Literature that can be found everywhere in Jacques Derrida’s writing forms the backbone of his whole corpus from democracy to law, from politics to ethics, from philosophy to art. He uses literature as a weapon against the domination of philosophy where main philosophical figures like Plato and Socrates who exclude literature had a share of this literary work. Many interpreters of Derrida sees him not a philosopher but a literary writer and this claims are both fair (from (...) the traditional philosophical concept) and unfair (from the era where reaching the absolute is impossible). In this sense, recent years there have been various efforts to engage Jacques Derrida's conception of literature. In this work, because of literature is the "experience of singularity" for Derrida, we will try to deal with Derrida and literature relations through the singularity. (shrink)

People tend to show greater liking for expressions of sadness when these expressions are described as art. Why does this effect arise? One obvious hypothesis would be that describing something as art makes people more likely to regard it as fictional, and people prefer expressions of sadness that are not real. We contrast this obvious hypothesis with a hypothesis derived from the philosophical literature. In this alternative hypothesis, describing something as art makes people more inclined to appropriate (...) it, that is, to see it as an expression of their own sadness. Study 1 found that describing the exact same sad text as art (e.g., a monologue) as opposed to not-art (e.g., a diary entry) led to increased liking for the work. Study 2 showed that this effect is not mediated by fictionality. Study 3 showed that the effect is mediated by appropriation. Study 4 looked at the impact of a manipulation of fictionality. Describing a work as fictional did lead to increased liking, but this effect was completely mediated by appropriation. These results provide at least some initial support for the appropriation hypothesis. (shrink)

Of the prominent elements of Mudurnu, a rare settlement that has preserved its historical texture, is undoubtedly the Yıldırım Bayezid Complex. Thanks to the madrasa in this complex, built in 1382, Mudurnu has been a centre of knowledge for centuries. In this process, perhaps hundreds of mudarris served in the madrasa. The most famous of these was Mullah Muslihiddîn Kastalânî, who served in the 1490s, and the last one was Mehmet ZühtüUzmay. The most important source of this study, which aims (...) to focus on Uzmay and his teacher Mehmet Sadık, is the file numbered 1955-0936 belonging to Uzmay in the Registry Archive of the Presidency of Religious Affairs. Although dozens of documents in this file constitute the source of the research, the main data is the ijazatnama which is intended to be published in Arabic and Turkish languages. This study, using literature review and document analysis techniques within the scope of qualitative research, reaches a number of proper names and teacher-student relations that can be considered notable for Mudurnu. There is no information about Mehmet Sadık and Mehmet Zühtü Uzmay in the literature. For this reason, this research has a unique value by filling an important gap in the field. The first of the mudarrises, subject to this study is Mehmet Sadık, who awarded the ijazatnama. The information, he narrated in the ijazatnama indicates that his educational life was shaped around Mudurnu and Bolu. It is understood that Mehmet Sadık benefited from many teachers during his student life. Unlike he mentions as his teachers, he emphasisesSıbgatullah Efendi and states that he received an ijazatnama from him. Sıbgatullah Efendi, who took courses from the scholars of Bolu and Istanbul, was an important figure who was appointed as the mufti of Bolu between 1860 and 1887. It is understood from the information in the literature and some documents in the relevant file that Mehmet Sadık assumed several different duties in Mudurnu after receiving his ijazatnama from his teacher Sıbgatullah Efendi. In this context, the first duty assigned to him was the teaching at Mudurnu Primary School. Subsequently, he became a mudarris. Some documents in Uzmay's file describe Mehmet Sadık as a mudarris. However, his only known position is as the mufti of Mudurnu. Although it is not known when and after whom he was appointed as the mufti of Mudurnu, he held this position until his death in November/December 1914. Mehmet Zühtü Uzmay, a student of Mehmet Sadık, was born in 1882 in the Camiikebir Neighbourhood of Mudurnu to the couple of Abdullah Rasih and Zeliha. After graduating from ibtidâî (primary) and rüşdiye (secondary) schools in Mudurnu, he went to Istanbul and enrolled in the Vefa Madrasa. He returned to Mudurnu after receiving education for a while from Tokatlı Şakir Efendi, one of the Fatih dersiams (public lecturers). Then he gets education for five years from his teacher Mehmet Sadık, who was serving as the mufti of Mudurnu at that time, and he took an ijazatnama on 08 August 1912. Soon after, in 1914, he was appointed as a mudarris at the Mudurnu Yıldırım Bayezid Madrasa and a preacher at the Sultan Süleyman Mosque at the same time. It seems highly probable that Uzman served in the city until the madrasas were closed down in 1924 but he did not undertake any official duties in the following years. In the documents examined, Uzmay, who was stated to have returned to his duty life as a candidate preacher as of 1944, was elected as the Mufti of Mudurnu on 16 July 1946, which was vacated with the death of Ubeydullah Doğulu, and continued in this position until 05 December 1960, when he retired. It is not known how long this Ottoman-era religious official, who was educated in the madrasa during the Ottoman period and served as a preacher and mufti during the Republican period, lived after his retirement and when he passed away. (shrink)

The enjoyment and pleasure derived from sad music has sparked fascination among researchers due to its seemingly paradoxical nature in producing positive affect. Research is yet to develop a comprehensive understanding of this “paradox.” Contradictory findings have resulted in a great variability within the literature, meaning results and interpretations can be difficult to derive. Consequently, this review collated the current literature, seeking to utilize the variability in the findings to propose a model of differential sad states, providing a (...) means for past and future findings to be interpreted. The proposed model is based on theoretical understanding, as such it requires full empirical support. Comparisons to alternative models, theoretical, clinical, and cognitive implications, as well as future directions are discussed. (shrink)

