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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...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:
Davies, Stephen, Samer Akkach, Meilin Chinn, et. al.. How Do Cross-Cultural Studies Impact Upon the Conventional Definition of Art?2018, Journal of World Philosophies 3 (1): 93-122-
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Added by: Simon Fokt
Abstract: While Stephen Davies argues that a debate on cross-cultural aesthetics is possible if we adopt an attitude of mutual respect and forbearance, his fellow symposiasts shed light upon different aspects which merit a closer scrutiny in such a dialogue. Samer Akkach warns that an inclusivistic embrace of difference runs the risk of collapsing the very difference one sought to understand. Julie Nagam underscores that local knowledge carriers and/or the medium should be involved in such a cross-cultural exploration. Enrico Fongaro searches for a way of experiencing cross-cultural art such that it can lead to a transformative experience Relatedly, Meilin Chinn uses the analogy of friendship to explore the edifying dimension of experiencing an art form. Lastly, John Powell studies whether Dickie’s Institutional Theory can be meaningfully used to identify works of art in Western and non-Western traditions.
Comment: The selection of texts by Davies, Akkach, and Chinn, with a part of Davies’ reply in the end, are particularly interesting. These present an interesting tension, with Akkach and (somewhat less overtly) Chinn, criticising Davies for adopting a Western-centric attitude to studying and conceptualising art of other cultures. It can be useful to consider this in the context of Nikiru Ngzewu, ‘African Art in Deep Time: De-race-ing Aesthetics and De-racializing Visual Art’, asking to what extent the present discussion is similar to her criticism of Vogel and Danto. Given that Davies is offering a reply to the criticisms, this could offer an opportunity for a debate-style class design. The texts, and especially Davies’ reply, invite a further reflection: can one ever understand, conceptualise, or analyse the products (art?) of another culture, without doing so using the conceptual frameworks of one’s own culture in ways that are problematic? If yes, how could this be done? If not, should we just never attempt it? What role do power structures and imbalances play in such attempts? The selection of texts by Davies, Akkach, and Chinn, with a part of Davies’ reply in the end, are particularly interesting. These present an interesting tension, with Akkach and (somewhat less overtly) Chinn, criticising Davies for adopting a Western-centric attitude to studying and conceptualising art of other cultures. It can be useful to consider this in the context of Nikiru Ngzewu, ‘African Art in Deep Time: De-race-ing Aesthetics and De-racializing Visual Art’, asking to what extent the present discussion is similar to her criticism of Vogel and Danto. Given that Davies is offering a reply to the criticisms, this could offer an opportunity for a debate-style class design. The texts, and especially Davies’ reply, invite a further reflection: can one ever understand, conceptualise, or analyse the products (art?) of another culture, without doing so using the conceptual frameworks of one’s own culture in ways that are problematic? If yes, how could this be done? If not, should we just never attempt it? What role do power structures and imbalances play in such attempts?
Dehejia, Harsha V., Makarand Paranjape (eds.). Saundarya: The Perception and Practice of Beauty in India.2003, Samvad India Foundation.-
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Added by: Meilin Chinn
Publisher's Note: A peculiar feature of the classical aesthetic thought in India has been the emphasis on the art experience as a special state of being, defined not so much by saundarya or beauty as by ananda or beatitude. Yet, saundarya has been a crucial ingredient in the aesthetic experience, prevalent not only in traditional art objects but also in articles of daily life. The discourse of saundarya, as distinct from its experience, was however conducted by or on behalf of the cultivated aesthete and was carried out within the ambit of classical thought. In contrast, modernity, understood not merely as modernisation but as a departure from traditional modes of thinking and behavior, has opened new vistas of human experience and creativity, some of them in total opposition to traditional aesthetic norms. But even as modernity opens new discourses and initiates fresh debates on saundarya, we are reminded that the experience of beauty is a primal need, not easily overcome or substituted by another Can a renewed quest for an understanding the perception and practice of saundarya in India ensure that it is not relegated to the status of an archaic relic or curio, but restored as one of the bindus or foci of our lives?This volume, perhaps the first of its kind, is a unique contribution to the history of Indian aesthetic analysis. Its eminent contributors, ranging from aestheticians, linguistics, philosophers, historians, literary critics, art collectors, curators, performing artists, painters, and musicians of the highest calibre, are drawn from across three continents and diverse countries. Profusely illustrated, this visual and textual treat on the craft and culture of beauty in India, promises to be a collector's item.Comment: Wide-ranging volume on the concept of beauty (saundarya) in both traditional and modern Indian aesthetics. Includes essays on the ontology, expression, politics, and embodiment of beauty. This text is appropriate for a focused course or module on Indian or Asian aesthetics in which the students have some introduction to Indian philosophy and art.
Related reading:
- K. Krishnamoorthy, Indian Theories of Beauty. Bangalore: Indian Institute of World Culture, 1981 (Transaction No. 53).
Related reading:
- K. Krishnamoorthy, Indian Theories of Beauty. Bangalore: Indian Institute of World Culture, 1981 (Transaction No. 53).
