and some of the time we will be unaware that we have been so influenced. These arguments fall short of proving a clear causal link between fictions and specific changes in the audience, but they do reveal rather interesting and complex features of the moral psychology of fiction. In particular, they reveal that some Platonic worries about (...)
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  40. Glenn A. Hartz (1999). How We Can Be Moved by Anna Karenina, Green Slime, and a Red Pony. Philosophy 74 (4):557-578.
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  41. Gertrude Himmelfarb (2006). The Moral Imagination: From Edmund Burke to Lionel Trilling. Ivan R. Dee.
    Edmund Burke : apologist for Judaism? -- George Eliot : the wisdom of Dorothea -- Jane Austen : the education of Emma -- Charles Dickens : "a low writer" -- Benjamin Disraeli : the Tory imagination -- John Stuart Mill : the other Mill -- Walter Bagehot : "a divided nature" -- John Buchan : an untimely appreciation -- The Knoxes : a God-haunted family -- Michael Oakeshott : the conservative disposition -- Winston Churchill : "quite simply, a great man" (...)
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  42. Susan James (2013). Fruitful Imagining: On Catherine Wilson's 'Grief and the Poet'. British Journal of Aesthetics 53 (1):97-101.
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  43. R. Joyce (2000). Rational Fear of Monsters. British Journal of Aesthetics 40 (2):209-224.
    Colin Radford must weary of defending his thesis that the emotional reactions we have towards fictional characters, events, and states of affairs are irrational.1 Yet, for all the discussion, the issue has not, to my mind, been properly settled—or at least not settled in the manner I should prefer—and so this paper attempts once more to debunk Radford’s defiance of common sense. For some, the question of whether our emotional responses to fiction are rational does not arise, for they are (...)
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  44. Steven G. Kellman (1985). Loving Reading: Erotics of the Text. Archon Books.
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  45. Matthew Kieran & Dominic Lopes (eds.) (2003). Imagination, Philosophy, and the Arts. Routledge.
    Imagination is a central concept in aesthetics with close ties to issues in the philosophy of mind and the philosophy of language, yet it has not received the kind of sustained, critical attention it deserves. Imagination, Philosophy and the Arts represents the work of fifteen young yet distinguished philosophers of art, who critically examine just how and in what form the notion of imagination illuminates fundamental problems in the philosophy of art. All new papers, a strong collection on the imagination (...)
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  46. Robbie Kubala (2015). Philosophy, Literature, and Emotional Engagement: A Response to Nanay. Journal of Aesthetics and Art Criticism 73 (2):196-200.
    In a recent paper, Bence Nanay has argued against what he calls the Discontinuity Thesis: the claim that literature (along with all other nonabstract art forms) can never count as genuine philosophizing. I first claim that Nanay’s argument either proves too much or rests on heavy-duty premises that he does not adequately defend. I then present my own strategy for resisting Discontinuity, which argues that the proper response to both literature and philosophy can include emotional engagement coupled with reflection.
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  47. Peter Lamarque (1995). Tragedy and Moral Value. Australasian Journal of Philosophy 73 (2):239 – 249.
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  48. Peter Lamarque (1981). How Can We Fear and Pity Fictions? British Journal of Aesthetics 21 (4):291-304.
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  49. Joshua Landy (2010). Passion, Counter-Passion, Catharsis : Beckett and Flaubert on Feeling Nothing. In Garry Hagberg & Walter Jost (eds.), A Companion to the Philosophy of Literature. Wiley-Blackwell
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  50. Jonathan Lear (2010). Catharsis. In Garry Hagberg & Walter Jost (eds.), A Companion to the Philosophy of Literature. Wiley-Blackwell
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