Life is pointless. That’s not okay. I show that. I argue that a point is a valued end and that, as agents, it makes sense for us to want our efforts and enterprises to have a point. Valued ends provide justifying reasons for our acts, efforts, and projects. I further argue that ends lie separate from the acts and enterprises for which they provide a point. Since there can be no end external to one’s entire life since one’s life includes (...) all of one’s ends, leading and living one’s life as a whole cannot have a point. Finally, I argue that since we live our lives and structure our living­a­human­life efforts both in parts and as a whole, it is fitting to be sad to recognize that leading and living a life is pointless. My discussion helps make sense of the literature that frequently talks around this topic but often does so vaguely and indirectly. (shrink)

This article seeks to recover a familiar but unappreciated female voice from English Puritanism of the seventeenth century, that of Margaret Baxter. Various challenges to such recovery are examined, most notably the nature of her relationship to her pastor and husband, Richard. Extant literature from Margaret’s hand focuses on the events surrounding her conversion and life-threatening illness shortly thereafter. The present analysis of these texts and their circumstances concludes that Margaret was a faithful but critical heir of the practical (...) theology of her day, and that in her lived expression of that tradition one observes the enduring scars of the trauma of her conversion. (shrink)

continent. 1.2 (2011): 136-140. In early 2011, Cow Heavy Books published The Official Catalog of the Library of Potential Literature , a compendium of catalog 'blurbs' for non-existent desired or ideal texts. Along with Erinrose Mager, I edited the project, in a process that was more like curation as it mainly entailed asking a range of contemporary writers, theorists, and text-makers to send us an entry. What resulted was a creative/critical hybrid anthology, a small book in which each page (...) opens to a new iteration of textual desire. These texts explore the material possibilities of the book. Somewhat parallel to the call of N. Katherine Hayles who, in her book Writing Machines , urges literary theorists to take up the practice of Medium Specific Analysis (to account for the way the medium in which it is presented conditions or at least bears on a literary text). I see in the imagined works of The Official Catalog a call for the innovative writers of today to become Medium-Responsive. This would mean thinking through the specific (materially constrained) possibilities offered by the media in which texts are presented, and in thinking of the literary text as a kind of art in the greater context of other arts and the book as a medium situated within the context of many other media. In doing so, the contemporary writer refutes the chorus of critics who lament the death of the book by consistently reinvigorating literary innovation. The following are selections from The Official Catalog of the Library of Potential Literature that show possible paths for (thinking about) new writing that engages with its medium. —Ben Segal, Editor THE CUBE Even the most radical non-linear texts have tended to exploit or subvert only the sequential possibilities of print—from the continuous loop of Joyce's Finnegans Wake to the shuffled cards of Marc Saporta's Composition No. 1 —but The Cube takes such multiplicities to an entirely new level. Set in a grid, the book's words can be read conventionally, across the page, as well as down each column—with either route making complete grammatical sense. But they can also be read as stacked strata and mined like lexical core samples through the layered pages of the book. Each path tells the same story from a different perspective (the narrative, naturally, hinges on the potential outcomes of a throw of cubed dice). By opening up the z-axis to reading in this way, The Cube recognizes the book as a three-dimensional sculptural space. Taking its lead from Armand Schwerner's (If Personal) and Raymond Queneau's Cent mille milliards de poèmes , The Cube reads like a experiment by Christian Bök precision printed by Emily McVarish. Craig Dworkin is the editor, most recently, of The Consequence of Innovation: 21st Century Poetics (Roof Books, 2008), The Sound of Poetry/The Poetry of Sound , with Marjorie Perloff (U. Chicago Press, 2009), and Against Expression: An Anthology of Conceptual Writing , with Kenneth Goldsmith (Northwestern UP, 2010). He teaches at the University of Utah. HE GOES In He Goes , we read notes, letters and e-mails from a scholar father to his novelist daughter. We read of the father's musings on Beckett, on Pinter, on Anne Frank; his description of a woman hanging laundry from a line. We read about his journey toward dying, followed by a brief, third person account of his death, and his obituary. Then a long series of blank pages that demand to be read in real time, non-sentence by non-sentence, blank page by blank page. Finally—and it is here that this peculiar little book begins to soar—the dead father writes to his as-of-yet-still-living daughter. He does not write from death. He does not write from life. The words unprint, unstamp, unkindle. Still, they require no translation. The father "writes" (for lack of a better word) about the serendipitous, the commonplace; he recommends another book. He jokes. He asks his daughter how her stomach is. He says forget about presence in absence, darling; screw words as memorial and the guys in garbage cans and loss as redemption and I can't go on I must go on. He goes, "Love, Fodder." He goes, "incidentally." He goes, "I thought you might like to know." Elizabeth Graver is the author of a story collection, Have You Seen Me? , and three novels: Unravelling ; The Honey Thief ; and Awake . Her work has been anthologized in Best American Short Stories , Best American Essays , and Prize Stories: the O. Henry Awards . She teaches at Boston College. THE PAPER ARCHIVIST A stunning package and a triumph of imagination, The Paper Archivist at times looks to be less a book than an abstract expressionist painting. Softly bound, its contents unfold to a single sheet of uneven thickness and texture—a canvas splattered with colored lines, stickers, broken sentences, and nonsense pictographs. But by following the directions to fold, dip, smell, rub, scratch, and tear the sheet according to the contingencies of the weather and using only the objects at hand, the reader slowly brings the forces hidden in the noise into a glorious sculptural convergence, processing a different story and shape each time. This is the rare book that continues to stir, whirl, and pop on every new reading. Sean Higgins blogs at BOMBlog where he is responsible for the column Volumes and Territories, as well as Ghost Island , a fledgling collaborative intellectual collective. THE SLOW BOOK The Slow Book , written by an anonymous author at the dawn of literacy, on a minor planet (otherwise notable only as the source of that exceptionally hardy, not very tasty grain called “shef” sowed on hostile planets as an early step to colonization), and encoded into a series of punctures on a strip of copper coiled inside a clever device, something between a player piano and an old-fashioned film projector, is being released into print, as was the author’s intention, at a rate of one word per century (local time). Each word is, across the Forty Galaxies, agreed to be uncannily apt for the century in which it appears—even “of,” in a century during which the highest value was attached to fidelity, whether to