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Suffering art gladly : = the paradox of negative emotion in art /

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Suffering art gladly :/ edited by Jerrold Levinson.
其他題名:	the paradox of negative emotion in art /
其他作者:	Levinson, Jerrold,
面頁冊數:	1 online resource.
標題:	Art - Psychological aspects. -
電子資源:	http://www.palgraveconnect.com/doifinder/10.1057/9781137313713
ISBN:	1137313714 (electronic bk.)

Suffering art gladly : = the paradox of negative emotion in art /
Suffering art gladly :the paradox of negative emotion in art /edited by Jerrold Levinson. - 1 online resource.

Introduction; Jerrold Levinson -- 1. Tragic Pleasures in Plato and Aristotle; Pierre Destre -- 2. The Paradox of Negative Emotion in Art in Enlightenment Aesthetics; Carole Talon-Hugon -- 3. A Lust of the Mind: Curiosity and Aversion in 18th Century British Aesthetics; Carolyn Korsmeyer -- 4. Mere Suffering: Hume and the Problem of Tragedy; Christopher Williams -- 5. The Problem and Promise of the Sublime: Lessons from Kant and Schopenhauer; Sandra Shapshay -- 6. A Simple Solution to the Paradox of Negative Emotion; Raf DeClercq -- 7. Painful Art and the Limits of Well-Being; Aaron Smuts -- 8. That Obscure Object of Desire: Pleasure in Painful Art; Jonathan Gilmore -- 9. Playing With Fire: Art and the Seductive Power of Pain; Iskra Fileva -- 10. Heavenly Hurt: The Joy and Value of Sad Poetry; Anna Christina Ribeiro -- 11. Negative Emotions and Creativity; Derek Matravers -- 12. Attention, Negative Valence, and Tragic Emotions; Cain Todd -- 13. Watching the Unwatchable: 'Irreversible', 'Empire', and the Other Paradox of Negative Emotions; David Davies.

"Suffering Art Gladly" is concerned with the ostensibly paradoxical phenomenon of negative emotions involved in the experience of art: how can we explain the pleasure felt or satisfaction taken in such experience when it is the vehicle of negative emotions, that is, ones that seem to be unpleasant or undesirable, and that one normally tries to avoid experiencing? The question is as old as philosophical reflection on the arts, beginning with Plato and Aristotle, and subsequently addressed by Hume, Burke, Diderot, Kant, and Schopenhauer, among others. Moreover, it is still an important and unresolved question in contemporary philosophy of art, where the discussion has been notably enlivened by recent research on the nature of imagination, cognition, and the emotions. "Suffering Art Gladly" comprises essays of two kinds, though the division between them is not airtight. The first kind are essays with a primarily historical focus, examining the problem of negative emotion from art as treated by important figures in the history of aesthetic thought, including Aristotle, Hume, Diderot, Kant, and Schopenhauer. The second kind are essays with a primarily contemporary focus, in which the methods and tools of contemporary analytic philosophy are much in evidence. In addition to the thirteen essays forming the heart of the book there is a general introduction by the editor, motivating the basic problem with which the essays are variously concerned and identifying the presuppositions or assumptions that are involved in different solutions to the problem. The individual essays are wide-ranging, dealing with a variety of artforms, negative emotions, and specific works of art, and the contributors, all recognized scholars in the field of aesthetics, are a mixture of junior and senior figures representing seven nationalities.

ISBN: 1137313714 (electronic bk.)

Source: 531037Palgrave Macmillanhttp://www.palgraveconnect.comSubjects--Topical Terms:

656519
Art
--Psychological aspects.Index Terms--Genre/Form:

554714
Electronic books.

LC Class. No.: N8217.E53

Dewey Class. No.: 704.9/491524

Suffering art gladly : = the paradox of negative emotion in art /
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505 0 $a Introduction; Jerrold Levinson -- 1. Tragic Pleasures in Plato and Aristotle; Pierre Destre -- 2. The Paradox of Negative Emotion in Art in Enlightenment Aesthetics; Carole Talon-Hugon -- 3. A Lust of the Mind: Curiosity and Aversion in 18th Century British Aesthetics; Carolyn Korsmeyer -- 4. Mere Suffering: Hume and the Problem of Tragedy; Christopher Williams -- 5. The Problem and Promise of the Sublime: Lessons from Kant and Schopenhauer; Sandra Shapshay -- 6. A Simple Solution to the Paradox of Negative Emotion; Raf DeClercq -- 7. Painful Art and the Limits of Well-Being; Aaron Smuts -- 8. That Obscure Object of Desire: Pleasure in Painful Art; Jonathan Gilmore -- 9. Playing With Fire: Art and the Seductive Power of Pain; Iskra Fileva -- 10. Heavenly Hurt: The Joy and Value of Sad Poetry; Anna Christina Ribeiro -- 11. Negative Emotions and Creativity; Derek Matravers -- 12. Attention, Negative Valence, and Tragic Emotions; Cain Todd -- 13. Watching the Unwatchable: 'Irreversible', 'Empire', and the Other Paradox of Negative Emotions; David Davies.
520 $a "Suffering Art Gladly" is concerned with the ostensibly paradoxical phenomenon of negative emotions involved in the experience of art: how can we explain the pleasure felt or satisfaction taken in such experience when it is the vehicle of negative emotions, that is, ones that seem to be unpleasant or undesirable, and that one normally tries to avoid experiencing? The question is as old as philosophical reflection on the arts, beginning with Plato and Aristotle, and subsequently addressed by Hume, Burke, Diderot, Kant, and Schopenhauer, among others. Moreover, it is still an important and unresolved question in contemporary philosophy of art, where the discussion has been notably enlivened by recent research on the nature of imagination, cognition, and the emotions. "Suffering Art Gladly" comprises essays of two kinds, though the division between them is not airtight. The first kind are essays with a primarily historical focus, examining the problem of negative emotion from art as treated by important figures in the history of aesthetic thought, including Aristotle, Hume, Diderot, Kant, and Schopenhauer. The second kind are essays with a primarily contemporary focus, in which the methods and tools of contemporary analytic philosophy are much in evidence. In addition to the thirteen essays forming the heart of the book there is a general introduction by the editor, motivating the basic problem with which the essays are variously concerned and identifying the presuppositions or assumptions that are involved in different solutions to the problem. The individual essays are wide-ranging, dealing with a variety of artforms, negative emotions, and specific works of art, and the contributors, all recognized scholars in the field of aesthetics, are a mixture of junior and senior figures representing seven nationalities.
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