Wissenschaftstheorie der grazer schule: Meinong und Frankl

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忧乐圆融：儒家忧乐思想的核心特质

儒家肯定感性忧乐的自然合理性,但是认为感性忧乐有待于外,陷溺于感性忧乐,容易使人流于以物役心的异化状态。儒家忧乐思想的根本形态是德性忧乐,德性忧乐的根据是本心自足之德性。儒家以德性之忧作为德行修养的内在心理动力,德性之乐是在德性彰明过程中本心情感的自然涌现,可以统摄和超越感性忧乐,实现忧乐圆融。     

Pleasure and Aversion: Challenging the Conventional Dichotomy

Philosophy and its descendents in the behavioral sciences have traditionally divided incentives into those that are sought and those that are avoided. Positive incentives are held to be both attractive and memorable because of the direct effects of pleasure. Negative incentives are held to be unattractive but still memorable (the problem of pain) because they force unpleasant emotions on an individual by an unmotivated process, either a hardwired response (unconditioned response) or one substituted by association (conditioned response). Negative incentives are divided into those that are always avoided and those that are avoided only by higher mental processes—archetypically the passions, which are also thought of as hardwired or conditioned. Newer dichotomies within the negative have been proposed, hinging on whether a negative incentive is nevertheless sought (“wanted but not liked”) or on an incentive's being negative only because it is confining (the product of “rule worship”). The newer dichotomies have lacked motivational explanations, and there is reason to question conditioning in the motivational mechanism for the older ones.

Both experimental findings and the examination of common experience indicate that even the most aversive experiences, such as pain and panic, do not prevail in reflex fashion, but because of an urge to attend to them. The well-established hyperbolic curve in which prospective rewards are discounted implies a mechanism for such an urge, as well as for the “lower” incentives in the other dichotomies. The properties of these lower incentives are predicted by particular durations of temporary preferences on a continuum that stretches from fractions of a second to years.     

Pleasure and Complexity: Berlyne Revisited

D. E. Berlyne (1960, 1974) posited an increasing linear function for complexity with an inverted U-shaped function for pleasure. Berlyne's theory of aesthetic response was tested through the presentation of 6 color reproductions of paintings to 92 participants and the gauging of their responses. When participants' pleasure was compared with interest, that hypothesis was upheld. However, when complexity was compared with pleasure, Berlyne's theory was not supported.     

中国古典美学中的身体及其映像

Richard Shusterman’s Pragmatist Aesthetics: Living Beauty, Rethinking Art was published in China in 2002. In the preface of the Chinese edition, the author claimed that his tentative idea of soma esthetics was encouraged by Chinese philosophy and other ancient Asian philosophy. Shusterman’s background in pragmatist philosophy greatly constrains his understanding of the body in classical Chinese aesthetics in that he only pays attention to the technical aspects of physical training while neglecting the philosophical basis of this training. In Chinese philosophy the orientation of the body, the relationship between the body and the universe, the body characteristic of the beauty of nature and the beauty of art, etc., is a theoretical response to Shusterman’s oriental misreading. Translated by Lei Yongqiang from Wenyi Yanjiu 컄틕퇐뺿 (Literature & Art Studies), 2007, (4): 23–31     

Pleasure and displeasure from the body: Perspectives from exercise

We investigated some types of triggers of embarrassment and their personality correlates. A total of 161 undergraduates indicated how embarrassed they would be in a variety of situations classified a priori into three types. The types were based on the kind of trigger they embodied and were derived in part from current theories of embarrassment. Several analytic techniques, including factor analysis, suggested that there are at least three sorts of situations people find embarrassing: committing a faux pas, being the centre of attention, and threatening another's social identity. We created a subscale for each subtype of trigger. Embarrassibility on each subscale was correlated with embarrassibility on the others, but the reliabilities of the subscales substantially exceeded their intercorrelations. Some personality variables, for example, Neuroticism (Eysenck & Eysenck, 1975) correlated with all subscales, whereas other personality variables correlated differentially, for example, Revised Self-Monitoring (Lennox & Wolf, 1984), Interaction Anxiousness (Leary, 1983), and Rejection Sensitivity (Downey & Feldman, 1996). We believe, contrary to previous suggestions (Edelmann & McCusker, 1986), that there are subtypes of triggers of embarrassment and they they roughly correspond to the different causes of embarrassment as proposed by various theorists. We discuss the implications of our results for theories of embarrassment.     

Beyond Pleasure: Exploring the Eudaimonic Entertainment Experience

We examine the notion of eudaimonic entertainment during exposure to a sad but meaningful movie, using a new measure consisting of 5 dimensions derived from research on positive psychology. We, thereby, transfer the conception of eudaimonic well‐being to the conception of entertainment. Results of a confirmatory factor analysis show that the 5 dimensions can be further condensed into 2 second‐order factors. We applied these new measures in a study in which the ending of a movie was manipulated (sad vs. happy). The results provide both discriminant and convergent validity and show that hedonic entertainment measures were affected by the manipulation, but that eudaimonic entertainment measures were unaffected. A second study provided further evidence for the validity of the construct.     

