TAILIEUCHUNG - THE PROBLEM WITH SENTIMENTAL ART

Although evidence supporting this view of the neural mecha- nisms underlying aesthetic appreciation seems to be accumulating, a number of issues are raised by the findings reported in these studies and the discrepancies among them. There are at least two pressing issues. First, what factors are responsible for the observed discrepancies in the results of the studies reviewed above? For in- stance, although several studies report enhanced high-level per- ceptual processing, different studies have identified the enhancement variously in occipital, temporal or parietal cortices. Nadal, Munar, Capó, Rosselló, and Cela-Conde (2008) have sug- gested that some of these discrepancies could be explained by the different kinds of stimuli used, different proportions. | Postgraduate Journal of Aesthetics Vol. 5 No. 2 August 2008 The Problem with Sentimental Art Nada Gatalo University of Southampton I. Introduction If we feel confident in criticizing art for being sentimental we ought to be able to precisely state how and why sentimentality is an aesthetic fault. This entails demonstrating that sentimental art fails to perform some function that is essential to art. in this paper i will argue that any critique of sentimental art that does not satisfy such a condition is not a legitimate aesthetic critique. Additionally i will put forth a genuinely aesthetic critique of sentimental art establishing why sentimentality is an aesthetic fault and why art will be aesthetically flawed to the extent that it is sentimental. Sentimentality is an ambiguous concept and my first step will be to crystallize working definitions of sentimentality and of sentimental art. Sentimentality will be Nada Gatalo defined as an emotional disposition that idealizes its object for the sake of emotional gratification and that is inherently corrupt because it is grounded in epistemic and moral error. Sentimental art will be defined as art that whether or not by design evokes a sentimental response. Various critiques of sentimentality as a general emotional disposition are focused on its epistemic and moral shortcomings. However I will argue the critique of sentimental art for epistemic and moral reasons is not clear-cut because of the incongruity between our epistemic and moral expectation of art and of real-life. As the focal point of this discussion I will use the Socialist Realist painting Roses for Stalin by Boris Vladimirsky which I take to be an exceptional example of sentimental art. In the final section of the paper I propose my own aesthetic criticism of sentimentality. I will show that the moral and epistemic defectiveness of sentimentality does prove aesthetically detrimental to sentimental art. My argument draws on Noel Carroll s clarificationist .

• Thời trang - Làm đẹp
• Separability (RLS)
• Feature (Gene)
• Subset Selection
• Disease Gene Prioritization
• Exploiting Protein
• Interaction Networks
• provides supporting
• limited ability