ideals, worlds, or romantic love; even “the,” which governed two centuries, one extraordinarily materialistic, during which advances in propulsion and navigation accelerated the exchange of exceptional objects between the remotest planets of the Forty, and one in which the central concern, both of philosophers and the common man, was whether, in an age of rapidly proliferating hypothetical worlds, anyone or anything concretely existed at all. Even those words published long before interstellar contact can be seen in retrospect to have transgalactic pertinence. As a result, attempts to abstract the machine from its publishers, Hobson & Hui, in order to “predict the future” for insight or gain by “fast- forwarding” the copper strip have been many and ingenious. While, in centuries of skepticism (“maybe”), or of unrest (“go”) the book has been nearly forgotten, in others it seems to haunt every thought, every deed, despite the fact that the subject of The Slow Book is still unclear. So far only a few sentences exist in print; everyone knows them, can quote them, offer the standard exegeses and assorted heresies; yet certainties are the stuff of adolescence; mature readers are forced to acknowledge that these sentences are probably only a preamble to the main argument. They contain no proper nouns, nor can we identify any definite theme. There is even disagreement about their tone, whether coolly ironic, as some insist, or ardent. The appearance of an unusual grammatical case, sometimes called the future pluperfect continuous, used to describe events that at some future point will have always been true (but are not yet)—hitherto known to appear only in the synthetic dogmas of the Thanatographical Society, and in certain highly circumscribed religious contexts—has suggested to some scholars that the Slow Book was originally intended for ritual use, but the proximity of the usage to a term designating a small hand plow that, as Pott and Mielcke have convincingly shown, would have borne a distinctly obscene double meaning in its culture of origin in the author’s time, argues otherwise. It is likewise unclear whether the situation that seems to be—with teasing incompleteness—sketched out in these few lines is intended as an illustration of general principles, a case study, a dramatic scene, or an extended metaphor. In short, we have no idea what The Slow Book is about. In our own time, we believe that it is almost certainly a work of fiction, but that may be because we live in the century of “if”. In each age, perhaps, we see the book we most need to read. Some have dared to suggest that the metal strip is blank until, with millennial fanfare, it advances into its new position, that no ur-text exists, that the book itself is brought into being—written—by our need. But that is exactly the sort of thing we would believe, in 7645. Shelley Jackson is the author of the story collection The Melancholy of Anatomy , the novel Half Life , and hypertexts including Patchwork Girl . The recipient of a Howard Foundation grant, a Pushcart Prize, and the 2006 James Tiptree Jr Award, she has also written and illustrated several children's books, including The Old Woman and the Wave ; Sophia, the Alchemist's Dog ; and Mimi's Dada Catifesto . Her stories and essays have appeared in Conjunctions , McSweeney's , The Paris Review , and Cabinet Magazine . In 2004 she launched her project SKIN , a story published in tattoos on 2095 volunteers. THE BOOK OF SOUNDS The Book of Sounds is just that: a book of sounds made when letters are construed in new ways to bring forth out of the alphabet new forms of speech. A book meant to be read out loud, The Book of Sounds is not unlike Laurie Anderson's O Superman or Brian Eno's Music for Airports in its attempt to make music out of the most primary and simplest of methods. It breaks language down to its barest bones and makes out of the page a drum that has never before been beaten upon. Peter Markus is the author of a novel, Bob, or Man on Boat (Dzanc Books) as well as two books of short fiction, Good, Brother and The Singing Fish , both of which were published by Calamari Press. A new collection of stories, We Make Mud , is now available from Dzanc Books. PARADISE OF THE BLIND by Celan Solen Although the reclusive Celan Solen published his first and only book in 1963—paying out-of-pocket for a limited edition of the slim collection No One May Have the Same Knowledge Again —he remained in American obscurity for almost three decades. In 1992 a micro-press in Istanbul brought out No One in Turkish. A German translation followed in 1995. Soon it became clear in literary circles Solen was a world-class (if highly unclassifiable) artist—lyrical, dense, enigmatic—who could undo the conventional short story in 397 words by inventing impossible worlds housed in impossible whirls (in “Small Sadnesses,” a single chartreuse tree frog in Borneo unknowingly holds time together by its very presence in the universe, while each letter of its tale refers, not to itself, but to the one preceding it in the alphabet). By his disappearance last year, Solen was considered master by a generation of writers and critics (except, alas, for those gentlemen in the Swedish Academy). Imagine, then, that generation’s delight at the discovery, locked away in the author’s safe-deposit box, of his second and final composition. Had Lynch’s Lost Highway been book instead of film, and had it been penned by Beckett at his least certain, revised by Barthelme at his most formally deranged, and typeset by Derrida at his most semiotically catastrophic, the result might have been something like Paradise of the Blind : interlacing narratives of a man composed of borrowed organs (whose most cheerless and difficult to locate, god, could only have been invented by an empty heart), a nonexistent medieval painting blamed for the ruin of future hope, and the spread of a philosophy that holds earth a mistake constantly recurring in the dream of a fish lying on the floor of the Atlantic (if the fish wakes, our world winks off)—all contained in a text packed with typed-over passages, torn postcards, poems that can be deciphered only when held up to a mirror, pages ornamented with trompe-l'œil paperclips and coffee stains and buzzing houseflies, some busy with illegible runes that dissolve when exposed to light, three that smell like roses or lemons (depending on whether a man or woman is reading), two that stain with the bloody fingerprints of the those who handle them, one that ignites when brushed with breath, thirteen sewn from baby skin, one that moans when touched, and one that screams—yet all without mass, unimaginable, and invisible. Lance Olsen is author of more than 20 books of and about innovative fiction, including, most recently, the novels Calendar of Regrets (2010) and Head in Flames (2009). He teaches experimental narrative theory and practice at the University of Utah. SUPERSTRUCTURE! by Barbara D'Albi As soon as I opened the third drawer of Barbara D'Albi's wooden novel, everything became hopeless. Now in Ithaca, there was no going back. And it wasn't just the intricate series of shelves, hinged doors and locked drawers which D'Albi layered into the book, no, lo, I was constructed anew by the story. Who else but D'Albi to imagine a God who becomes a carpenter and gets killed?! And makes it good! You want stories? D'Albi is a skyscraper, built with planes and levers. Momentarily I wondered where I could shelve this book, and then I thought: no matter; I couldn't put it down. Adam Robinson lives in Baltimore, where he runs Publishing Genius. He is the author of Adam Robison and Other Poems and Say, Poem. (shrink)

