Eileen John believes that theorists of art agree that works of art can produce what she calls as “cognitive stimulation”, but this not necessarily can lead to a proper knowledge. For her, some objects require its spectator to know and follow its own rules.
She adds that art, and mainly literature, has an advantage to pieces of philosophy, because it needs a deeper involvement. If the philosophy can work on moral and ethical subjects, the literature touches in others aspects too, as imagination, emotion or even the pleasure-seek. Other vantage, John explains, of the literature over philosophic contents is to help us to develop complex, ambiguous and ironic concepts, besides a logical relationship.
John describes “experiential knowledge” as to gain “knowledge of what it is like to experience something”. In other words, to get in touch with certain situations which could give us determined learning about a specific issue. Art can provide this kind of expertise when it makes the spectator to live an emotion as it would be its real life.
On example: when a work of literature shows a given situation, its reader may put itself in place of the protagonist, and, this way, the reader is apt to practice its behaviour and be more prepared when, hypothetically, it will be confronted with this kind of given situation.
She adds that art, and mainly literature, has an advantage to pieces of philosophy, because it needs a deeper involvement. If the philosophy can work on moral and ethical subjects, the literature touches in others aspects too, as imagination, emotion or even the pleasure-seek. Other vantage, John explains, of the literature over philosophic contents is to help us to develop complex, ambiguous and ironic concepts, besides a logical relationship.
John describes “experiential knowledge” as to gain “knowledge of what it is like to experience something”. In other words, to get in touch with certain situations which could give us determined learning about a specific issue. Art can provide this kind of expertise when it makes the spectator to live an emotion as it would be its real life.
On example: when a work of literature shows a given situation, its reader may put itself in place of the protagonist, and, this way, the reader is apt to practice its behaviour and be more prepared when, hypothetically, it will be confronted with this kind of given situation.
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