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Summary: Doyle investigates the emotional dimensions of aesthetic experience in the context of controversial performance art practices. She focuses on sentimentality because it sits at the extreme end not only of the emotional spectrum but also, as a negative, on the art critical radar. Critics’ charge against the sentimental is twofold – it enables vicarious experience at the expense of its direct counterpart and it gives a platform to the inauthentic. Furthermore, the overwhelming critical consensus is that the personal itself, manifested in sentimentality or otherwise, is inherently suspect. Emotion is thus framed as detrimental to “serious” art. It is also, and even more damagingly, feminized and drained of its political charge. To counter these assumptions, Doyle uses specific art-historical examples which reveal the richness and importance of emotional interest in the way art is made and experienced.
Comment: This text can be used in discussions of emotion and affectivity. While much of its focus is on art, it can be used in more general classes on emotions as well.[This is a stub entry. Please add your comments to help us expand it]Export citation in BibTeX formatExport text citationView this text on PhilPapersExport citation in Reference Manager formatExport citation in EndNote formatExport citation in Zotero format
- Metaphysics & Epistemology
- Philosophy of Mind
- Value Theory
- Aesthetics and Emotions
- Aesthetic Experience
- Thinking Feeling: Criticism and Emotion
Thinking Feeling: Criticism and Emotion
Doyle, Jennifer. Thinking Feeling: Criticism and Emotion
2013, In: Hold It Against Me: Difficulty and Emotion in Contemporary Art. Durham: Duke University Press. 69-89.