Aristotle on the Paradox of Tragic Pleasure

Destrée, Pierre

doi:10.1057/9781137313713_1

Cited by 3 publications

(3 citation statements)

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“…Regarding the relationship of Pleasure with music and emotion, based on the idea that sad music can be perceived as pleasant, either due to its cathartic and relief effects (Ananth, 2014; Destrée, 2014; Stougie et al, 2004) or because of its aesthetic value and its ability to emotionally move and provide comfort (Destrée, 2014; Huron, 2011; Vuoskoski & Eerola, 2017; Eerola et al, 2017), we expected to find that Pleasure ratings would be independent from Valence and Arousal ratings. However, and opposite to this, we found a strong correlation between Pleasure and both emotional dimension variables (Valence and Arousal), meaning that sad music was rated as less pleasurable than joyful music, overall.…”

Section: Discussionmentioning

confidence: 96%

“…This becomes controversial when participants encounter stimuli that evoke negatively valenced emotions, but that are perceived as pleasant, as Huron (2011) and Vuoskoski and Eerola (2017) pointed out when observing this phenomenon in the paradox of pleasant sad music. This paradoxical pleasure in sad music can be explained, from a philosophical point of view, by the aesthetic, cognitive, and moral pleasure in art as well as to the catharsis experienced in what is known as Aristotelian tragic pleasure (Ananth, 2014; Destrée, 2014). Catharsis can lead to emotional relief, such as the crying–relief association, caused by the release of corticotropin, prolactin, and endorphins (Stougie et al, 2004).…”

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confidence: 99%

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The emotional link between color and music: What happens with atonal music?

Valdés-Alemán¹,

Zamudio-Gurrola²,

Téllez-Alanís³

2022

Psychomusicology: Music, Mind, and Brain

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In this work, we study the emotional link between music and color as well as the relationship that pleasure and familiarity have with music-evoked emotions, emphasizing on what happens with atonal music. This is important, since it is already known the role of music's mode (major or minor) on determining the perception of musical emotion for tonal music and, thus, its association with color. We decided to use Russell's (1980) multidimensional emotional scale model to assess music and colors, together with the four dimensions of the perceptual characteristics of color (Red-green, yellow-blue, saturation, and brightness) used by Palmer et al. (2013). Our results showed that atonal music shares a behavior similar to that found by Palmer et al. (2013) for tonal music, specifically, that music evaluated as joyful is linked to the colors perceived with that same emotion (saturated, light, and yellow), and sad music is linked to sad colors (desaturated, dark, and blue). Therefore, these findings reaffirm the importance of emotion on mediating the music-to-color association in both tonal and atonal music. Regarding our other variables, we found a positive correlation between pleasure and familiarity as well as between pleasure and emotional valence, although half of the music evaluated as sad (negative valence) was also evaluated as pleasant.

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Section: Discussionmentioning

confidence: 96%

mentioning

confidence: 99%

The emotional link between color and music: What happens with atonal music?

Valdés-Alemán¹,

Zamudio-Gurrola²,

Téllez-Alanís³

2022

Psychomusicology: Music, Mind, and Brain

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“…I thus accept the standard view of the importance of emotion-arousal to Aristotle's understanding of tragedy, following e.g. (Destrée, 2014) 14-15; (Curran, 2015) 298-9; (Rapp, 2015), against those who have sought to excise ( (Scott, 2003)), ( (Veloso, 2008)) its centrality or reinterpret the references to audiences' pity and fear ( (Belfiore, 1992) 179, chh. 6-7).…”

Section: Aristotle and The Paradox Of Fictionmentioning

confidence: 87%

Beware of Imitations!

Dow¹

2021

Ancient Philosophy

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Mythos and catharsis in Aristotle’s Poetics

Kyriakou

2024

Trends in Classics

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The paper argues that catharsis in Aristotle’s Poetics is a two-pronged process, which applies both to the construction of the mythos by the poet and its reception by the audience. Catharsis may plausibly be taken as the poet’s distillation of events that constitute a mythos so as to clear away anything that might undermine its coherence or disturb its unity. The sequencing of fearful and pitiable events in the plot according to probability or necessity allows the audience to evaluate or reevaluate properly the relative importance of factors that determine or influence the behavior of the tragic characters and the fulfilment of their fate. In several cases at least, the plot also leads the audience to realize that other features such as the heroes’ social and intellectual advantages, which they and/or the characters may have considered important in principle, because of their cultural or social background, and/or in the early stages of the plot, were not involved in the downfall (or salvation) of the heroes. This gradual and plot-induced shift in the audience’s appreciation of the relative importance of various factors constitutes the catharsis experienced by the audience. They gain a clear(er) understanding of the reason(s) why the heroes suffer and how they bring about (or escape) disaster. Sophocles’ OT and Euripides’ IT, which Aristotle praises highly in the Poetics, are discussed as examples that illustrate how their plots lead the audience to experience catharsis.

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Aristotle on the Paradox of Tragic Pleasure

Cited by 3 publications

References 11 publications

The emotional link between color and music: What happens with atonal music?

The emotional link between color and music: What happens with atonal music?

Beware of Imitations!

Mythos and catharsis in Aristotle’s Poetics

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