Phil exam 3

Question 1

Be familiar with the behavioral theory, local quality theory, and arousal model.
a. How do these views connect human emotions to art?

Answer 1

• behavioral theory: emotional states can be inferred through body language, creator of work leaves traces of one’s inner state in the work
• Local quality theory: seprarates behavior ane emotion, art works resemble expressed human bnehavior (e.x., jabby paint = anger)
• arousal model: use expressive words to describe works because they give rise to certain emotional responses in the viewer, disregard the emotions of the creator

-They allow for human emotions to be resembled and tied into works, which then allows the viewers to connect emotionally with the artworks

Question 2

What are the premises to the paradox of fiction?
a. What issue does the paradox highlight?

Answer 2

1. Believe objects of our emotions exist, if believe is real we feel it
2. Fictional things aren’t real
3. Ppl have EXTREME emotional reactions to fiction

Question 3

What are some issues with the paradox of fiction:

Answer 3

• Mistake fiction as non fiction then there is no paradox

-sometimes we have a real emotional connection to characters, even when they are not real

Question 4

Why is “suspension of disbelief” an unsatisfactory response to the paradox of fiction? give definition of SOD and then explain why.

Answer 4

suspension of disbelief- willingly put oneself in a position of uncertainty regarding the truth of the story

suspension has some sort of truth while fiction doesn’t. This truth readers can believe in an ⿞act of poetic faith

Question 5

What are first and second-order beliefs?
a. How do they resolve the paradox of fiction?

Answer 5

they are compound beliefs

first order: beliefs about the work’s fictional nature/our world, think its fictional

2nd Order: -: Beliefs about the story being told, beliefs about the world of the story

Question 6

what is the relationship between 1st order and 2nd order beliefs?
9similar to supervience)

Answer 6

second order beliefs depenhd o0n first order beleifs,

if lack 1st order beliefs then the second order beliefs arent true

Know something isn’t happening, believe is happening

Question 7

5. What are quasi-emotions?
   a. Why are they not real emotions?

Answer 7

A. NON REAL involuntary “emotions” primarily in that they are generated not by existence beliefs,

ex: watch sad movie, and i believe i am sad then i am quazi-sad

B. make belivity true makes them not real emotions

Question 8

Be familiar with how Novitz criticizes both Shaper and Waltons response to the paradox of fiction *as well as Novits own response

Answer 8

a. Schaper’s view would require us to continually keep in mind our first-order beliefs in order to hold specific second-order beliefs, this prevents story emmersion

b. Watsons view: To pretend or make-believe something requires us to believe that that ⿞something is not the case.

Question 9

What is the problem of tragedy?

Answer 9

pleasure from viewing things that make us sad/ negative things in real life

Question 10

What is the catharsis and how does it address the problem of tragedy?

Answer 10

the idea of cartharsis is presented by arostotle

*Catharsis: is the supposed venting of negative emotions experienced when engaging in tragedies in fiction

B. audience engages with the negative emotions without being⿞affected. Tragedies let us safely engage with negative emotions, and we like engaging with them

Question 11

On Hume’s theory, what caused audiences to respond positively to tragic fiction?

Answer 11

it is caused not from negative emotions but from the artistry that invokes specific feelings

Question 12

What are direct and meta-responses?
a. How are they used to address the problem of tragedy?

Answer 12

direct response: initial immediate responce

meta-responce: reflecting on how we felt and comparing that to our morals

how: Get pleasure from reflection because we appreciate that you had an appropriate response which affirms our good nature

Question 13

What is the difference between moralism and autonomism?

Answer 13

Moderate Autonomism- Moral value can not influence the aesthetic value

Radical Autonomism- you can not do moral analysis to some particular works

Question 14

What did Tolstoy mean by “religious sense”?
a. How was it used to determine the value of art?

Answer 14

Something that ties society together.

Creating division in society makes a work bad art, despite whatever ‘aesthetic excellence’ it ⿞may have

Question 15

. Why did Bell think that an artist could not make the moral content of a work of art better or worse?

Answer 15

Bell thought that all art is morally good because it brings about ‘good states of mind’, ⿞therefore there is no ‘bad art’. Art is the highest good and artists can’t make the highest good any better or worse

Question 16

How did Carroll argue for the necessity of taking morality into consideration when evaluating some works
of art?

Answer 16

All art is morally good because it brings about ‘good states of mind therefore, Art is the

⿞highest good. Artist’s can’t make the highest good any better or worse.

Question 17

. How does moderate moralism differ from radical moralism?

Answer 17

Moderate Autonomism- Moral value can not influence the aesthetic value

Radical Autonomism- you can not do moral analysis to some particular works

Question 18

What is a protected space?

Answer 18

art has automony outside intrrference and artists should have the ability to create what they wante

Question 19

What is the issue with selective funding of the arts?

Answer 19

under richard serra:

If fund one work then must fund all work, not censorship but it is political interference and shows preference/bias, selective funding= suppresses unfunded work

Question 20

What is aesthetic censorship?

Answer 20

-censorships of work on the basis that they are objectionable on aesthetic grounds

Question 21

According to Matthes, why is engaging with the work of an immoral artist in public an issue?

Answer 21

its an issue bc it signals you support that

the reason ans how engage is potentially immoral, actions/public consumption signal support of immoral