Articulates an imaginationist solution to the question of how purely instrumental music can be perceived by a listener as having emotional content. Both musicians and laypersons can perceive purely instrumental music without words or an associated story or program as expressing emotions such as happiness and sadness. But how? In this book, Saam Trivedi discusses and critiques the leading philosophical approaches to this question, including formalism, metaphorism, expression theories, arousalism, resemblance theories, and persona theories. Finding these to be inadequate, he advocates an “imaginationist” solution, by which absolute music is not really or literally sad but is only imagined to be so in a variety of ways. In particular, he argues that we as listeners animate the music ourselves, imaginatively projecting life and mental states onto it. Bolstering his argument with empirical data from studies in neuroscience, psychology, and cognitive science, Trivedi also addresses and explores larger philosophical questions such as the nature of emotions, metaphors, and imagination.
The emotions pose many philosophical questions. We don't choose them; they come over us spontaneously. Sometimes emotions seem to get it wrong: we experience wrongdoing but do not feel anger, feel fear but recognise there is no danger. Yet often we expect emotions to be reasonable, intelligible and appropriate responses to certain situations. How do we explain these apparent contradictions? Emotion, Imagination, and the Limits of Reason presents a bold new picture of the emotions that challenges prevailing philosophical orthodoxy. Talia Morag argues that too much emphasis has been placed on the "reasonableness" of emotions and far too little on two neglected areas: the imagination and the unconscious. She uses these to propose a new philosophical and psychoanalytic conception of the emotions that challenges the perceived rationality of emotions; views the emotions as fundamental to determining one's self-image; and bases therapy on the ability to "listen" to one’s emotional episode as it occurs. Emotion, Imagination, and the Limits of Reason is one of the first books to connect philosophical research on the emotions to psychoanalysis. It will be essential reading for those studying ethics, the emotions, moral psychology and philosophy of psychology as well as those interested in psychoanalysis.
Author: Adam Morton
Publisher: John Wiley & Sons
Release Date: 2013-07-10
Recent years have seen an enormous amount of philosophical research into the emotions and the imagination, but as yet little work has been done to connect the two. In his engaging and highly original new book, Adam Morton shows that all emotions require some form of imagination and goes on to fully explore the link between these two important concepts both within philosophy and in everyday life. We may take it for granted that complex emotions, such as hope and resentment, require a rich thinking and an engagement with the imagination, but Morton shows how more basic and responsive emotions such as fear and anger also require us to take account of possibilities and opportunities beyond the immediate situation. Interweaving a powerful tapestry of subtle argument with vivid detail, the book highlights that many emotions, more than we tend to suppose, require us to imagine a situation from a particular point of view and that this in itself can be the source of further emotional feeling. Morton goes on to demonstrate the important role that emotions play in our moral lives, throwing light on emotions such as self-respect, disapproval, and remorse, and the price we pay for having them. He explores the intricate nature of moral emotions and the challenges we face when integrating our thinking on morality and the emotions. This compelling and thought-provoking new book challenges many assumptions about the nature of emotion and imagination and will appeal to anyone seeking a deeper understanding of the role that these concepts play in our lives. The book also has far reaching implications that will spark debate amongst scholars and students for some time to come.
Author: Leonard B. Meyer
Publisher: University of Chicago Press
Release Date: 2008-06-01
"Altogether it is a book that should be required reading for any student of music, be he composer, performer, or theorist. It clears the air of many confused notions . . . and lays the groundwork for exhaustive study of the basic problem of music theory and aesthetics, the relationship between pattern and meaning."—David Kraehenbuehl, Journal of Music Theory "This is the best study of its kind to have come to the attention of this reviewer."—Jules Wolffers, The Christian Science Monitor "It is not too much to say that his approach provides a basis for the meaningful discussion of emotion and meaning in all art."—David P. McAllester, American Anthropologist "A book which should be read by all who want deeper insights into music listening, performing, and composing."—Marcus G. Raskin, Chicago Review
Imagination occupies a central place in philosophy, going back to Aristotle. However, following a period of relative neglect there has been an explosion of interest in imagination in the past two decades as philosophers examine the role of imagination in debates about the mind and cognition, aesthetics and ethics, as well as epistemology, science and mathematics. This outstanding Handbook contains over thirty specially commissioned chapters by leading philosophers organised into six clear sections examining the most important aspects of the philosophy of imagination, including: Imagination in historical context: Aristotle, Descartes, Hume, Kant, Husserl, and Sartre What is imagination? The relation between imagination and mental imagery; imagination contrasted with perception, memory, and dreaming Imagination in aesthetics: imagination and our engagement with music, art, and fiction; the problems of fictional emotions and ‘imaginative resistance’ Imagination in philosophy of mind and cognitive science: imagination and creativity, the self, action, child development, and animal cognition Imagination in ethics and political philosophy, including the concept of 'moral imagination' and empathy Imagination in epistemology and philosophy of science, including learning, thought experiments, scientific modelling, and mathematics. The Routledge Handbook of Philosophy of Imagination is essential reading for students and researchers in philosophy of mind and psychology, aesthetics, and ethics. It will also be a valuable resource for those in related disciplines such as psychology and art.
Tamar Gendler draws together a series of essays in which she investigates philosophical methodology, and shows the value for philosophy of empirical psychology. Three intertwined themes run through the volume: imagination, intuition and philosophical methodology: Gendler explores how we engage with subject matter that we take to be imaginary.
This volume brings together specially written essays by leading researchers on the propositional imagination. This is the mental capacity we exploit when we imagine that Holmes has a bad habit or that there are zombies. It plays an essential role in philosophical theorizing, engaging with fiction, and indeed in everyday life. The Architecture of the Imagination capitalizes on recent attempts to give a cognitive account of this capacity, extending the theoretical picture and exploring the philosophical implications.
