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The article offers the author's insights on the concept of Kendall Walton regarding hybrid truths and emotion involved in a film. The author states that Walton develops a theory to involve individuals with fictional narratives which pertain to the idea of making-believe that result in emotion. He adds that hybrid truths are needed to bring the emotional reaction of an individual to fictional films not only the imagination of the viewers on the fictional truth of the film.

Sartre's commentary on bad faith is the starting-point for an exploration of self-deception: what it is not, what it is, and whether it's always wrong. The proffered analysis of self-deception parallels a certain theory of our experience of fiction. In essence, it is argued that the self-deceiver creates a kind of fiction in which he is a character, a fiction that he nonetheless believes to be real. [ABSTRACT FROM AUTHOR]

Between Hanslick's negative thesis (music cannot portray specific feelings) and his positive thesis (the beauty of music is just the beauty of its tonal forms) lies what I call his disconnection thesis: 'Even if it were possible for feelings to be represented by music, the degree of beauty in the music would not correspond to the degree of exactitude with which the music represented them'. In short, the beauty of a piece of music and its expressive properties are disconnected. Hanslick supports this thesis with four arguments. Unfortunately for Hanslick none of these works. [ABSTRACT FROM AUTHOR]

Argues that it is more Immanuel Kant's successors than Kant himself who applied his theory of free beauty to works of art. Kant's bridge between the aesthetics of form and aesthetic ideas; Ways in which Marcel Duchamp has not effected quite so radical a departure from Kantian aesthetic theorizing as Arthur Danto thinks; Ways in which Duchamp has acted out Kant's thoughts on fine art in a very pure fashion.

Books reviewed: Noël Carroll, A Philosophy of Mass Art jerrold Levinson (ed.), Aesthetics and Ethics. Essays at the Intersection [ABSTRACT FROM AUTHOR]

The article reports that Ronald Dworkm, beginning in about 1967, has written a series of papers attacking the dominant contemporary theory of law, the legal positivism of French philosopher H.L.A. Hart. Dworkin's theory is a response to what he perceives as a built-in unfairness in positivism's way of dealing with hard cases. Hart divides the law into two main components. There are primary rules that create obligations, powers, and rights. Although talk of the rule of recognition is absent in Hart's, discussion of open-texture, it would appear that the rule of recognition would point out to the judge all the relevant rules, meanings, precedent,, and to say that the law is open-textured at some point seems to be to say that the rule of recognition has been exhausted or points no further.

Looks at how narratives, both fictional and factual raise suspense in their audiences. Definition of narratives;; Explanation of how narratives raises suspense; Other conditions necessary for suspense; Richard Gerrig views of suspense; Who Richard Gerrig is.

Focuses on the relevance of aesthetic appreciation of literature. Information on artworks as the paradigmatic arenas for aesthetic activities; Details on the denotative features of literary artworks; Discussions on attitudes of aesthetic theorist.

Focuses on the paradox of emotion and fiction. Factualism; Counterfactualism; Fictionalism; Realism.

Analyzes the formalism of several musical concepts. Range of tones; Structures of music; Theory on pieces of music.

Discusses David Hume's solution to the tragic paradox, and how it is sometimes misunderstood. Claim that the pain of our sorrow at the tragic hero's plight is converted by the artist's skill into pleasure.