Diversity Reading List

Summary: This article addresses a paradox that has puzzled philosophers of art since Aristotle: tragedies produce, and are designed to produce, pleasure for the audiences, without supposing any special callousness or insensitivity on their part. The author introduces a distinction which enables us to understand how we can feel pleasure in response to tragedy, and which also sheds some light on the complexity of such responses. The virtues of this approach lie in its straightforward solution to the paradox of tragedy as well as the bridges the approach builds between this and some other traditional problems in aesthetics, and the promising ways in which we are helped to see their relationships. In particular, we are helped to understand the feeling many have had about the greatness of tragedy in comparison to comedy, and provided a new perspective from which to view the relationship between art and morality.

Abstract: Two assumptions are common in discussions of the paradox of tragedy: (1) that tragic pleasure requires that the work be fictional or, if non-fiction, then non-transparently represented; and (2) that tragic pleasure may be provoked by a wide variety of art forms. In opposition to (1) I argue that certain documentaries could produce tragic pleasure. This is not to say that any sad or painful documentary could do so. In considering which documentaries might be plausible candidates, I further argue, against (2), that the scope of tragic pleasure is limited to works that possess certain thematic and narrative features.