A person who has reason instead of instinct needs to be informed in order to survive. The relationship of vital knowledge with the soul, the source of life, has been established with emotions. Throughout the history of philosophy up to the 19th century, emotion has been a subject viewed negatively. Despite this, all deep-rooted wisdoms in the world, especially philosophy defined as love of wisdom, have accepted emotions as a criterion or a psychological sign of reaching the truth. In the (...) last century, with the legitimacy of the view that the self-awareness of consciousness is emotional rather than mental, the relationship between knowledge and emotion has been placed on the agenda of philosophy and science. The emotional basis of Islamic wisdom, as in the original forms of Judaism and Christianity, is fear and its more intense derivative, terror. In other words, the emotion of the person who acquires vital information is at the most severe level. In the translation of terms such as taqwa, and rughb, which express these feelings, into Western languages, the etymological closeness between the terms terror and terrorism, the foreignness to Islamic wisdom, and deliberate manipulations have given negative meanings to its authentic and positive basis. (shrink)

A distinguished group of authors reflects on problems currently enlivening the space shared by philosophy and literary theory in a series of chapters that range in scope from Plato to postmodernism.

In lieu of an abstract, here is a brief excerpt of the content:Kennedy Institute of Ethics Journal 10.2 (2000) 175-188 [Access article in PDF] Scope Note 38 Bioethics Resources on the Web * Once described as an "enormous used book store with volumes stacked on shelves and tables and overflowing onto the floor" (Pool, Robert. 1994. Turning an Info-Glut into a Library. Science 266 (7 October): 20-22, p. 20), Internet resources now receive numerous levels of organization, from basic directory listings (...) to elaborate "links" (cross-references to other Internet documents) that flash and glow in the dark. In many ways, the Internet functions as a direct extension of the traditional library. Following linked references across various sites is an electronic version of browsing library stacks, and the serendipitous discoveries made while "surfing the Net" recall the wonders of physically going "book-to-book." Although many of the Internet's best aspects augment library strengths by eliminating physical distance from sources, Net resources pose unique problems for researchers. It is not always clear who is responsible for the content of Web documents, when the document was produced, or how often (if ever) it is updated. Internet resource tools, then, must enable researchers to identify appropriate resources and to evaluate what they find when they get there. Web Research as Taking "Snapshots" Given the Internet's visual nature and fluid content, the process of conducting research on the Web has been likened to taking an informal picture of information on a specific date at a particular time. This metaphor also conveys the "zoom-in" aspect of searching through Web pages by going from general to specific categories. In the first section of this Scope Note, National Reference Center for Bioethics Literature (NRCBL) staff present a snapshot of bioethics resources taken during the spring months of 2000. Entries are divided into the categories of directories, electronic journals, full-text documents, news/current awareness, and teaching resources. In the two subsequent sections, this series of categories is repeated for entries on a specific topic within bioethics-genetics-and again for general search and evaluation tools. Where a Web site may contain pages applicable [End Page 175] to more than one category, multiple entries are made for that site with appropriate information for each category.Much as telecommunication advances have strengthened the relationship of patients and providers as partners, the dynamic nature of the Internet acknowledges that the researcher functions as a librarian whenever accessing the Web. It is our hope that BIOETHICSLINE and the other NRCBL databases not only will enable researchers to search the Web more efficiently, but also will help them to evaluate what they find when they get there. Bioethicsline on the Web: An International Plan in Progress Once only available through libraries, the U.S. National Library of Medicine (NLM), the funding agency for the ongoing development of the BIOETHICS LINE® database from the Kennedy Institute, has provided free Web access to that database of 63,000 citations since September 1998 through Internet Grateful Med. Plans are now underway to eliminate such specialty databases and incorporate all citations into PubMed (for journal articles) or LOCATORplus (for book-like materials and chapters in books). Both of these databases are likewise available at no cost on the Web. In the transition to PubMed and LOCATORplus some features of BIOETHICSLINE that presently are available may be lost. Researchers are encouraged to contact the National Reference Center for Bioethics Literature with search requests or for search strategy assistance with either the current or the future system (medethx@georgetown.edu).The inclusion of bioethics citations in PubMed and LOCATORplus will have several advantages. First, unique keywords from the Bioethics Thesaurus will be considered for inclusion in Medical Subject Headings (MeSH), the indexing vocabulary for PubMed and LOCATORplus, thereby enhancing retrieval of relevant clinical literature by offering more precise terminology covering ethical issues. Second, it will be easier to identify foreign-language materials, which are not currently included in the scope of BIOETHICSLINE. Third, the updating schedule will become more frequent. On the other hand, there may be some loss of searching precision because certain specialized features... (shrink)

