En posant avec clarté des questions de philosophie de l’esprit, d’ontologie et d’épistémologie, ce livre témoigne à la fois de l’intérêt réel de la danse comme objet philosophique et du rôle unique que peut jouer la philosophie dans une meilleure compréhension de cet art. Qu’est-ce que danser ? Que nous apprend le mouvement dansé sur la nature humaine et la relation entre le corps et l’esprit ? À quelles conditions une œuvre est-elle correctement interprétée par les danseurs et bien identifiée (...) par les spectateurs ? (shrink)

Beyond Aesthetics brings together philosophical essays addressing art and related issues by one of the foremost philosophers of art at work today. Countering conventional aesthetic theories - those maintaining that authorial intention, art history, morality and emotional responses are irrelevant to the experience of art - Noël Carroll argues for a more pluralistic and commonsensical view in which all of these factors can play a legitimate role in our encounter with art works. Throughout, the book combines philosophical theorizing with (...) illustrative examples including works of high culture and the avant-garde, as well as works of popular culture, jokes, horror novels, and suspense films. (shrink)

Noel Carroll, film scholar and philosopher, offers the first serious look at the aesthetics of horror. In this book he discusses the nature and narrative structures of the genre, dealing with horror as a "transmedia" phenomenon. A fan and serious student of the horror genre, Carroll brings to bear his comprehensive knowledge of obscure and forgotten works, as well as of the horror masterpieces. Working from a philosophical perspective, he tries to account for how people can find (...) pleasure in having their wits scared out of them. What, after all, are those "paradoxes of the heart" that make us want to be horrified? (shrink)

Noel Carroll, film scholar and philosopher, offers the first serious look at the aesthetics of horror. In this book he discusses the nature and narrative structures of the genre, dealing with horror as a "transmedia" phenomenon. A fan and serious student of the horror genre, Carroll brings to bear his comprehensive knowledge of obscure and forgotten works, as well as of the horror masterpieces. Working from a philosophical perspective, he tries to account for how people can find (...) pleasure in having their wits scared out of them. What, after all, are those "paradoxes of the heart" that make us want to be horrified? (shrink)

In this essay, then, I would like to address what I believe are the most compelling epistemic arguments against the notion that literature (and art more broadly) can function as an instrument of education and a source of knowledge.

Humour is a universal feature of human life. In this Very Short Introduction Noel Carroll considers the nature and value of humour, from its leading theories and its relation to emotion and cognition, to ethical questions of its morality and its significance in shaping society.

Few today can escape exposure to mass art. Nevertheless, despite the fact that mass art provides the primary source of aesthetic experience for the majority of people, mass art is a topic that has been neglected by analytic philosophers of art. The Philosophy of Mass Art addresses that lacuna. It shows why philosophers have previously resisted and/or misunderstood mass art and it develops new frameworks for understanding mass art in relation to the emotions, morality, and ideology.

Drawing on his knowledge of the worlds of art, criticism, and philosophy, Noèel Carroll argues that appraisal and evaluation of art are an indispensable part of the conversation of life.

From the nineteen-eighties on, Arthur Danto was the most significant art critic and philosopher of art in world. This book provides a comprehensive, systematic view of his philosophy and criticism including his views in relation to not only painting and sculpture but to cinema and dance.

In this chapter, we treat Larry David’s television series, Curb Your Enthusiasm as, in large measure, a philosophical exercise. We argue that it presents a critique of our norms, practices, and conventions of social behavior, notably those that pertain primarily to civility rather than to morality. This critique identifies certain essential features of such behavior including: the typical unspoken-ness of its governing norms, and their non-necessity, despite appearances to the contrary, due to our intense emotional investment in them. In Curb (...) Your Enthusiasm, the ostensible justification that “This is just how we do things” comes in for merciless, satirical interrogation, most often by Larry David but sometimes by others, at Larry David’s expense. This chapter relies heavily on Mary Douglas’s discussion of jokes, but parts company with it in crucial respects. The chapter will also situate Larry David’s brand of humor in the context of the philosophy of comic amusement in terms of the notion of incongruity. Special emphasis will be played on the importance Larry David assigns to emotions in the maintenance of the relevant social norms. (shrink)

There seem to be at least two leading conceptions of art appreciation. The first, and by far the most popular, it seems to me, regards “appreciation” as a synonym for “approbation,” which itself can be a synonym for affection or even love. “To appreciate,” in this sense, is “to cherish.” This is the notion of appreciation that most plain speakers have in mind when they say things such as “I appreciate what you’ve done with your garden.” They mean “I like (...) what you’ve done with your garden.” Call this “appreciation-as-liking.” Although I’ve claimed that this is the popular construal of appreciation, it also possesses some estimable philosophical credentials. David Hume, for example, seems to hold a... (shrink)

This article explores several views on the relation of humour, especially tendentious humour, to morality, including comic amoralism, comic ethicism, comic immoralism, and moderate comic moralism. The essay concludes by defending moderate comic moralism.

In this article I divide theories of aesthetic experience into three sorts: the affectoriented approach, the axiologically oriented approach, and the content-oriented approach. I then go on to defend a version of the content-oriented approach.

This article defends the content approach to aesthetic experience. It begins by sketching this approach to aesthetic experience. It then rehearses certain recent criticisms of the view by Alan Goldman and attempts to rebut them. One of those criticisms raises a long-standing concern about the author's account that has recently been called the “qua” problem. The article concludes by putting this issue to rest.

In this article, “Narrative Closure,” a theory of the nature of narrative closure is developed. Narrative closure is identified as the phenomenological feeling of finality that is generated when all the questions saliently posed by the narrative are answered. The article also includes a discussion of the intelligibility of attributing questions to narratives as well as a discussion of the mechanisms that achieve this. The article concludes by addressing certain recent criticisms of the view of narrative expounded by this article.

INTRODUCTIONFor the last two and a half decades – perhaps spurred onwards by R. W. Hepburn's seminal, wonderfully sensitive and astute essay “Contemporary Aesthetics and the Neglect of Natural Beauty” – philosophical interest in the aesthetic appreciation of nature has been gaining momentum. One of the most coherent, powerfully argued, thorough, and philosophically compelling theories to emerge from this evolving arena of debate has been developed over a series of articles by Allen Carlson. The sophistication of Carlson's approach – especially (...) in terms of his careful style of argumentation – has raised the level of philosophical discussion concerning the aesthetic appreciation of nature immensely and it has taught us all what is at stake, logically and epistemologically, in advancing a theory of nature appreciation. Carlson has not only presented a bold theory of the aesthetic appreciation of nature; he has also refined a methodological framework and a set of constraints that every researcher in the field must address.Stated summarily, Carlson's view of the appreciation of nature is that it is a matter of scientific understanding; that is, the correct or appropriate form that the appreciation of nature – properly so called – should take is a species of natural history; appreciating nature is a matter of understanding nature under the suitable scientific categories. (shrink)

“Forget Taste” rejects the classical notion of taste as a viable concept for the exercise of critical evaluation and proposes an alternative approach to critical evaluation based crucially on the idea of the constitutive purpose of the artwork. The goal of this paper is to advance an approach—which I call the purpose-driven approach—to the critical evaluation of artworks that develops from and refines the views of art evaluation presented in my previous work. This approach, in virtue of its focus on (...) the constitutive purposes of artworks, regards the artwork as typically singular. For that reason, it follows that this approach is pluralistic in contrast to the hedonic conception of the taste model popularized in the eighteenth century and which still recurs today, if sometimes only subconsciously, and that reduces critical evaluation to feelings of pleasure. I argue that the hedonic taste model, which is noncognitive and reductive, should be abandoned in favor of one that is cognitivist and pluralistic, namely, the purpose-driven approach. (shrink)

Regarded for decades as a fallacy, intentionalist interpretation is beginning to attract a following among philosophers of art. Intentionalism is the doctrine that the actual intentions of artists are relevant to the interpretation of the artworks they create – just as actual intentions are relevant to the interpretation of the everyday words and deeds of other people. Although there are several forms of actual intentionalism, I defend the form known as modest actual intentionalism, which holds that the correct interpretation of (...) an artwork is compatible with the author's actual intention, which itself must be supported by the artwork. Looking at literary works specifically, I consider criticisms of actual intentionalism – for example, the contention that such a stance substitutes paraphrase for a reading of the text. In particular, I argue against hypothetical intentionalism, which maintains that the correct interpretation of an artwork is constrained by the best hypotheses of the artist's intentions. As I show, the methodology of this position is in fact designed to track the author's actual intentions, and furthermore, hypothetical intentionalism does not accurately depict existing interpretive practices. (shrink)

In recent years, the philosophy of art has profited enormously by applying to the study of art insights derived from the philosophies of mind and language, naturalized epistemology, psychology, evolutionary theory, and cognitive science. A case in point: the discussion of the nature of picturing and pictorial perception has obviously benefited from the influence of perceptual psychology and cognitive studies. Likewise, the theorization of art in relation to the emotions has also exploited contemporary advances in adjacent areas of inquiry.

In recent years, the philosophy of art has profited enormously by applying to the study of art insights derived from the philosophies of mind and language, naturalized epistemology, psychology, evolutionary theory, and cognitive science. A case in point: the discussion of the nature of picturing and pictorial perception has obviously benefited from the influence of perceptual psychology and cognitive studies. Likewise, the theorization of art in relation to the emotions has also exploited contemporary advances in adjacent areas of inquiry.

What is art? The philosophers and historians contributing to this volume address the assertion that the term "art" no longer holds meaning.

Toward the end of his book Jokes, perhaps the best known philosophical treatment of the subject, Ted Cohen includes a notorious joke about a group of young Black men who are deterred from committing a gang rape by being thrown a basketball. This is a joke that perplexes Cohen and that he admits plays into stereotypes that presuppose the mindless obsession of Black youths with basketball as well as their unbridled sexuality. He agrees that the joke is morally bad and (...) that it would be a better world without it. But he denies that its evil compromises its alleged funniness. He writes: “Wish that there were no mean jokes. Try remaking the world so that such jokes will have no place, will not arise. But do not deny that they are funny. That denial is a pretense that will help nothing.” In this paper, I want to challenge the claim that the moral defectiveness of a joke, especially a racist joke, cannot ever compromise its capacity to be funny. (shrink)

James Shelley has raised the important question of whether it is possible to have aesthetic experiences of imperceptible artworks. This issue is important for determining whether or not the aesthetic theory of art can deal with certain cases of conceptual art. Shelley has argued that it is possible to have aesthetic experiences of imperceptibilia. And in this article, I concur with him, though for reasons different from his. Nevertheless, I go on to argue that this still fails to vindicate the (...) aesthetic theory of art. (shrink)

The subject of this essay is the way in which literature, by engaging our emotions, contributes to our emotional intelligence. In reading works of literature, we are almost constantly called upon—or mandated—to mobilize our emotions in the process of understanding the text. In this way, the literary text ineludibly guides us through a rehearsal of the pertinent portions of our affective repertoire.For example, we do not fully understand Iago unless we despise him, nor do we understand Dorothea Brooke adequately without (...) being saddened by the way in which she is entrapped in her marriage to that stick, Casaubon—that is, unless we lament "what a waste." Moreover, in order to be absorbed in a plot, we need to align... (shrink)