sibphilСибирский философский журналSiberian Journal of Philosophy2541-7517Новосибирский государственный университет10.25205/2541-7517-2022-20-3-43-56sibphil-545Research ArticleСОЦИАЛЬНАЯ ФИЛОСОФИЯSOCIAL PHILOSOPHYПарадокс отрицательных эмоций в искусстве: анализ теоретических и эмпирических исследованийParadox of negative emotions in art: analysis of theoretical and empirical studieshttps://orcid.org/0000-0002-0706-6606ГомесК.-Д.GomesK.- D.

Гомес Каролина-Джоанна, кандидат философских наук, ассистент, ассистент кафедры философии, биоэтики и культурологии

Екатеринбург

Karolina-Dzhoanna Gomes, Candidate of Sciences (Philosophy), assistant lecturer, assistant lecturer at the Department of philosophy, bioethics, and cultural studies

Yekaterinburg

gomeskjoanna@gmail.comУральский государственный медицинский университетРоссияUral State Medical UniversityRussian Federation2022270320232034356Copyright © Гомес К.D., 20232023Гомес К.Gomes K.D.Данная работа распространяется под лицензией Creative Commons Attribution 4.0.This work is licensed under a Creative Commons Attribution 4.0 License.https://sibphil.elpub.ru/jour/article/view/545

В статье представлен ряд современных философских концепций, предлагающих различные стратегии для решения «парадокса отрицательных эмоций» как общей проблемы того, как можно наслаждаться или ценить опыт искусства, включающий болезненные эмоции. Среди стратегий рассмотрены теории амбивалентности и оценочных суждений, компенсаторные теории и теории катарсиса. Выделяется ряд современных эмпирических исследований, посвященных данному парадоксу. Несмотря на то что в них присутствуют проблемы методологического и предметного характера, а сами исследования не складываются в стройную систему, их результаты представляют ценность, поскольку ставят под сомнение возможность универсального решения парадокса.

In this article, I will first present a number of contemporary philosophical conceptions that offer various solutions to the “paradox of negative emotions” as a general problem of how one can enjoy art that involves painful emotions. Solutions presented include ambivalence and value judgments theories, compensatory theories, and theories of catharsis. Then the article highlights a number of modern empirical studies devoted to this paradox. Despite the fact that they contain methodological and substantive problems, and do not add up to a coherent system, their results are valuable, since they challenge the possibility of a universal solution to the paradox.

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The authors declare that there are no conflicts of interest present.