Author: Patrik N. Juslin
Publisher: Oxford University Press, USA
Release Date: 2001
This new volume in the Series in Affective Science is the first book in over 40 years to tackle the complex and powerful relationship between music and emotion. The book brings together leading researchers in both areas to present the first integrative review of this powerful relationship. This is a book long overdue, and one that will fascinate psychologists, musicologists, music educators, and philosophers.
Author: Brent Hayes Edwards
Publisher: Harvard University Press
Release Date: 2017-06-05
Genre: Literary Criticism
Hearing across media is the source of innovation in a uniquely African American sphere of art-making and performance, Brent Hayes Edwards writes. He explores this fertile interface through case studies in jazz literature—both writings informed by music and the surprisingly large body of writing by jazz musicians themselves.
Author: Steven Fesmire
Publisher: Indiana University Press
Release Date: 2003-09-04
While examining the important role of imagination in making moral judgments, John Dewey and Moral Imagination focuses new attention on the relationship between American pragmatism and ethics. Steven Fesmire takes up threads of Dewey's thought that have been largely unexplored and elaborates pragmatism's distinctive contribution to understandings of moral experience, inquiry, and judgment. Building on two Deweyan notions -- that moral character, belief, and reasoning are part of a social and historical context and that moral deliberation is an imaginative, dramatic rehearsal of possibilities -- Fesmire shows that moral imagination can be conceived as a process of aesthetic perception and artistic creativity. Fesmire's original readings of Dewey shed new light on the imaginative process, human emotional make-up and expression, and the nature of moral judgment. This original book presents a robust and distinctly pragmatic approach to ethics, politics, moral education, and moral conduct.
The concept of the imaginary is pervasive within contemporary thought, yet can be a baffling and often controversial term. In Imagination and the Imaginary, Kathleen Lennon explores the links between imagination - regarded as the faculty of creating images or forms - and the imaginary, which links such imagery with affect or emotion and captures the significance which the world carries for us. Beginning with an examination of contrasting theories of imagination proposed by Hume and Kant, Lennon argues that the imaginary is not something in opposition to the real, but the very faculty through which the world is made real to us. She then turns to the vexed relationship between perception and imagination and, drawing on Kant, Merleau-Ponty and Sartre, explores some fundamental questions, such as whether there is a distinction between the perceived and the imagined; the relationship between imagination and creativity; and the role of the body in perception and imagination. Invoking also Spinoza and Coleridge, Lennon argues that, far from being a realm of illusion, the imaginary world is our most direct mode of perception. She then explores the role the imaginary plays in the formation of the self and the social world. A unique feature of the volume is that it compares and contrasts a philosophical tradition of thinking about the imagination - running from Kant and Hume to Strawson and John McDowell - with the work of phenomenological, psychoanalytic, poststructuralist and feminist thinkers such as Merleau-Ponty, Sartre, Lacan, Castoriadis, Irigaray, Gatens and Lloyd. This makes Imagination and the Imaginary essential reading for students and scholars working in phenomenology, philosophy of perception, social theory, cultural studies and aesthetics. Cover Image: Bronze Bowl with Lace, Ursula Von Rydingsvard, 2014. Courtesy the artist, Galerie Lelong and Yorkshire Sculpture Park. Photo Jonty Wilde.
Author: Stephen T. Asma
Publisher: University of Chicago Press
Release Date: 2017-06-21
Consider Miles Davis, horn held high, sculpting a powerful musical statement full of tonal patterns, inside jokes, and thrilling climactic phrases—all on the fly. Or think of a comedy troupe riffing on a couple of cues from the audience until the whole room is erupting with laughter. Or maybe it’s a team of software engineers brainstorming their way to the next Google, or the Einsteins of the world code-cracking the mysteries of nature. Maybe it’s simply a child playing with her toys. What do all of these activities share? With wisdom, humor, and joy, philosopher Stephen T. Asma answers that question in this book: imagination. And from there he takes us on an extraordinary tour of the human creative spirit. Guided by neuroscience, animal behavior, evolution, philosophy, and psychology, Asma burrows deep into the human psyche to look right at the enigmatic but powerful engine that is our improvisational creativity—the source, he argues, of our remarkable imaginational capacity. How is it, he asks, that a story can evoke a whole world inside of us? How are we able to rehearse a skill, a speech, or even an entire scenario simply by thinking about it? How does creativity go beyond experience and help us make something completely new? And how does our moral imagination help us sculpt a better society? As he shows, we live in a world that is only partly happening in reality. Huge swaths of our cognitive experiences are made up by “what-ifs,” “almosts,” and “maybes,” an imagined terrain that churns out one of the most overlooked but necessary resources for our flourishing: possibilities. Considering everything from how imagination works in our physical bodies to the ways we make images, from the mechanics of language and our ability to tell stories to the creative composition of self-consciousness, Asma expands our personal and day-to-day forms of imagination into a grand scale: as one of the decisive evolutionary forces that has guided human development from the Paleolithic era to today. The result is an inspiring look at the rich relationships among improvisation, imagination, and culture, and a privileged glimpse into the unique nature of our evolved minds.
Author: Arthur P. Shimamura
Publisher: OUP USA
Release Date: 2012-01-02
What does it mean to have an "aesthetic" experience? In this book, philosophers, psychologists, and neuroscientists address the nature of aesthetic experiences from their own discipline's perspective. These scholars discuss whether a multidisciplinary approach, an aesthetic science, can help connect mind, brain, and aesthetics.