People tend to show greater liking for expressions of sadness when these expressions are described as art. Why does this effect arise? One obvious hypothesis would be that describing something as art makes people more likely to regard it as fictional, and people prefer expressions of sadness that are not real. We contrast this obvious hypothesis with a hypothesis derived from the philosophical literature. On this alternative hypothesis, describing something as art makes people more inclined to appropriate (...) it, i.e., to see it as an expression of their own sadness. Study 1 found that describing the exact same sad text as art (e.g., a monologue) as opposed to not-art (e.g., a diary entry) led to increased liking for the work. Study 2 showed that this effect is not mediated by fictionality. Study 3 showed that the effect is mediated by appropriation. Study 4 looked at the impact of a manipulation of fictionality. Describing a work as fictional did lead to increased liking, but this effect was completely mediated by appropriation. These results provide at least some initial support for the appropriation hypothesis. (shrink)

In Culture, Genre, and Literary Vocation, Michael Davitt Bell charts the important and often overlooked connection between literary culture and authors' careers. Bell's influential essays on nineteenth-century American writers—originally written for such landmark projects as The Columbia Literary History of the United States and The Cambridge History of American Literature—are gathered here with a major new essay on Richard Wright. Throughout, Bell revisits issues of genre with an eye toward the unexpected details of authors' lives, and invites us to (...) reconsider the hidden functions that terms such as "romanticism" and "realism" served for authors and their critics. Whether tracing the demands of the market or the expectations of readers, Bell examines the intimate relationship between literary production and culture; each essay closely links the milieu in which American writers worked with the trajectory of their storied careers. (shrink)

During the late eighteenth century the Bible underwent a shift in interpretation so radical as to make it virtually a different book from what it had been a hundred years earlier. Even as its text was being revealed as neither stable nor original, the new notion of the Bible as a cultural artefact became a paradigm for all literature. In Origins of Narrative one of the world's leading scholars in biblical interpretation, criticism and theory describes how, while formal religion (...) declined, the prestige of the Bible as a literary and aesthetic model rose to new heights: not merely was English, German and French Romanticism steeped in biblical references of a new kind, but hermeneutics and, increasingly, theories of literature and criticism were biblically derived. Professor Prickett reveals how the Romantic Bible became simultaneously a novel-like narrative work, an on-going site of re-interpretation, and an all-embracing literary form giving meaning to all other writing. (shrink)

Listening to music can be an intensely moving experience. Many people love music in part because of its power to alter or amplify their moods, and turn to music for inspiration, comfort, or therapy. It is a puzzle, then, why many of us spend so much time listening to sad music. If music can influence our moods, and assuming that most people would prefer to be happy not sad, why would we choose to listen to sad music? I revisit the (...) question of why we like sad music, drawing from work in both the philosophy and psychology of music, as well as work in the philosophy and science of affect. I argue to shift the focus of the question to music-induced moods, not emotions. This reframes the debate but does not dissolve the paradox. To understand what is appealing about the affective experience of listening to sad music I suggest we take into account the unique features of music-induced sad mood. I argue that sad mood and a certain sort of focused music listening are mutually reinforcing in ways that differ from other mood/music interactions. Sad mood and sad music are, in a sense, made for each other. (shrink)

Enjoyment of negative emotions in music is seen by many as a paradox. This paper argues that the paradox exists because it is difficult to view the process that generates enjoyment as being part of the the same system that also generates the subjective negative feeling. Compensation theories explain the paradox as the compensation of a negative emotion by the concomitant presence of one or more positive emotions. But compensation brings us no closer to explaining the paradox because it does (...) not explain how experiencing sadness itself is enjoyed. The solution proposed is that an emotion is determined by two critical processes—labelled motivational action tendency (MAT) and subjective feeling (SF). For many emotions the two processes are coupled in valence. For example, happiness has positive MAT and positive SF, annoyance has negative MAT and negative SF. However, in an aesthetic context, such as listening to music, emotion processes can become decoupled. Sadness retains its negative SF but the aversive, negative MAT is inhibited, leaving sadness to still be experienced as a negative valanced emotion, while contributing to the overall positive MAT. Individual differences, mood and previous experiences mediate the degree to which the aversive aspects of MAT are inhibited. The reason for hesitancy in considering or testing this parallel processes hypothesis, as well as the preponderance of research on sadness at the exclusion of other negative emotions, are discussed. (shrink)

Recent work on hypercomputation has raised new objections against the Church–Turing Thesis. In this paper, I focus on the challenge posed by a particular kind of hypercomputer, namely, SAD computers. I first consider deterministic and probabilistic barriers to the physical possibility of SAD computation. These suggest several ways to defend a Physical version of the Church–Turing Thesis. I then argue against Hogarth's analogy between non-Turing computability and non-Euclidean geometry, showing that it is a non-sequitur. I conclude that the Effective version (...) of the Church–Turing Thesis is unaffected by SAD computation. (shrink)

