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  1. Eva M. Dadlez (1997). What's Hecuba to Him?: Fictional Events and Actual Emotions. Penn State University Press.
    The goal of this dissertation is to demonstrate that construals of our emotional responses to fictions as irrational or merely pseudo-emotional are not the only explanations available to us, and that necessary and sufficient conditions for an emotional response to a fiction can be established without abandoning either its intentionality or the assignment of a causal role to our beliefs. ;Colin Radford's claim that our emotional responses to fictions are irrational and inconsistent is challenged in two ways. First, distinctions can (...)
     
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  2.  31
    Eva M. Dadlez (2004). Pleased and Afflicted: Hume on the Paradox of Tragic Pleasure. Hume Studies 30 (2):213-236.
  3.  13
    Eva M. Dadlez (2009). Comments on Deborah K. Heikes'. Southwest Philosophy Review 25 (2):31-35.
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    Eva M. Dadlez (2002). The Vicious Habits of Entirely Fictive People: Hume on the Moral Evaluation of Art. Philosophy and Literature 26 (1):143-156.
  5.  12
    Eva M. Dadlez (2009). Comments on Deborah K. Heikes' "Let's Be Reasonable. Southwest Philosophy Review 25 (2):31-35.
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  6. Eva M. Dadlez (2016). A Humean Approach to the Problem of Disgust and Aesthetic Appreciation. Essays in Philosophy 17 (1):55-67.
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  7. Eva M. Dadlez (2008). David Hume and Jane Austen on Pride : Ethics in the Enlightenment. In Alexander John Dick & Christina Lupton (eds.), Theory and Practice in the Eighteenth Century: Writing Between Philosophy and Literature. Pickering & Chatto
  8.  3
    Eva M. Dadlez (2016). A Humean Approach to the Problem of Disgust and Aesthetic Appreciation. Essays in Philosophy 17 (1):55-67.
    Carolyn Korsmeyer has offered some compelling arguments for the role of disgust in aesthetic appreciation. In the course of this project, she considers and holds up for justifiable criticism the account of emotional conversion proposed by David Hume in “Of Tragedy”. I will consider variant interpretations of Humean conversion and pinpoint a proposal that may afford an explanation of the ways in which aesthetic absorption can depend on and be intensified by the emotion of disgust.
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