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Disconnection thesis is the third thesis that lies between Eduard Hanslick's negative thesis and his positive thesis, which is supported with four arguments, none of which work for Hanslick. Musical beauty does not correspond with exactness of expression, when Hanslick expresses the disconnection thesis.

Narratives, fictional and factual, commonly raise in their audience suspense. A narrative lays out over time (not all at once) a sequence of events; and because the events of the [...]

The realist position offers the best solution to the seeming paradox of feeling emotions in response to fiction. The alternative positions of factualism, counterfactualism and fictionalism all attack the problem by denying that emotions are really felt toward fictional characters and events. However, according to the realist position, the thesis to be denied is that emotions can be felt only toward characters and events that are believed to be real. The difference is not in the reality of the emotion felt, but rather in being a spectator of fiction instead of a participant in reality.

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]