Why are negative emotions so central in art reception far beyond tragedy? Revisiting classical aesthetics in the light of recent psychological research, we present a novel model to explain this much discussed (apparent) paradox. We argue that negative emotions are an important resource for the arts in general, rather than a special license for exceptional art forms only. The underlying rationale is that negative emotions have been shown to be particularly powerful in securing attention, intense emotional involvement, and high memorability, (...) and hence is precisely what artworks strive for. Two groups of processing mechanisms are identified that conjointly adopt the particular powers of negative emotions for art's purposes. The first group consists of psychological distancing mechanisms that are activated along with the cognitive schemata of art, representation, and fiction. These schemata imply personal safety and control over continuing or discontinuing exposure to artworks, thereby preventing negative emotions from becoming outright incompatible with expectations of enjoyment. This distancing sets the stage for a second group of processing components that allow art recipients to positively embrace the experiencing of negative emotions, thereby rendering art reception more intense, more interesting, more emotionally moving, more profound, and occasionally even more beautiful. These components include compositional interplays of positiveandnegative emotions, the effects of aesthetic virtues of using the media of (re)presentation (musical sound, words/language, color, shapes) on emotion perception, and meaning-making efforts. Moreover, our Distancing-Embracing model proposes that concomitant mixed emotions often help integrate negative emotions into altogether pleasurable trajectories. (shrink)

In this article we investigate the astonishing variety of emotions evoked by filmic melodramas. Closely analyzing a deeply moving scene from Alejandro Gonzáles Grams, we criticize the limited view of the emotional effects of this genre. We show that melodramas elicit more than just sadness or pity; they cannot be reduced to their tear-jerking potential. Melodramas move their viewers precisely because they send them on a rollercoaster ride with ups and downs of very different emotions.

This article starts out by introducing the category of the ‘one-character film’ — that is, narrative feature films that rely on a single onscreen character. One-character films can range from extremely laconic movies entirely focused on the action in the narrative here-and-now via highly talkative films that revolve around soliloquies of self-reflection, questioning of identity and a problematizing of the narrative past to strongly dialogue-heavy films that — via phones and other telecommunication devices — reach far beyond the depicted scene. (...) It is on the latter that the article eventually focuses. Films like Buried, Locke or The Guilty centrifugally thrust the viewers into a simultaneous present that remains invisible and that they have to imagine in sensory ways. Imagining this invisible elsewhere, which I call mise en esprit, can be facilitated and evoked through various cinematic means such as reduced within-modality-interference, suggestive verbalizations, acousmatic voices and sound effects. (shrink)

This article tries to shed light on the multiple, but underrated pleasures of the heist film – a genre that has attracted numerous major directors from Jean-Pierre Melville and Stanley Kubrick to Michael Mann and Steven Soderbergh, but has received limited scholarly attention. I approach the genre from a, broadly, philosophical perspective and draw on thinkers such as Peter Sloterdijk, Georg Simmel, Paul Souriau and Bruno Latour to argue that their emphasis on (1) skillful action and kinaesthetic empathy, (2) smooth (...) transgression of boundaries and (3) well-functioning social collaboration and we-connection, the genre's best exemplars satisfy, in fictional and quasi-utopian form, a number of real-life desires. (shrink)

This essay tries to categorize the range of artistic options that filmmakers currently have at hand to evoke bodily disgust. It asks: If we examine the variety of disgusting scenes at the movies, how can we usefully distinguish them? I present five categorical distinctions indicating choices filmmakers often implicitly make when disgust comes into play. (1) Temporality: Does the filmmaker confront us with the disgusting object suddenly or anticipatorily ? (2) Presence: Does the director allow us to perceive or imagine (...) the source of disgust? (3) Character engagement: Are we affected via empathy or sympathy ? (4) Synaesthetic audiovision: What other senses – apart from seeing and hearing – does the scene address? (5) Affective co-occurrence: What other emotions come into play during the disgusting scene? It will turn out that cinematic disgust is not as simple as it might seem at first sight. In fact, we might even attest to its unforeseen complexity. This unorthodox finding, in turn, complements an insight recent studies on affective responses at the movies have yielded more generally: the more we know about cinematic emotions, the more we have to conclude that we still know very little. (shrink)

First published in 1987. Routledge is an imprint of Taylor & Francis, an informa company.

First published in 1987. Routledge is an imprint of Taylor & Francis, an informa company.

Contributed articles presented at a National seminar.

Contributed articles presented at a National Seminar on "Teaching Philosophy in India: a Vision for the Twenty-First Century Education", held at Andhra University, during 9-11 March 1998 and sponsered by Indian Council of Philosophical Research, New Delhi.

