Nguyen, C. Thi. Monuments as commitments: How art speaks to groups and how groups think in art
2019, Pacific Philosophical Quarterly 100(4), 971-994
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Added by: Ten-Herng LaiAbstract:
Art can be addressed, not just to individuals, but to groups. Art can even be part of how groups think to themselves – how they keep a grip on their values over time. I focus on monuments as a case study. Monuments, I claim, can function as a commitment to a group value, for the sake of long-term action guidance. Art can function here where charters and mission statements cannot, precisely because of art's powers to capture subtlety and emotion. In particular, art can serve as the vessel for group emotions, by making emotional content sufficiently public so as to be the object of a group commitment. Art enables groups to guide themselves with values too subtle to be codified.Mcweeny, Jennifer. Liberating Anger, Embodying Knowledge: A Comparative Study of Maria Lugones and Zen Master Hakuin2010, Hypatia 25 (2):295 - 315.-
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Added by: Clotilde Torregrossa, Contributed by: Corbin Covington
Abstract: This paper strengthens the theoretical ground of feminist analyses of anger by explaining how the angers of the oppressed are ways of knowing. Relying on insights created through the juxtaposition of Latina feminism and Zen Buddhism, I argue that these angers are special kinds of embodied perceptions that surface when there is a profound lack of fit between a particular bodily orientation and its framing world of sense. As openings to alternative sensibilities, these angers are transformative, liberatory, and deeply epistemological.Comment:
Coplan, Amy. Empathic engagement with narrative fictions2004, Journal of Aesthetics and Art Criticism 62 (2):141-152.-
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Added by: Chris Blake-Turner, Contributed by: Christy Mag Uidhir
Abstract: There is still little consensus among scholars regarding how best to characterize the relationship between readers of fictional narratives and the characters in those narratives. Part of the problem is that many of the explanatory concepts used in the debate - concepts like identification and empathy - are somewhat vague or ambiguous. In this article, I consider some recent relevant empirical research on text processing and narrative comprehension and argue for a pluralist account of character engagement, in which empathy plays an important role. In Section I, I review several empirical studies that strongly suggest that readers often adopt the perspective of one or more of the characters in fictional narratives. In Section II, I turn to the concept of empathy and provide an explanation of empathy based on models and research in empirical psychology. I focus in particular on self-other differentiation, a critical feature of empathy that has been underemphasized in the literature. Next I discuss two psychological phenomena that are closely related to empathy and often confused or conflated with it: emotional contagion and sympathy. In the final section of the paper, I employ the account of empathy developed in Section II to address Noel Carroll's objections to the view that readers typically empathize with fictional characters.Comment:
Robinson, Jenefer. The expression and arousal of emotion in music1994, Journal of Aesthetics and Art Criticism 52 (1):13-22.-
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Added by: Chris Blake-Turner, Contributed by: Christy Mag Uidhir
Abstract: This essay is about the relation between the expression and the arousal of emotion by music. I am assuming that music frequently expresses emotional qualities and qualities of human personality such as sadness, nobility, aggressiveness, tenderness, and serenity. I am also assuming that music frequently affects us emotionally: it evokes or arouses emotions in us. My question is whether there is any connection between these two facts, whether, in particular, music ever expresses emotion by virtue of arousing emotion. Of course, what it means to say that music expresses emotion is a contentious issue and I shall not be directly addressing it here, although what I say will have implications for any theory of musical expression. Nor will I be examining all the possible contexts in which music can be said to arouse emotion. My focus in this essay will be narrower. The question I shall try to answer is this: Are the grounds on which we attribute the expression of emotion to music ever to be identified with the arousal of that same emotion in listeners?Comment:
Robinson, Jenefer. Deeper Than Reason: Emotion and its Role in Literature, Music, and Art2005, Clarendon Press.-
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Added by: Chris Blake-Turner, Contributed by: Christy Mag Uidhir
Publisher's Note: Jenefer Robinson takes the insights of modern scientific research on the emotions and uses them to illuminate questions about our emotional involvement with the arts. Laying out a theory of emotion supported by the best evidence from current empirical work, she examines some of the ways in which the emotions function in the arts. Written in a clear and engaging style, her book will make fascinating reading for anyone interested in the emotions and how they work, as well as anyone engaged with the arts and aesthetics.Comment:
Jaggar, Alison M.. Love and knowledge: Emotion in feminist epistemology1989, Inquiry: An Interdisciplinary Journal of Philosophy 32 (2):151 - 176.-
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Added by: Chris Blake-Turner, Contributed by: Wayne Riggs