Self-Knowledge and the Elusive Pleasure of Vengeance

Philosophia - The present essay looks to add to the body of literature that seeks to clarify the nature of vengeance and evaluate it morally. However, unlike previous philosophical investigations...     

Beauty treatment: the aesthetics of the psychoanalytic process

Psychoanalysts enjoy doing analysis above and beyond its usefulness to patients; one reason for this lies in the aesthetic pleasure the analyst may derive from the analytic process. The author discusses this aesthetic pleasure from the standpoint of meaning making, communication, love, and professional craft. Patients may themselves seek in analysis a certain kind of beauty that is normally a byproduct of good enough empathy and communication. Using Kleinian theory, the author examines the ways in which destructiveness and aggression may be understood in relationship to an aesthetic of psychoanalysis. It is further proposed that the aesthetic and ethical principles of psychoanalysis are indissolubly linked.     

Therapy and the aesthetics of the self

Post-structuralists argue that personal identity is a function of societal power dynamics. This becomes especially problematic for persons recruited into problem-saturated identities. In this paper, inspired by Foucault's call for us to ‘create ourselves as a work of art’ (p. 262), I explore the therapeutic value of an aesthetic approach to identity. Instead of orienting to the client as one to be known and understood, we might envisage his or her life as an open-ended, never quite finalised oeuvre. Identity is therefore conceptualised not as something one ‘is’, but as a creative performance. A therapeutic case is presented to highlight some of the possibilities and challenges associated with such an approach.     

佛教与中国美学之特质

“生成”(Becoming)是中国美学的核心范畴,它将存在(Being)与非存在(Nonbeing)都纳入了思之领域。中国美学对“非存在”的关注由于深受佛教的催生和激励而愈加深化和内化。表现在艺术形态上,中国各门艺术都以显现“非存在之中的存在”为基本精神气质。     

Methodology in aesthetics: the case of musical expressivity

A central method within analytic philosophy has been to construct thought experiments in order to subject philosophical theories to intuitive evaluation. According to a widely held view, philosophical intuitions provide an evidential basis for arguments against such theories, thus rendering the discussion rational. This method has been the predominant way to approach theories formulated as conditional or biconditional statements. In this paper, we examine selected theories of musical expressivity presented in such logical forms, analyzing the possibilities for constructing thought experiments against them. We will argue that philosophical intuitions are not available for the evaluation of the types of counterarguments that would need to be constructed. Instead, the evaluation of these theories, to the extent that it can succeed at all, will centrally rely on inferential, non-immediate access to our subjective musical experiences. Furthermore, attempted thought experiments lose their methodological function because no proper distinction can be drawn between the persons figuring in the thought-experimental scenario and the evaluator of the scenario. Consequently, some of the central contributions to what is generally understood to be analytic philosophy of art are shown to represent a form of aesthetic criticism, offering much less basis for rational argumentation than is often thought.     

Visual aesthetics in store environment and its moderating role on consumer intention

• The paper goal is to answer the following questions: What are the factors of centrality of visual aesthetic design (CVSA) in store environment? What factor explains better the construct? Is there a relationship between CVSA and consumers' intentions, such as loyalty, satisfaction, minutes, item, and $ spent inside store? What is the moderating role of store visual aesthetic design on consumer intentions? The research design was a 2 × 2 design, between subjects, which we manipulated store arousal (high vs. low) and CVSA (high vs. low) in two studies. The findings supported the theory that there are three CVSA dimensions; that there is a positive relationship between CVSA and consumer satisfaction, loyalty, items bought, minutes visiting the store, and $ spent; and that high (vs. low) CVSA consumers were more discriminating in their intentions, when the environment had a high arousal. The original value is to support the notion that consumers also evaluate, beyond products, visual aesthetic components in retail and that it plays a moderating role on consumer intention.

Copyright © 2010 John Wiley & Sons, Ltd.     

Attitudinal and Phenomenological Theories of Pleasure

On phenomenological theories of pleasure, what makes an experience a pleasure is the way it feels. On attitudinal theories, what makes an experience a pleasure is its relationship to the favorable attitudes of the subject who is having it. I advance the debate between these theories in two ways. First, I argue that the main objection to phenomenological theories, the heterogeneity problem, is not compelling. While others have argued for this before, I identify an especially serious version of this problem that resists existing solutions, and I explain why even this version of the problem does not undermine phenomenological theories. Second, I argue that a grand reconciliation can be effected between the two types of theory: it can be true both that pleasures are pleasures in virtue of the way they feel and that they are pleasures in virtue of how they are related to their subjects' favorable attitudes, so long as the attitudes that are constitutively related to pleasures are ones that feel a certain way. Hybrid views of this sort have significant advantages over pure attitudinal or phenomenological views.