Engineering is 'the people-serving profession'. The work of engineers involves interaction with clients, other engineers, and the public at large. More than any other profession, their work also directly involves and affects the environment. This book makes the case that engineers have special professional obligations to protect and enhance the environment, and the authors - one, an engineer and the other, a philosopher - seek to provide an ethical basis for these obligations. In exploring these ethical issues, the authors aim (...) to show that engineers make a difference. The text opens with a series of case studies in which engineers face complex and challenging decisions about the environment. Succeeding chapters examine different ideas about environmental ethics for engineers, including professional codes and both modern and historical discussions of environmental responsibility. The book concludes with a collection of readings that complement the text. Students, as well as practising engineers, will find much of interest in this well-argued and thought-provoking book. (shrink)

Now in a third edition, Introduction to Philosophy: Classical and Contemporary Readings is a highly acclaimed, topically organized collection that covers five major areas of philosophy--theory of knowledge, philosophy of religion, philosophy of mind, freedom and determinism, and moral philosophy. Editor Louis P. Pojman enhances the text's topical organization by arranging the selections into a pro/con format to help students better understand opposing arguments. He also includes accessible introductions to each chapter, subsection, and individual reading, a unique feature for an (...) anthology of this depth. While the book focuses on a compelling sampling of classical material--including selections from Plato, Aristotle, Descartes, Locke, Berkeley, Hume, and Kant--it also incorporates some of philosophy's best twentieth-century and contemporary work, featuring articles by Bertrand Russell, Richard Taylor, John Searle, Thomas Nagel, and others. This third edition contains an expanded glossary, more extensive section introductions, and twelve new selections: Karl Popper: "Epistemology without a Knowing Subject" Richard Rorty: "Dismantling Truth: Solidarity Versus Objectivity" Daniel Dennett: "Postmodernism and Truth" Bruce Russell: "The Problem of Evil: Too Much Suffering" David Chalmers: "Against Materialism: Can Consciousness Be Reductively Explained?" Baron Paul Henri d'Holbach: "A Defense of Determinism" Michael Levin: "A Compatibilist Defense of Moral Responsibility" Plato: Socratic Morality: "Crito" Herodotus: "Custom Is King" J. L. Mackie: "The Subjectivity of Values" Louis P. Pojman: "A Critique of Mackie's Theory of Moral Subjectivism" Thomas Nagel: "Moral Luck". (shrink)

By the time of his death in 2006, Sir Peter Strawson was regarded as one of the world's most distinguished philosophers. Unavailable for many years,_ Scepticism and Naturalism_ is a profound reflection on two classic philosophical problems by a philosopher at the pinnacle of his career. Based on his acclaimed Woodbridge lectures delivered at Columbia University in 1983, Strawson begins with a discussion of scepticism, which he defines as questioning the adequacy of our grounds for holding various beliefs. He then (...) draws deftly on Hume and Wittgenstein to argue that we must distinguish between 'hard', scientific naturalism; or 'soft', humanistic naturalism. In the remaining chapters the author takes up several issues in which sceptical doubts play an important role, in particular the nature of transcendental arguments and including the objectivity of moral philosophy, the mental and the physical, and the existence of abstract entities. _Scepticism and Naturalism_ is essential reading for those seeking an introduction to the work of one of the twentieth century’s most important and original philosophers. This reissue includes a substantial new foreword by Quassim Cassam and a fascinating intellectual autobiography by Strawson, which together form an excellent introduction to his life and work. (shrink)

It is well established that demographic representation in clinical research is important for understanding the safety and effectiveness of novel therapeutics and vaccines in diverse patient populations. In recent years, the National Institutes of Health and Food and Drug Administration have issued guidelines and recommendations for the inclusion of women, older adults, and racial and ethnic minorities in research. However, these guidelines fail to provide an adequate explanation of why racial and ethnic representation in clinical research is important. This article (...) aims to both provide the missing arguments for why adequate representation of racial and ethnic minorities in clinical research is essential and to articulate a number of recommendations for improving diversity going forward.Appropriate racial and ethnic representation and fair inclusion help (1) increase the generalisability of clinical trial results, (2) equitably distribute any benefits of clinical research and (3) enable trust in the research enterprise. (shrink)

Reflection Principles are commonly thought to produce only strong axioms of infinity consistent with V = L. It would be desirable to have some notion of strong reflection to remedy this, and we have proposed Global Reflection Principles based on a somewhat Cantorian view of the universe. Such principles justify the kind of cardinals needed for, inter alia , Woodin’s Ω-Logic.

Antisthenes (c. 445- c. 365 BC), was a prominent follower of Socrates and bitter rival of Plato. In this revisionary account of his philosophy in all its aspects, P. A. Meijer claims that Plato and Aristotle have corrupted our perspective on this witty and ingenious thinker. The first part of the book reexamines afresh Antisthenes' ideas about definition and predication and concludes from these that Antisthenes never held the (in)famous theory that contradiction is impossible. The second part of the book (...) argues that Antisthenes' logical theories bear directly on his activities as an exegete of Homer and hence as a theological thinker. Part three, finally, offers innovative readings of Antisthenes' ethical fragments. (shrink)

First published in 1987. Routledge is an imprint of Taylor & Francis, an informa company.