Three experiments were conducted in order to validate 56 musical excerpts that conveyed four intended emotions (happiness, sadness, threat and peacefulness). In Experiment 1, the musical clips were rated in terms of how clearly the intended emotion was portrayed, and for valence and arousal. In Experiment 2, a gating paradigm was used to evaluate the course for emotion recognition. In Experiment 3, a dissimilarity judgement task and multidimensional scaling analysis were used to probe emotional content with no emotional labels. (...) The results showed that emotions are easily recognised and discriminated on the basis of valence and arousal and with relative immediacy. Happy and sad excerpts were identified after the presentation of fewer than three musical events. With no labelling, emotion discrimination remained highly accurate and could be mapped on energetic and tense dimensions. The present study provides suitable musical material for research on emotions.Keywords. (shrink)

Sadness is generally seen as a negative emotion, a response to distressing and adverse situations. In an aesthetic context, however, sadness is often associated with some degree of pleasure, as suggested by the ubiquity and popularity, throughout history, of music, plays, films and paintings with a sad content. Here, we focus on the fact that music regarded as sad is often experienced as pleasurable. Compared to other art forms, music has an exceptional ability to evoke a wide-range of (...) feelings and is especially beguiling when it deals with grief and sorrow. Why is it, then, that while human survival depends on preventing painful experiences, mental pain often turns out to be explicitly sought through music? In this article we consider why and how sad music can become pleasurable. We offer a framework to account for how listening to sad music can lead to positive feelings, contending that this effect hinges on correcting an ongoing homeostatic imbalance. Sadness evoked by music is found pleasurable (1) when it is perceived as non-threatening; (2) when it is aesthetically pleasing; and (3) when it produces psychological benefits such as mood regulation, and empathic feelings, caused, for example, by recollection of and reflection on past events. We also review neuroimaging studies related to music and emotion and focus on those that deal with sadness. Further exploration of the neural mechanisms through which stimuli that usually produce sadness can induce a positive affective state could help the development of effective therapies for disorders such as depression, in which the ability to experience pleasure is attenuated. (shrink)

The World Health Organization states that depression is the leading cause of disability worldwide, and predicts that by 2030 the epidemic of depression raging across the world will be the single biggest contributor to the overall burden of disease of all health conditions. Yet this gloomy picture masks a number of paradoxes concerning the diagnosis and cultural interpretation of depression that appear to challenge the claimed prevalence rates on which it is based. This book's essays by some of the world's (...) leading researchers and scholars on depression explores these anomalies in detail from multidisciplinary and multicultural perspectives, and in doing so reshapes the debate on the nature of depression that is currently under way in the US and abroad. At the book's core is the exploration from the multiple perspectives of a key dilemma: is the epidemic of depression real or is it just apparent? In particular, could it be the result of criteria laid down in the official American classification system of mental disorders, the DSM, interacting with cultural changes to reshape our view of melancholy, pathologizing what were formerly normal symptoms of grief or intense sadness? The debate over the DSM's conception of depression has an international relevance, with the WHO's upcoming revisions to its International Classification of Diseases requiring coordination with the DSM. This collection of perspectives has an unprecedented international dimension, as scholars from Europe and around the world join US academics to explore a central and controversial element of contemporary psychiatric diagnosis - and one that has enormous practical implications for the future of mental health care and how we view our emotions. The book's accessible essays will make it useful to scholars, practitioners, and students across a wide range of disciplines. (shrink)

Reading is one of the most common everyday activities, yet research elucidating how affective influence reading processes and outcomes is sparse with inconsistent results. To investigate this question, we randomly assigned participants (N = 136) to happiness (positive affect), sadness (negative affect), and neutral video-induction conditions prior to engaging in self-paced reading of a long, complex science text. Participants completed assessments targeting multiple levels of comprehension (e.g. recognising factual information, integrating different textual components, and open-ended responses of concepts from (...) memory) after reading and after a week-long delay. Results indicated that the Sadness (vs. Happiness) condition had higher comprehension scores, with the largest effects emerging for assessments targeting deeper levels comprehension immediately after reading. Eye-tracking analyses revealed that such benefits may be partly driven by sustained attentional focus over the 20-minute reading session. We discuss results with respect to theories on affect, cognition, and text comprehension. (shrink)

Since Case and Deaton (2015) coined the term ‘deaths of despair,’ there has been significant empirical work and public interest in the topic. Yet social scientists studying this topic lament the absence of a clear theory of despair. Philosophical inquiry into the nature and value of hope has begun to fill this gap, with despair often cited as the opposite of hope. The assumption that hope and despair are opposites has helped to motivate two central tasks in the literature: (...) how a theory of hope can make sense of the difference between hope and despair, and how hope might prevent people from falling into despair. Yet the focus of inquiry has been principally on hope. This paper builds on the existing literature to offer a theory of despair. We argue that despair is a mode of sadness whereby one experiences the loss of reasons to take seriously that which one desires. Our account of despair captures a set of desiderata that any theory of despair should explain, and it offers useful conceptual resources to social scientists studying deaths of despair. (shrink)

This guest column marks the tenth anniversary of the death of Jacques Derrida. The journal in which it appears, Common Knowledge, was not especially receptive to deconstruction during Derrida's lifetime, but Lesley Chamberlain in retrospect sees reasons to reconsider his role in intellectual history now. The delicacy of Derrida's mission, she argues, has been misunderstood. He is best placed in the company not of the “deconstructionists” who thought to follow in his footsteps but, rather, in the company of the moralistic (...) and theologically minded German philosophers and thinkers who inspired him, from Kant and Hegel to Heidegger and Walter Benjamin. A personal fear of being pinned down, coupled with his tragic Jewish witness to a philosophical quest for certainty gone astray, led the “Sad Rider,” one of many possible Derridas, to want to “erase” as much as he wanted to write — despite which, he was not spared being turned into an industry. (shrink)

