We offer a new answer to the paradox of tragedy. We explain part of the appeal of tragic art in terms of its acknowledgement of sad aspects of life and offer a tentative explanation of why acknowledgement is a source of pleasure.
Bibliographical noteFunding Information:
Many people have made useful critical or encouraging remarks about this paper. We would like to apologize to those whose names or contributions we have forgotten, and would like thank both them and the following people: Matthew Kieran, Tom Stern, Rob van Gerwen, Louise Hanson, Anandi Hattiangadi, Jonas Åkerman, Niels van Miltenburg, Dawa Ometto, Michael De, Julia Langkau, Antje Rumberg, Rik Peels, Frans Svensson, Jonas Olson, Krister Bykvist, Ghislain Guigon, Alex Skiles, Akiko Frischhut, Graham Peebles, Santiago Echeverri, Fiora Salis, Philip Blum, Robert Michels, Kevin Mulligan, Fabrice Correia, Damiano Costa, Clare Mac Cumhaill, Sanna Hirvonen, Amanda Garcia, Francois Jaquet, Pablo Carnino, Arturs Logins, James Lenman, George Botterill, Tom Cochrane, Jennifer Saul, Robert Stern, Allard Tamminga and Caroline Dijkema. Part of the work on this paper was done while Natalja Deng was a member of the Swiss National Science Foundation project ‘Intentionality as the Mark of the Mental – Metaphysical Perspectives on Contemporary Philosophy of Mind’ (Sinergia, CRSI11-127488). Daan Evers was funded for part of the work by the European Research Council under the European Community’s Seventh Framework Programme (FP7/2007-2013)/ERC Grant agreement No 263227.
© 2015, The Author(s).
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