Over the past four decades, the paradox of fiction has sparked considerable debate among philosophers.

Download Citation The Paradoxes of Art: A Phenomenological Investigation Alan Paskow first asks why fictional characters, such as Hamlet and Anna Karenina, matter to us and how they are able to emotionally affect us. H. .Over the past four decades, the paradox of fiction has sparked considerable debate among philosophers. Unfortunately, the most promising solution to this puzzle, thought theory, currently earns its plausibility by way of intuition rather than evidence. I aim to address this by updating thought theory in light of recent empirical findings on affect.

The Paradoxes of Art book. Start by marking The Paradoxes of Art: A Phenomenological Investigation as Want to Read: Want to Read savin. ant to Read.

Paskow makes a case for a realist aesthetic. The first part of the book, which provides examples from literature and painting, culminates in a discussion of why fictional beings can be important to us. The second part of the book is almost exclusively devoted to a consideration of painting.

A Phenomenological Investigation - Free download as Word Doc . oc), PDF File . df), Text File . xt) or.It is the latter question that Alan Paskow addresses. He is interested in discovering how and why art, and especially painting, matter in out lives. This is an important topic

A Phenomenological Investigation - Free download as Word Doc . xt) or read online for free. This is an important topic. If art did hot matter to people in some deeply personal sense, it would not be the subject of such intense interest, whether on the part of the art-appreciating public or of academic philosophers.

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a b c Paskow, Alan (2004). The Paradoxes of Art : A phenomenological investigation. Podgorski, Daniel (November 13, 2015). Why Stories Make Us Feel: Colin Radford's So-called "Paradox of Fiction" and How Art Prompts Human Emotion". Cambridge: Cambridge University Press.

As emblematic of the fundamental concerns of our lives, paintings, he argues, are not simply in our heads but in our world.

Alan Paskow successfully defends an important thesis in this book - that we need not view artworks as separate kinds . More generally, Paskow takes on a daunting subject: what are the ways in which we interact with works of art?

Alan Paskow successfully defends an important thesis in this book - that we need not view artworks as separate kinds of entities from other things in our world. Rather, drawing on Heidegger's Being in Time, Paskow shows that self and world are one relational being (88) and artworks and fictional characters are most effectively viewed as internal components of that world. More generally, Paskow takes on a daunting subject: what are the ways in which we interact with works of art?

The Paradoxes of Art. A Phenomenological Investigation.

The Paradoxes of Art. As emblematic of the fundamental concerns of our lives, paintings, he argues, are not simply in our heads but in our world.