Mood has varied effects on cognitive performance including the accuracy of face recognition . Three experiments are presented here that explored face recognition abilities in mood-induced participants. Experiment 1 demonstrated that happy-induced participants are less accurate and have a more conservative response bias than sad-induced participants in a face recognition task. Using a remember/know/guess procedure, Experiment 2 showed that sad-induced participants had more conscious recollections of faces than happy-induced participants. Additionally, sad-induced participants could recognise all faces accurately, whereas, happy- and (...) neutral-induced participants recognised happy faces more accurately than sad faces. In Experiment 3, these effects were not observed when participants intentionally learnt the faces, rather than incidentally learnt the faces. It is suggested that happy-induced participants do not process faces as elaborately as sad-induced participants. (shrink)

Inhibition, an executive function, is critical for achieving goals that require suppressing unwanted behaviours, thoughts, or distractions. One hypothesis of the emotion and goal compatibility theory is that emotions of sadness and fear enhance inhibitory control. Across Experiments 1–4, we tested this hypothesis by inducing a happy, sad, fearful, and neutral emotional state prior to completing an inhibition task that indexed a specific facet of inhibition (oculomotor, resisting interference, behavioural, and cognitive). In Experiment 4, we included an anger induction (...) to examine whether valence or motivational-orientation best-predicted performance. We found support that fear and sadness enhanced inhibition except when inhibition required resisting interference. We argue that sadness and fear enhance inhibitory control aiding the detection and analysis of problems (i.e. sadness) or threats (i.e. fear) within one’s environment. In sum, this work highlights the importance of identifying how negative emotions can be beneficial for and interact with specific executive functions influencing down-stream processing including attention, cognition, and memory. (shrink)

Many people appear to attach great value to sad music. But why? One way to gain insight into this question is to turn away from music and look instead at why people value sad conversations. In the case of conversations, the answer seems to be that expressing sadness creates a sense of genuine connection. We propose that sad music can also have this type of value. Listening to a sad song can give one a sense of genuine connection. We (...) then explore the nature of this value in two experimental studies. The results suggest a striking relationship between music and conversation. People see something distinctively musical in works that express precisely those emotions that they think most create connection within conversation. (shrink)

Music has strong emotional powers. How are we to understand affective responses to music? What does music teach us about emotions? Why are musical emotions important? Despite the rich literature in philosophy and the empirical sciences, particularly psychology and neuroscience, little attention has been paid to integrating these approaches. This extensive review aims to redress this imbalance and establish a mutual dialogue between philosophy and the empirical sciences by presenting the main philosophical puzzles from an affective science perspective. The (...) chief problem is contagion. Sometimes, listeners perceive music as expressing some emotion and this elicits the same emotion in them. Contagion is perplexing because it collides with the leading theory of emotions as experiences of values. This article mostly revolves around the critical presentation of the philosophical solutions to this problem in light of recent developments in emotion theory and affective science. It also highlights practical issues, particularly the role of musical emotions in well-being and health, by tackling the paradox of sad music, i.e., the question of why people enjoy sad music. It thus bridges an important gap between theoretical and real-life issues as well as between philosophical and empirical investigations on affective responses to music. (shrink)

This study investigates how sadness and minor/moderate depression influences the three functions of attention: alerting, orienting, and executive control using the Attention Network Test. The aim of the study is to investigate whether minor-to-moderate depression is more similar to sadness or clinical depression with regard to attentional processing. It was predicted that both induced sadness and minor-to-moderate depression will influence executive control by narrowing spatial attention and in turn this will lead to less interference from the flanker (...) items due to a focused attentional state. No differences were predicted for alerting or orienting functions. The results from the two experiments, the first inducing sadness and the second measuring subclinical depression, show that, as expected, participants who are sad or minor to moderately depressed showed less flanker interference compared to participants who were neither sad nor depressed. This study provides strong evidence, that irrespective of its aetiology, sadness and minor/moderate depression have similar effects on spatial attention. (shrink)

Young, middle-aged, and older raters (N=154) evaluated 1,026 prototypical facial poses of neutrality, happiness, anger, disgust, fear, and sadness stemming from 171 young, middle-aged, and older posers. The majority of poses were rated as multi-faceted, that is, to comprise several expressions of varying intensities. Consistent with the notion of age-related increases in negativity–avoidance/positivity effects, crossed-random effects analyses showed an age-related decrease in the attributions of negative, but not positive and neutral, target expressions (that the poser intended to show), and (...) an age-related increase in the attributions of positive and neutral, but not negative, non-target expressions (that the posers did not intend to show). Expressions were more difficult to read the older the posers, particularly for male posers. These age-of-poser effects were independent of the valence of the expression, but partly differed across age groups of raters. The study supports the idea of multi-dimensionality and age-dependency of emotion perception. (shrink)

Contemporary research has showcased many benefits of nostalgia, but its bittersweet character and historical reputation as unhealthy raise the possibility of less favorable impacts. In recent studies, daily diary data highlighted nostalgia’s mixed valence and suggested that nostalgia is more strongly associated with negative feelings. Variables that influence the adaptive or maladaptive dimensions of nostalgia have not yet been fully explored. Recently, a focus on when nostalgia is experienced relative to past and future was introduced in the construct of anticipatory (...) nostalgia, missing the present prematurely before it has become past. Distinct from personal nostalgia, anticipatory nostalgia was found to be characterized by difficulty enjoying the present and a tendency toward sadness and worry. The present study examines the distinctive dynamics at play in anticipatory and personal nostalgia by exploring the relationship between each type of dispositional nostalgia and reported experience with happy and sad stories. The Nostalgia Inventory, the Survey of Anticipatory Nostalgia, and a brief form of the PANAS were completed by 144 undergraduates (110 women), who rated their exposure and reactions to happy and sad stories. Reported frequency of exposure to happy and sad stories was related to dispositional happiness and sadness. Personal and anticipatory nostalgia did not differ in frequency of exposure to happy and sad stories, but they did differ in reactivity to and learning from sad stories. Findings highlight the importance of the timing of nostalgia, consistent with the distinction between nostalgia for the past and nostalgia for what is still present. (shrink)

