What Is The Paradox Of Painful Art

Why do ordinary, rational, human beings actively and knowingly seek out art that appears to elicit negative emotions, especially as these same people tend to avoid such emotions in other areas of their life? This question formally understood as the paradox of painful art is what Hume effectively attempts to address in his essay 'Of Tragedy'. In this essay I will conclude that Hume's solution to this paradox; that painful emotions elicited by art are converted into pleasurable ones; is indefensible. I will first offer my reading of Hume's solution to the paradox of painful art. I will then argue that Hume fails to give a satisfying account of the process of the conversion he proposes, I will then go onto show that Hume's conversion theory

As such, we understand the use justice, but also other virtues are only as important so long as they are useful and agreeable not to the business of an individual but also to public utility. Where this view on the utility of vices and virtues, both aspects of public and private morality are determined by sentiment. “It defines virtue to be whatever mental action or quality gives to a spectator the pleasing sentiment of approbation; and vice the contrary.” This definition is in close relation to the question posited at the end of the previous section on the approval of the happiness of mankind and the resentment of is misery. It can be said that the said approval or disapproval, the gut feeling translates to one’s understanding of what Hume

In evaluating the philosopher’s goal of determining how to live a good life, Epicurean philosophers argue that pleasure is the greatest good and pain is the greatest bad. Foremost, for the purpose of this analysis, I must define the pleasure and pain described. Pleasure is seen as the state of being pleased or gratified. This term is defined more specifically by the subject to which the pleasure applies, depending on what he likes. Pain is the opposite of pleasure, which is a type of emotional or physical un-pleasure that results in something that the person dislikes. “Everything in which we rejoice is pleasure, just as everything that distresses us is pain,” (Cicero 1). Through this hedonistic assessment of pleasure and pain, epicurean philosophers come to the conclusion that, “the greatest pleasure [is that] which is perceived once all pain has been removed,” (Epicurus 1).

Art is used to express various emotions, but it’s up to the interpreter to give it meaning. It comes in many different shapes, sizes, and types, but a specific individual will interpret each piece from their own perception; their approach is based on the setbacks and experiences they have been through. The short film Destino, by Walt Disney and Salvador Dali, and the book The Hunger Games, by Suzanne Collins, are two very different forms of art, but both contain characters who view situations based on their own fortitude. Each situation an individual approaches has its own setbacks, and an individual will view these with the attitude of a setback is only as big as one makes it.

Art therapy proves that artistic creation facilitates healing for victims of trauma. Literature often covers the subjects of the Holocaust, Holocaust art, and psychological aspects of art creation. Although Holocaust survivors often create art representing their experiences, there is a lack of research and literature on the psychology of Holocaust survivor art. Works by Dorota Glowacka, Alyson Miller, and Joshua Francis Hirsch look at Holocaust memoir and film to trace relationships between the creators, the subject, and the audience. Stephen K. Levine and Ashley Warner look at suffering and self-psychology’s link to art while Ladislav Kesner argues for further of the neurological links between society and art creation. Eugen Koh and George

Nagel provides a complete a thorough argument against the hedonist position by explaining that one can be harmed without suffering, one can suffer post-mortem, and it is not the bad nor the good momentary conscious experiences that judge our lives but our projects, goals, ambitions, history, and possibility.

Examine a body art/live art practitioner in depth, using two pieces of their work as case studies. Using these pieces, contextualize the artist within the history of body-based/ live art performance. An Analysis of how performance artist Martin O’Brien uses abjection and pain in Sanctuary Ring (2016) and Mucus Factory (2011-2014) In this essay I will speak about the use of abjection and pain in Martin O’Brien’s performance works.

Human emotions remain as one of the world’s biggest secrets. Like sleep, we know what happens to our body when we experience these emotions whether it be a release of hormones or a certain area on the body becomes more sensitive. But we don’t know why we have them, experience them, or what purpose they serve. All we know is everyone’s emotions behave differently. Different types of arts can elicit completely different emotional response from people. Some art may have the ability to appeal to dangerous emotions in certain people. Whether it be the corruption of a once faithful and beautiful young girl, plagued by the desire for romanticism and lofty ideas, or a handsome young nobleman who is obsessed with living life to fullest. Both are fueled by the emotion that a certain type of art elicits in them, leaving them in a never ending chase that ruins there life’s. In the Novels Madame Bovary and The Picture of Dorian Grey the protagonists in these stories perfectly exemplifies the danger of arts emotional appeal by showing the corruption and eventual downfall of two once young and beautiful souls by exposing them to art that pleases dangerous emotions such as desire, pleasure, entitlement and disappointment.

many people judge art is only uses their eye to looking that without understanding art’s meanings and social value. Social enviroment impact human’s option and humans are the combination of emotional and rational. Art is sensibility and it embodies culture, literary, religion and other social element. Since each person's culture and faith conflict that art has caused many social diputes. According to the Mack’s “It Isn’t pretty...But Is It Art?” and Grody’s “Graffiti:The Anatomy of a Piece” both authors believe art is produced by the artist’s emotions, but most people misunderstand art and they without uses their emotional to appreciate the art.

The artists performed self-injury in the most weird and gruesome approaches to obtain positive public responses. Besides, performances also wanted to reach an unique state of being. Therefore, public was able to share awareness by watching such performances. Most people found the performances uncomfortable to watch, resulting in making curiosity the driving force. Honour, H & , J. Fleming (2009),

In Hume's views On Suicide, superstition and religion play a major role in this notion of suicide being a sin. Throughout the text, Hume deeply explores the key reasons of why society has come to this conclusion and proves that this common belief is not always true. He believes that Man is miserable in every situation, even in sleep. He adds on, to end his misery, death is sometimes permissible. The philosopher argues the only way suicide is considered a crime is because we may neglect our duties.Nevertheless, these duties are flawed. In this essay, I will prove that Hume's arguments are sound, and that suicide is acceptable because we are not obligated to God, our neighbours, and ourselves.

Art, whether it be film, television, visual art, theater and many other forms, many of times it is seen upon as purely as entertainment. However, these entertaining entities offer so much more than just entertainment. All of these different forms of entertainment provide a different insight of the

Western traditions narrowly define art as a market-oriented specialized discipline (Levine & Levine, 2004). When art is used therapeutically, content and meaning take priority over mechanics and technicalities.

A work of art can capture a moment in a person’s life. When observing art it’s almost like a snapshot of a brief point in time. The artist tries to create this specific point, and within this creates a story or meaning. The art has something to say and the artist wants you to react or take something away from this experience. The reaction is the function of the specific work of art. Whether it’s a favorable or awful reaction, the viewer still walks away changed.

One would be right in assuming that we would not do something in life unless it has something to offer us. There is no point to complete an action unless the action’s consequence benefitted us in some way. Furthermore, there a notion that in life we must aspire to do more than just what we like, understanding that living life is taking the bad with the good. However, for hedonists this notion is non-existent. Hedonism is the pursuit of pleasure while simultaneously avoiding pain, deriving happiness only from pleasure achieved and pain avoided. John Stuart Mill and Jeremy Bentham are two philosophers who fall into the Utilitarian and hedonist camp. However, while both men are Utilitarian, they differ greatly in their thoughts on hedonism. Where Bentham takes a quantitative stance, Mill assumes the, admittedly more complicated, quantitative position. In Mill doing so, he distinguishes between two types of pleasure: higher pleasures and lower pleasures. In this paper, I plan to prove that Mill’s view is not philosophically defensible. I will do so by showing that Mill ventures from Hedonism as he takes a more objective stance that is not based on pleasure alone.