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Hume puts forward sentimentalism as a foundation for ethics primarily as a meta-ethical theory about the epistemology of morality. Hume's sentimentalism is akin to the moral epistemology of intuitionism (although, of course, different in many respects). According to such a theory, one's epistemological access to moral truths is not primarily ...
In modern times [15] "sentimental" is a pejorative term that has been casually applied to works of art and literature that exceed the viewer or reader's sense of decorum—the extent of permissible emotion—and standards of taste: "excessiveness" is the criterion; [16] "Meretricious" and "contrived" sham pathos are the hallmark of sentimentality, where the morality that underlies the work is ...
Sentimentalism in philosophy and sentimentalism in literature are sometimes hard to distinguish. [citation needed] As the philosophical arguments developed, the literature soon tried to emulate by putting the philosophical into practice through narration and characters. As a result, it is common to observe both philosophical and literary ...
Moral sense theory (also known as moral sentimentalism) is a theory in moral epistemology and meta-ethics concerning the discovery of moral truths. Moral sense theory typically holds that distinctions between morality and immorality are discovered by emotional responses to experience. Some take it to be primarily a view about the nature of ...
Some of these movements (such as Dada and Beat) were defined by the members themselves, while other terms (for example, the metaphysical poets) emerged decades or centuries after the periods in question. Further, some movements are well defined and distinct, while others, like expressionism, are nebulous and overlap with other definitions.
Sentimentalism may refer to: Sentimentalism (philosophy) , a theory in moral epistemology concerning how one knows moral truths; also known as moral sense theory Sentimentalism (literature) , a form of literary discourse
More technically however, its distinctive feature was the anti-mimetic and self-reflective drawing of attention to its own fictionality, [7] a parodic anti-realistic element. [8] Paradoxically, such anti-conventionalism would eventually come to form a distinctive convention of its own.
However, the popular sentimental genre soon met with a strong backlash, as anti-sensibility readers and writers contended that such extreme behavior was mere histrionics, and such an emphasis on one's own feelings and reactions a sign of narcissism. Samuel Johnson, in his portrait of Miss Gentle, articulated this criticism: