Literature and Emotion

One of the most distinctive features of Fear and Trembling is Kierkegaard’s use of narrative variations in order to isolate, develop, and highlight the relevant features of his principal theme, the story of Abraham and Isaac, especially Abraham’s final test of faith. The book begins with a preface and ends with an epilogue; immediately within these, Kierkegaard has his pseudonym, Johannes de Silentio, provide such variations in the “Attunement” or Stemning, just following the Preface, and in Problema III, just before (...) the Epilogue. What is the purpose of these narrative variations? How are they intended to prepare the reader to understand Abraham? How, in short, do they clarify the nature and difficulty of faith? I argue, on the basis of the account of "mood" given in Concept of Anxiety, that the variations of the Attunement function to modulate the "mood" of the work by converting a fixed narrative into a possibility field, thereby giving the work a mood of anguish or anxiety rather than a detached or scholarly mood, while the variations of Problema III function to callapse this mood into interested admiration. I conclude with some remarks about what this suggests for a reader that wishes to "go further" than Johannes de Silentio. (shrink)

A central, if controversial, Aristotelian claim is that the virtues are connected—that practical wisdom depends upon moral virtue, and moral virtue upon practical wisdom. If those who see Jane Austen's portrayal of the moral life as broadly Aristotelian1 are right, we should expect to see such a dependence shown in Austen's novels. I will argue that we can indeed find portrayed a dependence of wisdom upon character, and in particular upon the virtues Austen calls constancy and unreserve. These two are (...) of interest not only because of the special role Austen seems to give them but also because they are not... (shrink)

Richard Wollheim claims that speech acts express emotions always in virtue of how they are said and never solely in virtue of what they say. However, it would seem to follow that we cannot express our emotions in writing, since texts preserve what we wish to say without recording how we would wish to say it. I argue that Wollheim’s thesis in fact sheds new light on how authors can and do express their emotions in writing. In short, an author (...) must employ a variety of techniques within appropriate contexts to substitute for the non-verbal behaviours that would express her emotions physically. This substitution constitutes a ‘virtual expression’ just in case it empowers readers to vividly imagine the production of these behaviours. (shrink)

Pessimism distilled: Happiness is possible, but evil; unhappiness is likely, but futile.Very little is known of the bastard called Zobel Blake. We know he is the only person of record, bastard or otherwise, ever to be called by that name, and that his primary claim to historical significance lies in the fact that he was the very last man to languish to his death in an American debtors' prison. That such a distinction should befall an otherwise obscure man is not (...) surprising; that this notable death took place in New Orleans, however, in the year 1867, more than two decades after debtors' prisons had been formally abolished both by the U.S. Congress and by the state of Louisiana, might well wrinkle one's brow.Most of... (shrink)

Aristotle wrote his Nicomachean Ethics as a rational guide to virtuous activity for those people who have been well brought up and are interested in improving themselves.1 For the rest of us, Aristotle suggests that beating is the only solution. In this essay, I shall first use Aristotle's Nicomachean Ethics, supplemented by Plato's Gorgias, to provide a defense of beating as a way to intrude concerns of character conversion upon the attention of people impervious to argument. Closer analysis, though, shows (...) that beating is not enough. The person beaten makes no choices in the beating and is presented with no alternative options for future actions. We... (shrink)

Proust reminds us many times in the pages of In Search of Lost Time that there is no such thing as a singular or unchanging self.1 When viewing the novel as a whole, this point is most evident in the journey of Marcel, the narrator, who has to become a myriad of Marcels before he reaches the library of the Guermantes and the discovery of what he must write about. But the theme is also prevalent in a more intimate reading (...) of the novel's many vignettes. Swann, for instance, cannot understand the torment he has gone through for a woman who wasn't his type precisely because he has ceased to be the Swann who desired Odette. Rather, the newfound subjectivity he inhabits at the end of Swann in Love takes him back to an... (shrink)

Ernst Jünger is known for his war writings, but is largely ignored by contemporary phenomenologists. In this essay, I explore his e Adventurous Heart which has recently been made available in English. is work consists of a set of fragments which, when related, disclose a coherent ow of philosophical thinking. Speci cally, I show that, beneath a highly poetic and obscure prose, Jünger posits how subjective experience and poetry allow individuals to realize truth. I relate parts of Jünger’s insights to (...) contributions by Husserl, Heidegger and Merleau-Ponty, arguing that Jünger o ers a unique and valuable contribution to the phenomenological discipline. (shrink)

In A Case for Irony, Jonathan Lear aims to advance “a distinguished philosophical tradition that conceives of humanity as a task” by returning this tradition to the ironic figure at its origin — Socrates. But he is hampered by his reliance on well-worn philosophical examples. I suggest that Elena Ferrante’s The Lost Daughter illustrates the mode of ironic experience that interests Lear, and helps us to think through his relation to Christine Korsgaard, arguably the greatest contemporary proponent of the philosophical (...) tradition at issue. Lear needs a central idea from Korsgaard’s model of practical thinking in order to characterise the phenomenology of ironic experience, but he also needs to jettison her idea that reasons for action come from an agent’s “practical identities” if he wants to follow through on his claim that irony is a form of radical and committed reflection. (shrink)

The Marquis de Sade’s work can be considered as one of the inaugural instances of a technique that, within both the philosophical and literary realm, is typical of the nineteenth century: emotional restraint. His disapproval of the rhetoric of empathy and moral sentimentalism assumes particular relevance in that it is an “internal” critique. Availing himself of certain characteristic premises of the sentimentalist philosophy—which are primarily attributable to the works of Jean-Jacques Rousseau—Sade completely changes their conclusions, to the point of reaching (...) a conscious form of immoralism. This immoralism can be interpreted as a systematic overturning of the morale larmoyante, exalted in late eighteenth-century... (shrink)

Developments in neuroscience over the last few decades have shown an increasing interest in examining art and culture as a means of acquiring a greater understanding of the human brain. By the same token, our knowledge of the brain can be tremendously helpful in the study of cultural output, not only in terms of how culture works in a biological sense but why it remains so indispensable and integral to the well-being of individuals and societies. In Self Comes to Mind, (...) neuroscientist Antonio Damasio describes the development of culture as a form of homeostasis that regulates our social environments and engages the very same neurological mechanisms that manage our internal bodily environments. These mechanisms are... (shrink)

For the properly “cultivated,” proclaimed Oscar Wilde in 1890, “beautiful things mean only Beauty.”1 The idea that artworks possess a discrete and autonomous type of value, by virtue of their capacity to provoke a distinctively aesthetic type of response, is most often associated with artists and critics belonging to the modernist tradition of the late nineteenth and early twentieth centuries. Certainly, many influential writers of the period who expressed more instrumentalist attitudes toward the value of their own work, such as (...) Bernard Shaw and H. G. Wells, have also without manifest perversity been classified as modernists. But latter-day, self-described defenders of modernism (e.g., Susan Sontag, Gabriel... (shrink)

It is here that the precise point of Forster’s manner appears.... The plot suggests eternal division, the manner reconciliation; the plot speaks of clear certainties, the manner resolutely insists that nothing can be quite so simple. “Wash ye, make yourselves clean,” says the plot, and the manner murmurs, “If you can find the soap.”If a great work of literature is one that admits of many interpretations, then E. M. Forster’s Howards End has—at the very least—a great epigraph. “Only connect...”—only connect (...) what, exactly? Various readings have been suggested, most of them plausible: Forster is expressing his wish for “the emergence of a just, harmonious, and whole society” that would overcome the social and... (shrink)

El estudio de la fenomenología husserliana del recuerdo bien puede aportar elementos para la comprensión de la poetología de Paul Celan. Con tal pro-pósito subrayamos la facticidad del proceso de rememoración y de constitución del pasado distante: durante tal proceso la intuición se mezcla inevitablemente con imágenes. A su vez, la poetología de Paul Celan puede contribuir a esclarecer la alteridad que antecede la consideración propiamente estética, a saber el conflicto entre objeto-imagen y tema de la imagen, el cual se (...) resiste a cualquier reproducción adecuada. Mediante sus poemas, Celan no dejará de re-cordar esta alteridad que precede cualquier goce estético. Desde esa perspectiva emprendemos una lectura del ciclo de poemas Sprachgitter.The study of Edmund Husserl´s phenomenology of memory could well contribute to the understanding of Paul Celans poetology. For that purpose we try to highlight the facticity of recollection and constitution of distant past: during this process the intuition mingle inevitably with images. Besides, the poetology of Celan could help to elucidate the alterity anteceding the aesthetic consideration as such, that is the conflict between picture-object and picture-theme, which resists to every effort of adecuate reproduction. Through his poems Celan won't cease to remember this alterity that precedes any aesthetic enjoyment. From that perspective, we want to read the cycle of poems Sprachgitter. (shrink)

Our engagements with poetry often leave us with a sense of having been not only aesthetically pleased and emotionally aroused but intellectually stimulated and cognitively rewarded.1 However, explicating the nature of such intellectual stimulus and accounting for poetry’s cognitive values are not easy tasks, given that poetry does not stand in the same relation to truth and knowledge as do science and philosophy. How then to account for the undeniable experience of having undergone a profound cognitive change after engaging with (...) poetry?Turning to the work of Immanuel Kant, who praised poetry above all other forms of art,2 I explore how his account of poetry might help us understand poetry’s cognitive influence on... (shrink)

Charles Altieri's Reckoning with the Imagination: Wittgenstein and the Aesthetics of Literary Experience addresses a perceived problem in literary theory.1 That problem is how to reintegrate practices of "close reading" in a field dominated by "grand theory": deconstruction, postcolonial studies, queer studies, New Historicism, and other regimens. Unlike the New Criticism that controlled the reading, writing, and teaching of serious literature in the United States through the 1940s and '50s, in which intricate analysis of text as text was all, Altieri (...) does not begrudge conceptual space to more expansive social-theoretical approaches. But he does deny their trump status, i.e., the idea that their forms of cultural... (shrink)

Recent findings in affective and cognitive neuroscience underscore the fact that traumatic memories are embodied and inextricably integrated with the affective dimensions of associated emotional responses. These findings can be used to clarify, and in some cases challenge, traditional claims about the unrepresentability of traumatic experience that have been central to trauma literary studies. The cognitive and affective dimensions experience and memory are closely integrated. Recollection is always an attenuated form of embodied reenactment. Further, situation models for narrative comprehension show (...) us that these same neurobiological processes that underwrite narrative understanding. This, in turn suggests that literary texts can be used as a resource for representing, reenacting, and understanding traumatic experience and might serve as external regulatory resources for reenacting, shaping, and thereby coping with traumatic memory. (shrink)

When reading literature, we might have an emotional connection with the author, or at least what appears to be such, even when that literature is a work of fiction. But it is unclear how a work of fictional literature could supply the resources for such an experience. It is, after all, a work of fiction, not a report of the author’s experience, as with memoir or autobiography. The task of this paper is twofold: first, to explain the nature and value (...) of this emotional experience; second, to argue that a fictional literary work can supply the resources for such an experience. (shrink)

Let your verse be the happy occurrenceSomehow within the restless morning windWhich goes about smelling of mint and thyme...And all the rest is literature.It's not lIterary unless it's depressing. Although this statement is unfounded, I often hear it from beginning students and nonacademics who believe that literature is always dark and dreary, and that literariness is tantamount to depictions of suffering, struggle, and tragedy. I typically respond to such comments in the usual English-professor way, pointing out that literature represents the (...) full range of human experience, and that the subject matter is far less important than the way in which a writer describes it. What is more, I say to such people... (shrink)

Merriness and suffering seldom accompany each other. Looking at Samuel Beckett's dramas we find human beings whose suffering is both primordial—simultaneous with their conception—and final, allowing no culmination or relief. The sufferers have become indifferent toward their suffering because of a palpable lack of an alternative. They have grown accustomed to their misery, since their life was never anything but misery. Needless to say, in Beckett this ubiquitous misery and suffering never appear in themselves. The extremities of human calamities presented (...) in various startling ways—Winnie's gradual sinking into the mound in Happy Days perhaps the most baffling—call for a legitimating dose of fitness, vitality, and... (shrink)

John Ford’s The Broken Heart has been interpreted as a play in which “mannered artifice” is able to impose beauty onto the chaos and misery of human affairs.1 For Sharon Hamilton, each character in the play “makes his blighted life more bearable by envisioning it as a work of art”: the “spiritual starvation” of the characters is consequently set against the fact that they are “beautifully stylized.”2 Apollo, god of beautiful form and appearance, and the patron of the Sparta in (...) which the play is set, is thus seen to triumph over the tragedies it charts, offering a means of redemption.3 In this essay, I argue, instead, that the play depicts beauty as a metaphysical ideal, identical with truth and... (shrink)

Many humanities professors feel anxious about the future of their subject. Declining enrollments, shrinking budgets, a depressed academic job market, and widely publicized gibes by governors and editorialists about the uselessness of the humanities are prompting some humanities scholars—myself included—to wonder occasionally whether anyone is going to carry on the work we care so much about. In her contribution to one of several recent books that I will be examining here on the plight of the humanities, Judith Butler admits, “I (...) even sometimes think maybe I will be lucky enough to leave the earth before I have to see the full destruction of the humanities.”1 Although pressures to demonstrate the... (shrink)

One important aspect of Nussbaum´s thesis on the moral value of literature concerns the power of literature to enhance our ability to empathise with other minds. This aspect will be the focus of the current article. My aim is to reflect upon this question regarding the moral value of our empathy for fictional characters. The article is structured in two main parts. I will first examine the concept of “empathy” and distinguish between empathy for human beings and empathy for fictional (...) characters. I will call the latter “literary empathy”. In the second part of the paper I will examine the arguments for and against the double thesis that reading literature enhances our ability to feel empathy, and that feeling empathy prompts altruistic behaviour. (shrink)

A reading of the film Moonstruck (1987) is presented in two movements. The first aligns Moonstruck with certain Hollywood film comedies of the 1930s and 40s, those Stanley Cavell calls comedies of remarriage. The second turns to some aspects of Emerson's writing – in particular his interest in our relation to human greatness, and his coinciding interest in our relation to the words of a text – and shows how Moonstruck inherits these Emersonian, essentially philosophical interests.

This essay argues that literature is neither an intrinsic good (like oxygen) nor a constructed good (like a teddy-bear) but instead a conditional good, like a blueprint. It has immense potential value, but that potential can be actualized only if readers do a certain kind of work; and readers are likely to do that work only if, as a culture, we retain an understanding of what novels and poems both need from us and can give us. This means we need (...) to be wary of theories that are excessively deflationary (all literature is mere entertainment), cynical (all literature is a vehicle for state ideology), or over-optimistic (all literature makes us more altruistic) and instead embrace a pluralism of effect. Some fictions, like The Wire, invite us to reflect on our own beliefs; some, like Plato’s dialogues, help us fine-tune our mental capacities; some, like Toni Morrison’s Song of Solomon, offer us a choice of genres; some help us feel our feelings; some offer formal models for the shape of a life. Literature can continue to matter in all of these ways—but only as long as we allow it to. (shrink)

This paper deals with the theme of Atonement. It is a rudimentary paper which has been prepared in a hurry in these trying times; especially for the use of students all over the world during the ongoing pandemic of COVID 19. It deals with the title of Atonement. The article should be cited properly if referred to by anyone. It is made open access since the author believes any knowledge worth sharing should be freely available to all.

Writing On the Sublime and Beautiful, Edmund Burke tells us the ideas most capable of making an impression are those related to self-preservation and society. Such ideas are bound to our passions. Passions belonging to self-preservation turn on pain or danger.1 Those belonging to society do as well, although in this work, Burke dwells exclusively on pain. Because he tells us the king of terrors is death, we might infer pain is inferior to danger, the latter more formidable. We experience (...) delight in both when they are remote and do not affect us. But this delight, or indeed pleasure of any kind, is less powerful in terms of passion. Possibly for this reason Burke declines to qualify delight or pleasure as a source... (shrink)

To Wayne Booth it was clear, authors seek to exert control and writers like Jane Austen endeavor to satisfy this imperative through rhetorical techniques that may include the creation of a wise male figure who can be counted upon to provide the necessary guidance for flawed heroine and reader alike. We require help "to direct our reactions," and thus throughout Austen's novel Emma, her hero and "chief corrective," Mr. Knightley, stands in the reader's mind for what Emma lacks.1 Subsequent scholars (...) have questioned Booth's interpretation of Mr. Knightley's role and narrative status, and the subtitle of Mary Waldron's influential essay—"The Confusions of Mr. Knightley"—anticipates her views on the subject.2In... (shrink)

The classic questions of philosophical aesthetics—how and why human beings find certain works of art beautiful or sublime—suffered from something of a hiatus in the twentieth century, but the study of beauty has seen a return in recent years, often calling on rapidly evolving research in cognitive science and neuroscience for assistance. Patrick Colm Hogan's Beauty and Sublimity: A Cognitive Aesthetics of Literature and the Arts is an important contribution to the burgeoning interdisciplinary field of cognitive aesthetics. The book makes (...) a brave attempt to bring together insights from neuroscience, cognitive science, and literature to explain aesthetic response and justification.Hogan's focus is on the minutiae of... (shrink)

'Literature is not innocent,' stated Georges Bataille in this extraordinary 1957 collection of essays, arguing that only by acknowledging its complicity with the knowledge of evil can literature communicate fully and intensely. These literary profiles of eight authors and their work, including Emily Brontë's Wuthering Heights, Baudelaire's Les Fleurs du Mal and the writings of Sade, Kafka and Sartre, explore subjects such as violence, eroticism, childhood, myth and transgression, in a work of rich allusion and powerful argument. [Abstract from the (...) Penguin Modern Classics 2012 re-issue = ISBN-10: 0141195576 / ISBN-13: 9780141195575]. (shrink)

This paper explores jealousy in Unamuno’s drama El otro. Drawing on contemporary philosophy of emotion, I will argue that for the Spanish author jealousy gives the subject a sense of self. The paper begins by embedding Unamuno’s philosophical anthropology in the context of contemporary emotion theory. It then presents the drama as an investigation into the affective dimension of self-identity. The third section offers an analysis of jealousy as an emotion of self-assessment. The final section discusses how this drama can (...) be regarded as a piece of philosophical work. (shrink)

Mr. Darcy spoke with affectionate praise of his sister's proficiency.I never spoke to you without rather wishing to give you pain than not.Pride and Prejudice has been read in many ways. I argue that this well-known love story not only foregrounds the battle of the sexes but also places center stage the pros and cons of different types of family systems and reciprocal altruism. Humans have long evolved to become homo familiaris. In its Latin origin, the word family does not (...) necessarily refer to blood relations or kinship. Rather, the ancient Romans used familia to refer to "household property—the fields, house, money and slaves owned by a man. The Latin word famulus means 'servant.'"2In Family and Friends in... (shrink)

Suddenly, my research was brusquely interrupted by romance. Conceptually, that is.The precipitant was an essay by Becca Rothfeld about the collected letters of Iris Murdoch, a philosopher at Oxford who strayed, and flourished, as a novelist. “Her scholarly area was ethics, and her primary preoccupation was love, both romantic and platonic,” Rothfeld writes. “This was a topic whose manifest importance she felt was chronically neglected by her peers, most of them analytic philosophers.”1Murdoch is right, I thought. Socrates and friends, lolling (...) around the Symposium talking about beauty and boys, downplayed the physical side of romantic love. Dante chastely chased his beloved Beatrice into... (shrink)

Both Aristotle and Tolkien are authors of short works seemingly concentrated on one form of literary art. Both works contain references which seem to extend further than that single art and offer insights into the worth and purpose of art more generally. Both men understand the relevant processes of mind of the artist in a similar way, and both distinguish the value of works of art based on their effect on the audience. But Tolkien figures the natural human artistic bent (...) as an elvish strain in us, and in his legends the elves are passing away to make way for the new—human beings. The legendary tales are an image of the natural pagan man giving place to the new man coming to be after Christ. This implies that what Aristotle called the mimetic nature of man—the source of all artistic play and work—is being given a new shape and orientation. Further, the master of those who know, in explicating catharsis, must have been reaching for something that exceeded his grasp and he did not know it. The aim of this essay is to explore the agreements (seeming and real) and disagreements (seeming and real) between what can be built up as each author’s general literary and aesthetic ideas—so, the relation between pagan and Tolkien’s Christian poetics. This will include evaluating where each is more or less adequate to the task of a general aesthetic, ending in an exploration of the purpose of art for the “new man.”. (shrink)

Lyric poetry is often associated with expression of the personal. For instance, the work of the so-called “confessional” poets, such as Sylvia Plath and Anne Sexton, is often thought to reveal inmost thoughts and feelings of the poetic voice through first personal expression. The lyric poem, with its use of personal pronouns and singularity of voice, appears to invite the reader to experience the unfolding of the words as the intimate expression of another.Intimacy itself is associated with attention to another (...) and is thought to play a role in feeling sympathy and empathy. As John Gibson comments, “Empathy makes possible an especially intimate and powerful form of identification. It underwrites our capacity...... (shrink)

Love—for most of its theorists—involves thinking about certain further things that define what love is. Thus, according to some theories, love amounts to unconditional concern about the beloved’s well-being.1 Other theories, such as Troy Jollimore’s, suggest that love is a kind of appreciative response to the qualities of the beloved person.2 These viewpoints seem to require a particular kind of epistemic focus on the part of the lovers. You have to be clear about what promotes your beloved’s well-being; spare an (...) active thought for it. According to this view, loving someone cannot do away with preoccupation about that... (shrink)

Plato’s dialogues are self-defined as works of mimetic art, and the ancients clearly consider mimesis as working naturally before reason and beneath it. Such aview connects with two contemporary ideas—Rene Girard’s idea of the mimetic basis of culture and neurophysiological research into mirror neurons. Individualityarises out of, and can collapse back into our mimetic origin. This para-rational notion of mimesis as that in which and by which all our knowledge is framed requires we not only concern ourselves with Socrates’s arguments (...) and distinctions, but also see how the dramatic interaction of the characters is working (or not) on/in the characters, and consider how watching the interaction, hearing the parables and myths, and thinking through the arguments and interactions is meant to effect us. That Plato creates mimeses means he aims at passional conversion not merely argumentative worth, since mimesis aims to (and does) work on the passions. (shrink)

In Augustine's Confessions we can find two arguments against drama. One of them is entirely Platonic, echoing the problems raised in Republic 2 and 3 that representations of evil encourage moral turpitude. The other, which can be found in Republic 10, is much more visible in Confessions, and Augustine is more perspicuous than Plato in laying out the difficulty; it has to do with the immoral effect of suffering grief at staged sufferings, where we are moved neither to escape the (...) suffering nor to aid the sufferer, but to enjoy the suffering. Socrates had pointed out that letting suffering have free rein in us, as we do at a play, corrupts even the better sort of man (605c), but Augustine shows us that even the self-control we might exercise at a play is morally questionable. Like the arguments in Republic, Augustine's anti-poetic arguments raise serious problems about the status of the text in which they are found. The problems raised are both logical, on a par with the self-referential problems of Russell's theory of types, and moral, for the books themselves have the culpable nature each wishes to cast out from the republic and the soul: their narratives include representations of evil, and Augustine's book--if not Plato's--stages a suffering at the reading of which we might well be grieved. (shrink)

Prefaced by an argument that the ancients understood mimesis as fundamental to being human, and art as therefore essential to human moral and intellectual development, this book starts from the problematic status of the (happily ending) Iphigenia in Poetics. How Aristotle must explicate tragedy to hold Iphigenia as the best thus sets up the exploration of comedy. Chapter two shows that comedy aims at the catharsis of desire and sympathy. This analysis is then applied in detail to Aristophanes’ Acharnians, Shakespeare’s (...) As You Like It and Stoppard’s Arcadia, exhibiting the cross-cultural application of the theory which Aristotle would expect. (shrink)

I argue that the criteria governing the aptness of emotions directed towards fictional entities, such as characters and events in fiction, are structurally identical to the criteria governing the aptness of emotions directed towards real entities in the following sense: in both cases, aptness is characterized in terms of fittingness, justification, and being salience-tracking, and each of these notions is understood in an analogous way across reality- and fiction-directed emotions. The only differences are that, in the case of fiction-directed emotions, (...) fictional truth rather than truth is relevant to fittingness, and salience in the context of engaging with the fiction replaces salience in the real context. Other asymmetries between the aptness criteria of fiction- and reality-directed emotions that seem to conflict with this claim are reducible to these two differences or stem from the failure to distinguish between emotions directed towards the content of a fiction and the fiction itself. (shrink)

According to what I call the ‘Discontinuity Thesis’, literature can never count as genuine philosophizing: there is an impermeable barrier separating it from philosophy. While philosophy presents logically valid arguments in favor of or against precisely formulated statements, literature gives neither precisely formulated theses nor arguments in favor of or against them. Hence, philosophers don’t lose out on anything if they don’t read literature. There are two obvious ways of questioning the Discontinuity Thesis. First, arguing that literature can indeed do (...) what philosophy is generally taken to do. Second, arguing that philosophy is not, in fact, the presentation of logically valid arguments in favor or against precisely formulated statements – what it does is closer to what literature is generally taken to do. I use a combination of these two strategies and argue that philosophy is not as intellectually straightforward as it is advertized to be and literature is not as intellectually impoverished as it is generally taken to be. (shrink)

A "sad and corrupt" age, a period of "crisis" and "upheaval"—what T.S. Eliot famously summed up as "the panorama of futility and anarchy which is contemporary history." Modernism has always been characterized by its self-conscious sense of suffering. Why, then, was it so obsessed with laughter? From Baudelaire, Nietzsche, Bergson and Freud to Pirandello, Beckett, Hughes, Barnes, and Joyce, no moment in cultural history has written about laughter this much. James Nikopoulos investigates modernity’s paradoxical relationship with mirth. Why was the (...) gesture we conventionally associate with happiness deemed the only sensible way of responding to a world, as Max Weber wrote, that had been "disenchanted of its gods?" In answering these questions, Nikopoulos also delves into our ongoing relationship with laughter. He looks to contemporary research in emotion and evolutionary theory, as well as to the two-thousand-plus-year history of the philosophy of humor, in order to propose a novel way of understanding laughter, humor, and their complicated relationships with modern life. The Stability of Laughter explores how art unsettles the simplifications we revert to in our attempts to make sense of human history and social interaction. (shrink)

The problem of tragedy is the problem of explaining why tragedy gives us the pleasure that it does, given that it has the content that it has. I propose a series of constraints that any adequate solution to the problem must satisfy. Then I develop a solution to the problem that satisfies those constraints. But I do not claim that the solution I develop uniquely satisfies the constraints I propose. I aim merely to narrow the field of contending solutions, and (...) then to draw attention to an overlooked contended in that narrowed field. (shrink)

That Oscar Wilde was a central figure for aestheticism needs no arguing; that he should be taken seriously as an aesthetician is perhaps a less obvious matter. While much of his work concerns itself with the traditional purview of aesthetics as a philosophical discipline, commentators have rarely granted his writings that attention to ideas qua ideas that marks off a philosophical interest in a writer's oeuvre from other types of analysis. A number of attempts to tackle Wilde's pronouncements in a (...) broadly philosophical fashion have been made through the decades.1 Most recent scholarship, however, has regarded Wilde... (shrink)

What does it mean to be a morally good person? It can be tempting to think that it is simply a matter of performing certain actions and avoiding others. And yet there is much more to moral character than our outward actions. We expect a good person to not only behave in certain ways but also to experience the world in certain ways within.

The aim of this paper is to give a new interpretation of Aristotle's account of the emotions evoked in the course of engaging with tragic narratives that would give rise to a coherent account of catharsis. Very briefly, the proposal is that tragedy triggers vicarious emotions and catharsis is the purgation of such emotions. I argue that this interpretation of “fear and pity” as vicarious emotions is consistent with both Aristotle's account of emotions and his account of catharsis and also (...) with his choice of examples for tragedies that trigger catharsis. (shrink)