Experimental induction of sad mood states is a mainstay of laboratory research on affect and cognition, mood regulation, and mood disorders. Typically, the success of such mood manipulations is reported as a statistically significant pre- to post-induction change in the self-rated intensity of the target affect. The present commentary was motivated by an unexpected finding in one of our studies concerning the response rate to a well-validated sad mood induction. Using the customary statistical approach, we found a significant mean increase (...) in self-rated sadness intensity with a moderate effect size, verifying the “success” of the mood induction. However, that “success” masked that, between one-fifth and about one-third of our samples reported absolutely no sadness in response to the mood induction procedure. We consider implications of our experience for emotion research by commenting upon the typically overlooked phenomenon of nonresponse, suggesting changes in reporting practices regarding mood induction success, and outlining future directions to help scientists determine why some subjects do not respond to experimental mood induction. (shrink)

Perceptual load plays a critical role in identification and awareness of stimuli. Given the differences in emotion–attention interactions, we investigated the perception of distractor emotional faces in two different load conditions under divided attention with a task based on the inattentional blindness paradigm. Participants performed a low- or high-load task with a string of letters presented against a happy, sad or neutral face (in a circular form) as the background. Participants were asked to identify the face that appeared in the (...) critical trial. Results indicate an interaction between emotion and load. First, identification of faces with happy expression was better than chance and unaffected by load. Second, performance was worse than chance for faces with sad expression in the high-load condition, indicating inhibition of unattended sad distractor faces in the critical trial. This indicates that inhibitory processes during a difficult attentional task under divided attention influence subsequent perception of distractor stimuli especially sad faces. The results have implications for the theories of selective attention as well as the role of emotions in conscious perception. (shrink)

Jewish and Christian philosophy existed side by side in the Middle Ages. Both sought the same goal: the explanation of God and His universe. Both utilized the same sources; yet each attained different philosophical and theological systems. The Meditation of the Sad Soul illustrates this divergence between Christian and Jewish thought. Furthermore, since it stands midway between Neo-platonic and Aristotelian Judaism, it underlines the development of key philosophical concepts common to both Judaism and Christianity. Abraham Bar Hayya lived in eleventh (...) century Barcelona, an intellectual center for both Jews and Arabs. The major points of his philosophy blend rabbinical, Neo-platonic and Aristotelian ideas, yet maintain a unique independence of their own. For instance, Abraham cut through the rabbinical and Aristotelian proofs of God, demanding instead a primary positive faith in God's existence. Caught up in the theology of light, he rejected the Platonic idea that darkness was merely an absence of light. Rather, darkness had a force equal to light. Most important, darkness and light were opposites, as were good and evil. God created both. Abraham insists that each had an independent existence in the world. Abraham's thought shows a more "rational" strain which appears later in Christian and even Jewish "heresies." Since good and evil exist as positive forces, man can freely choose his path to salvation. Abraham never gets caught in the Augustinian dilemma of will, grace, and predestination. Further examples of Abraham's independent position crop up in his ideas of creation and time. Creation ex nihilo, of course, but creation in time. Time must have a beginning and, consequently, an end. But man does not have to await passively the Messiah's rectification of sin. Man must repent here on earth and actively lead a good life. He cannot repent after death. How influential was Abraham's tract? The editor calls it a "minor classic" yet does not indicate that it formed a basis for later Christian theology. Maimonides knew it and rejected some of its basic tenets. Still, the book is important since it indicates a striking combination of traditional philosophy subjected to a new critical rationalism, an it foreshadows some of the questions raised by deviant Christian and Jewish theologians.--J. K. B. (shrink)

We examined liking for happy- and sad-sounding music as a function of exposure, which varied both in quantity (number of exposures) and in quality (focused or incidental listening). Liking ratings were higher for happy than for sad music after focused listening, but similar after incidental listening. In the incidental condition, liking ratings increased linearly as a function of exposure. In the focused condition, liking ratings were an inverted U-shaped function of exposure, with initial increases in liking (after 2 exposures) followed (...) by decreases (after 8 or 32 exposures). The results documented that: (1) sad music is liked as much as happy music in some instances; (2) frequency of exposure causes both familiarity (positive) and over-familiarity (negative) effects; and (3) effects of exposure on liking differ for focused and incidental listening. (shrink)

The term ‘consciousness’ is a latecomer upon the stage of Western philosophy. The ancients had no such term. Sunoida, like its Latin equivalent conscio, meant the same as ‘I know together with’ or ‘I am privy, with another, to the knowledge that’. If the prefixes sun and cum functioned merely as intensifiers, then the verbs meant simply ‘I know well’ or ‘I am well aware that’. Although the ancients did indeed raise questions about the nature of our knowledge of our (...) own perceptions and thought, and introduced the idea of an inner sense, they did not characterize the mind as the domain of consciousness. Aristotelians conceived of the mind as the array of powers that distinguish humanity from the rest of animate nature. The powers of self-movement, of perception and sensation, and of appetite, are shared with other animals. What is distinctive of humanity, and what characterizes the mind, are the powers of the intellect – of reason, and of the rational will. Knowledge of these powers is not obtained by consciousness or introspection, but by observation of their exercise in our engagement with the world around us. The mediaevals followed suit. They likewise lacked any term for consciousness, although they too indulged in reflections upon ‘inner senses’ – in the wake of Avicenna's distinguishing, arguably to excess, five such senses. (shrink)