In this unique work, James P. Sterba argues that traditional ethics has yet to confront the three significant challenges posed by environmentalism, feminism, and multiculturalism. He maintains that while traditional ethics has been quite successful at dealing with the problems it faces, it has not addressed the possibility that its solutions to these problems are biased in favor of humans, men, and Western culture. In Three Challenges to Ethics: Environmentalism, Feminism, and Multiculturalism, Sterba examines each of these challenges. In the (...) case of environmentalism, he argues that traditional ethics must incorporate conflict resolution principles that favor nonhumans over humans in a significant range of cases. In terms of feminism, he maintains that traditional ethics should rule out gendered family structures and implement an ideal of androgyny. In regard to multiculturalism, he contends that traditional ethics must endorse an ethics that is secular in character and that can survive an extensive comparative evaluation of both Western and non-Western moral ideals and cultures. The only textbook devoted to this topic, Three Challenges to Ethics is an engaging text for introductory courses in ethics and moral problems and is also interesting and provocative reading for scholars and general readers. (shrink)

Pekakak adalah salah satu tokoh yang memiliki pengetahuan mendalam dan perencanaan yang cermat. Saat fajar menyingsing, ia terlihat bertengger di atas pohon. Dengan kemampuan sempurna untuk mengontrol kecepatan penerbangan miliknya, seperti kapan harus memperlambat atau mempercepat, dia dapat dengan mudah menghitung cara optimal untuk menangkap ikan.

By the time of his death in 2006, Sir Peter Strawson was regarded as one of the world's most distinguished philosophers. Unavailable for many years,_ Scepticism and Naturalism_ is a profound reflection on two classic philosophical problems by a philosopher at the pinnacle of his career. Based on his acclaimed Woodbridge lectures delivered at Columbia University in 1983, Strawson begins with a discussion of scepticism, which he defines as questioning the adequacy of our grounds for holding various beliefs. He then (...) draws deftly on Hume and Wittgenstein to argue that we must distinguish between 'hard', scientific naturalism; or 'soft', humanistic naturalism. In the remaining chapters the author takes up several issues in which sceptical doubts play an important role, in particular the nature of transcendental arguments and including the objectivity of moral philosophy, the mental and the physical, and the existence of abstract entities. _Scepticism and Naturalism_ is essential reading for those seeking an introduction to the work of one of the twentieth century’s most important and original philosophers. This reissue includes a substantial new foreword by Quassim Cassam and a fascinating intellectual autobiography by Strawson, which together form an excellent introduction to his life and work. (shrink)

It has been over two decades since Miranda Fricker labeled epistemic injustice, in which an agent is wronged in their capacity as a knower. The philosophical literature has proliferated with variants and related concepts. By considering cases in popular music, we argue that it is worth distinguishing a parallel phenomenon of art-interpretive injustice, in which an agent is wronged in their creative capacity as a possible artist. In section 1, we consider the prosecutorial use of rap lyrics in court as (...) a central case of this injustice. In section 2, we distinguish art-interpretive injustice from other categories already discussed in recent literature. In section 3, we discuss the relationship between genre discourse and identity prejudice. The case for recognizing the category of art-interpretive injustice is that it allows one to recognize a class of harms as being importantly related in ways that one would otherwise overlook. (shrink)

Do epistemic requirements vary along with facts about what promotes agents' well-being? Epistemic instrumentalists say 'yes', and thereby earn a lot of contempt. This contempt is a mistake on two counts. First, it is incorrectly based: the reasons typically given for it are misguided. Second, it fails to distinguish between first- and second-order epistemic instrumentalism; and, it happens, only the former is contemptible. -/- In this book, Nathaniel P. Sharadin argues for rejecting epistemic instrumentalism as a first-order view not because (...) it suffers extensional failures, but because it suffers explanatory ones. By contrast, he argues that epistemic instrumentalism offers a natural, straightforward explanation of why being epistemically correct matters. What emerges is a second-order instrumentalist explanation for epistemic authority that is neutral between competing first-order epistemic theories. -/- Epistemic Instrumentalism Explained will be of interest to researchers and advanced students working in epistemology, ethics, and philosophy of mind. (shrink)

My topic is personal identity, or rather,ouridentity. There is general, but not, of course, unanimous, agreement that it is wrong to give an account of what is involved in, and essential to, our persistence over time which requires the existence of immaterial entities, but, it seems to me, there is no consensus about how, within, what might be called this naturalistic framework, we should best procede. This lack of consensus, no doubt, reflects the difficulty, which must strike anyone who has (...) considered the issue, of achieving, just in one's own thinking, a reflective equilibrium. The theory of personal identity, I feel, provides a curious contrast. On the one side, it seems highly important to know what sort of thing we are, but, on the other, it is hard to find any answer which has a ‘solid’ feel. (shrink)