Devereaux, Mary. Protected space: Politics, censorship, and the arts1993, Journal of Aesthetics and Art Criticism 51 (2):207-215.-
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Added by: Chris Blake-Turner, Contributed by: Christy Mag Uidhir
Abstract: Anniversaries are appropriate times for reflection. On this, the 50th anniversary of the Ameri can Society for Aesthetics, I want to explore a complicated and confusing situation currently facing Anglo-American aesthetics. Works of art were once esteemed as objects of beauty. I In the past several years, however, artists have been accused of encouraging teenage suicide, urban rage, violence against women, and poisoning American culture. Museum directors have been indicted on obscenity charges, and artists and organizations receiving federal grants have been required to sign pledges that they will not pro mote, disseminate, or produce materials that may be considered obscene. Today in America, as in other times and places, artists face de mands for their art to conform to religious and moral criteria. These demands are not new, but they challenge the view that artistic expression falls under the protection of speech guaranteed by the First Amendment.2Comment:
Dissanayake, Ellen. Doing Without the Ideology of Art2011, New Literary History 42: 71–79.-
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Abstract: My invited comment on Steven Connor’s essay, “Doing Without Art,” proposes that a fuller understanding of the implications of my notion of “making special”—referred to by Connor in his essay as somewhat relevant to his own position—would expand his view of the human art impulse and allay some of his disaffections. Rather than contributing to aesthetic theory, the ideology of art, my work proposes an ethology of art: it suggests why members of the human species, in all times and places, made and otherwise engaged with the arts (plural). An ethology of art requires a new way of regarding its subject, not philosophically as an entity or essential quality but as a behavior, something that people everywhere “do.” What characterizes all instances of “doing with art,” from prehistory to the present, is making something (a rock surface, face or body, implement, sound, space, place, movement, utterance) special. A summary of the development and ramifications of the concept of “making special”—called “artifying” in my most recent work—answers Connor’s three questions and suggests that placing our modern ideology or ideologies of art in the wider and deeper context of artification enables an understanding of the arts as intrinsic and even necessary to human lives everywhere.Comment: Dissenayake makes her points clear and brief, and uses the opportunity to present the main elements of her evolutionary theory. This makes this paper not only an interesting voice in the scepticism about the definition of art debate, but also an excellent introduction to her wider work. The main question worth discussing in class is: should we replace definitions of art with an ethology of art? It might also be worth asking whether Dissenayake is right to claim that even the assumption that a theory of art is needed at all is elitist.
Dissanayake, Ellen. Becoming Homo Aestheticus: Sources of Aesthetic Imagination in Mother-Infant Interactions2001, Substance 30 (1/2):85.-
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Added by: Chris Blake-Turner, Contributed by: Christy Mag Uidhir
Introduction: Along with the vital abilities to cry and to suckle, human neonates are born with remarkable capacities that predispose them for social interaction with others. For example, newborns prefer human faces and human voices to any other sight or sound (Johnson et al. 1991, 11). They can imitate face, mouth, and hand movements and respond appropriately to another person's emotional expressions of sadness, fear, and surprise. It is perhaps less well known that at birth, infants can also estimate and anticipate intervals of time and temporal sequences (DeCasper and Carstens 1980). They can remember these temporal patterns and categorize them in both time and space, and in terms of affect and arousal (Beebe, Lachman and Jaffe 1997). By six weeks of age, these innate perceptual and cognitive abilities permit normal infants to engage in complex communicative interchanges with adult partners--the playful behavior that is commonly or colloquially called "babytalk."Comment:
Eaton, A. W.. Feminist philosophy of art2008, Philosophy Compass 3 (5):873-893.-
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Added by: Chris Blake-Turner, Contributed by: Christy Mag Uidhir
Abstract: This article outlines the issues addressed by feminist philosophy of art, critically surveys major developments in the field, and concludes by considering directions in which the field is moving.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:
Eaton, Marcia Muelder. Kantian and contextual beauty1999, Journal of Aesthetics and Art Criticism 57 (1):11-15.-
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Added by: Chris Blake-Turner, Contributed by: Christy Mag Uidhir
Introduction: Two conflicting but strongly entrenched intu itions about beauty hold sway in the hearts and minds of many. On the one hand, many people believe that attributions of beauty to objects or events are unmediated-that all that matters is one's direct, personal response. If something is beautiful, one just sees it; cognitive or ethical concerns matter little. On the other hand, many people are drawn to the view that the beautiful is not independent of other human values and atti tudes-that our attributions of beauty are related to beliefs or moral judgments. At the end of the eighteenth century, Immanuel Kant represented the former view with such cleverness that his ar guments continue to disturb even those who re main unconvinced by them. At the end of the nineteenth century, partly as a result of the influ ence of Kant's theory of beauty, Leo Tolstoy felt forced to downplay the importance of beauty's role in explaining the value of art-a trend that continued for several decades. At the end of the twentieth century, increasing numbers of aes thetic theorists and practitioners are persuaded that beauty does matter in art, and although many, including me, believe that beauty is a con textual property deeply connected to factual be liefs and moral attitudes, the tug of Kant's arguments remains strong.Comment:
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Coplan, Amy. Caring about characters: Three determinants of emotional engagement
2006, Film and Philosophy 10:1.
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