Apt Imaginings: Feelings for Fictions and Other Creatures of the Mind

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Jonathan Gilmore (Associate Professor of Philosophy, Associate Professor of Philosophy, CUNY)

Apt Imaginings

Feelings for Fictions and Other Creatures of the Mind

Jonathan Gilmore (Associate Professor of Philosophy, Associate Professor of Philosophy, CUNY)

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English

Oxford University Press Inc
17 February 2020

Philosophy: epistemology & theory of knowledge; Philosophy of mind; Philosophy: aesthetics

Series: Thinking Art

How do our engagements with fictions and other products of the imagination compare to our experiences of the real world?

Are the feelings we have about a novel's characters modelled on our thoughts about actual people?

If it is wrong to feel pleasure over certain situations in real life, can it nonetheless be right to take pleasure in analogous scenarios represented in a fantasy or film?

Should the desires we have for what goes on in a make-believe story cohere with what we want to happen in the actual world?

Such queries have animated philosophical and psychological theorizing about art and life from Plato's Republic and Aristotle's Poetics to contemporary debates over freedom of expression, ethics and aesthetics, the cognitive value of thought experiments, and the effects on audiences of exposure to violent entertainment.

In Apt Imaginings, Jonathan Gilmore develops a new framework to pursue these questions, marshalling a wide range of research in aesthetics, the science of the emotions, moral philosophy, neuroscience, cognitive psychology, and film and literary theory.

Gilmore argues that, while there is a substantial empirical continuity in our feelings across art and life, the norms that govern the appropriateness of those responses across the divide are discontinuous.

In this view, the evaluative criteria that determine the fit, correctness, or rationality of our emotions and desires for what is internal to a fiction can be contrary to those that govern our affective attitudes toward analogous things in the real world.

In short, it can be right to embrace within a story what one would condemn in real life.

The theory Gilmore defends in this volume helps to explain our complex and sometimes conflicted attitudes toward works of the imagination; challenges the popular view that fictions serve to refine our moral sensibilities; and exposes a kind of autonomy of the imagination that can render our responses to art immune to standard real-world epistemic, practical, and affective kinds of criticism.

By: Jonathan Gilmore (Associate Professor of Philosophy Associate Professor of Philosophy CUNY)
Imprint: Oxford University Press Inc
Country of Publication: United States
Dimensions: Height: 155mm, Width: 236mm, Spine: 25mm
Weight: 528g
ISBN: 9780190096342
ISBN 10: 0190096349
Series: Thinking Art
Pages: 276
Publication Date: 17 February 2020
Audience: Professional and scholarly , Undergraduate
Format: Hardback
Publisher's Status: Active

Jonathan Gilmore is a philosopher of art and art critic. He is Associate Professor of Philosophy at the CUNY Graduate Center and Baruch College. Prior to arriving at CUNY, he was Assistant Professor of Philosophy and Humanities at Yale University, and a Cotsen Postdoctoral Fellow in the Society of Fellows at Princeton University. A 2013-2014 National Endowment for the Humanities Fellow, he has published widely on the emotions, the imagination, philosophy of literature, philosophy of art history, freedom of expression, and twentieth-century European philosophy. His art criticism has appeared in such venues as Artforum, Art in America, ArtNews, Tema Celeste, Modern Painters, and several exhibition catalogues.

Reviews for Apt Imaginings: Feelings for Fictions and Other Creatures of the Mind

What you really want to know is, should you read this book? Yes, of course you should...The book is rewarding and engaging. -- Nicholas Wiltsher, The European Journal of Aesthetics Jonathan Gilmore's new book, Apt Imaginings: Feelings for Fictions and Other Creatures of the Mind, is a treat: it is bold, compelling, and carefully argued. It makes important contributions to a variety of different debates in and around the philosophy of art, including the status of imagined or quasi-emotions, the (so-called) paradox of tragedy, the debate over artistic functions, and the problem of moral and aesthetic interaction. It is beautifully written, filled with vivid and apt examples from the arts and thoughtful application of results from the sciences. -- James Harold, The Journal of Aesthetics and Art Criticism