Abstract: This paper argues that, by construing emotion as epistemologically subversive, the Western tradition has tended to obscure the vital role of emotion in the construction of knowledge. The paper begins with an account of emotion that stresses its active, voluntary, and socially constructed aspects, and indicates how emotion is involved in evaluation and observation. It then moves on to show how the myth of dispassionate investigation has functioned historically to undermine the epistemic authority of women as well as other social groups associated culturally with emotion. Finally, the paper sketches some ways in which the emotions ofunderclass groups, especially women, may contribute to the development of a critical social theory.Comment:
Eaton, Marcia Muelder. A strange kind of sadness1982, Journal of Aesthetics and Art Criticism 41 (1):51-63.-
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Added by: Chris Blake-Turner, Contributed by: Christy Mag Uidhir
Abstract: HERE IS a Steve McQueen, Jackie Gleason, Tuesday Weld movie called Soldier in the Rain that I watch whenever it comes on the TV late show. I have seen it at least half a dozen times. The first time I saw it, I cried at the end. The next time I saw it I began crying just before the end. Now I choke up when it starts and cry more or less steadily through the whole thing. My husband and son find this exasperating. "Why are you going to watch that if it is just going to make you unhappy?" they ask. What they do not understand is that very few things bring me greater pleasure than watching this movie, crying all the way through. Or perhaps my son does understand when he disdainfully concludes, "You're crazy".Comment:
Coplan, Amy. Caring about characters: Three determinants of emotional engagement2006, Film and Philosophy 10:1.-
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Added by: Chris Blake-Turner, Contributed by: Christy Mag Uidhir
Introduction: Western philosophers at least as far back as Plato and Aristotle have been interested in question concerning narrative art: what it is, why it engages us, and how engagement with it affects us. An important part of the philosophical discussion has focused on the relationship between narrative art and emotion, for many have thought the power and influence of anarrative art comes primarily form its ability to arouse strong emotions. In this paper I focus on one type of narrative art: narrative fiction film. In many ways the film viewing experience is ideal for the purpose of promoting emotional engagement. Due to the nature of narrative fiction film and the structure of the viewing experience, watching and experiencing film puts us in a unique position to become cognitively and emotionally engaged while remaining aware of the fact that the object of our engagement is fictional...Comment:
Choi, Jinhee. All the right responses: Fiction films and warranted emotions2003, British Journal of Aesthetics 43 (3):308-321.-
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Added by: Chris Blake-Turner, Contributed by: Christy Mag Uidhir
Abstract: Cognitive theories of emotions have provided us with explanations of how we emotionally engage with fiction, when we are aware that what is depicted is fictional. However, these theories left an important question unanswered: namely, what kinds of emotional responses to fiction are warranted responses. The main focus of this paper is how our emotional responses to fiction can be aesthetically warranted - that is, how emotions directed to fiction can be warranted given the fact that its object is an artwork. I consider three possible explanations of this phenomenon: the real-life principle, a correspondence model, and a functional model. I argue that the real-life principle and the correspondence model fall short of explaining how our emotional responses to film are aesthetically warranted, and instead I argue that a functional model provides such an explanation. In this paper, I will primarily focus on fiction films, although I will address novels and other art forms where necessary.Comment:
Nussbaum, Martha. Emotions as Judgments of Value and Importance2004, In Robert C. Solomon (ed.), Thinking About Feeling: Contemporary Philosophers on Emotions. Oxford University Press-
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Added by: Andrea Blomqvist
Abstract: Nussbaum argues for a cognitivist theory of emotions, whereby an emotion is similar to a judgement. An emotion has an intentional object which is being evaluated as e.g. bad for one. On her view, our emotional reactions to different situations are connected to the idea of eudaimonia, and emotions could be seen as a guide to a flourishing life. As such, Nussbaum aims to explain how certain emotions feel like they're tearing us apart (e.g. grieving a dead family member), since they are literally bad for us. She thus departs from the Jamsian tradition whereby the psychological component of an emotion is emphasised (or emotions are sometimes reduced to physiological responses), and argues instead that the physiological response is not a necessary component of an emotion.Comment: This paper offers a good introduction into the cognitivist theories of emotions and their basic claims. It would be good to pair with non-cognitivist theories such as William James's or Jesse Prinz's.
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Comment (from this Blueprint): This paper highlights the role monuments can play as groups attempt to speak to itself to solidify its own commitment. As a form of art, it can publicly reinforce the commitments, especially through carrying the emotions, attitudes that cannot be easily expressed in propositions, towards certain individuals or ideals. The commitments can be something great, evil, or mediocre. Also consider the fact that art engages with our emotions rather than our rational capacity.