The Poetry and the Pity: Hume's Account of Tragic Pleasure

Galgut, Elisa

doi:10.1093/bjaesthetics/41.4.411

Cited by 8 publications

(3 citation statements)

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“…A further complication is the paradoxical case of the enjoyment of negative emotions in music, which is a problem examined by philosophers at least since Aristotle's notion of catharsis (Feagin, 1983;Galgur, 2001;Goldstein, 1989;Levinson, 1990). This is a complex relationship because the listener may not be able to distinguish between a sensory preference/ evaluation task and a negative emotional experience.…”

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confidence: 99%

The influence of emotion, locus of emotion and familiarity upon preference in music

Schubert

2007

Psychology of Music

116

114

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This study reports an empirical investigation of the influence of felt (internal locus — IL) emotion versus expressed (external locus — EL) emotion upon preference in music. Sixty-fve participants rated IL and EL of emotions for fve pieces of romantic western art music. For each locus task `emotional strength', `valence', `arousal' and `dominance' were rated and converted into magnitude scores. Ratings of familiarity and preference were also collected. Gap across emotion loci (GAEL) was calculated overall — which combined GAEL scores in polar-coordinate emotion-space, and for each dimension. Familiarity, felt emotional strength and overall GAEL explained 46.9 percent of the variance in preference. Both IL and EL negative valence were correlated with preference suggesting enjoyment of negative emotion in music through dissociation. The study suggests that the way music makes the listener feel is more important in determining enjoyment than noticing the emotion the music is trying to convey. Also, matching of IL and EL emotions (i.e. minimizing GAEL) is more preferred than when IL emotions are lower in magnitude than EL. Hence two principles of enjoyment are identifed in this study: (1) dissociation and (2) GAEL.

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confidence: 99%

The influence of emotion, locus of emotion and familiarity upon preference in music

Schubert

2007

Psychology of Music

116

114

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“…Emotional energy or intensity roused by negative emotions attaches to and augments our aesthetic delight. 16 The "quantity of energy that is attached to the pathos accentuates our pleasure," says Galgut, 17 who reinforces this claim by suggesting that the aesthetic experience is hedonically ambiguous, something that she believes makes a concordance between aesthetic pleasure and negative emotions more plausible. 18 There is a good deal to be said for Galgut's claim that aesthetic experiences, at least extraordinary aesthetic experiences, have a mixed hedonic charge, possessing both painful and pleasant elements.…”

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confidence: 97%

Pleased and Afflicted: Hume on the Paradox of Tragic Pleasure

Dadlez¹

2004

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Your use of the HUME STUDIES archive indicates your acceptance of HUME STUDIES' Terms and Conditions of Use, available at http://www.humesociety.org/hs/about/terms.html. HUME STUDIES' Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the HUME STUDIES archive only for your personal, non-commercial use.

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“…Galgut 2001. 11 I would like to venture a bold thesis -the topic for a different paper -that the value of literature lies in its ability to shape the very contents of the Unconscious by allowing us to internalise structures of experience. 12 I refer the reader, for instance, to Jonathan Lear's excellent paper 'Katharsis'(Lear 1998) in the philosophical literature, but much discussion of the relationship between stories and phantasy can be found in the psychoanalytic literature -most famously Uses of Enchantment(Bettelheim 1978).…”

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Do we weep for Cordelia?

Galgut¹

2003

South African Journal of Philosophy

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Much of the contemporary debate concerning the nature and role of fictive emotions has argued that we do feel garden-variety emotions for fictional characters; the puzzle has been to account for this, given our knowledge of their fictional status. In this paper I argue that many of the emotional responses we have towards fictional characters are nothing like the emotions we feel in ordinary life. The implications for our engagement with literary fictions are subsequently examined.

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The Poetry and the Pity: Hume's Account of Tragic Pleasure

Cited by 8 publications

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The influence of emotion, locus of emotion and familiarity upon preference in music

The influence of emotion, locus of emotion and familiarity upon preference in music

Pleased and Afflicted: Hume on the Paradox of Tragic Pleasure

Do we weep for Cordelia?

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