Ad hominem, short for argumentum ad hominem, refers to several types of arguments, most of which are fallacious. Typically this term refers to a rhetorical strategy where the speaker attacks the character, motive, or some other attribute of the person making an argument rather than attacking the substance of the argument itself. This avoids genuine debate by creating a personal attack as a diversion often using a totally irrelevant, but often highly charged attribute of the opponent's character or background. The most common form of this fallacy is "A" makes a claim of "fact," to which "B" asserts that "A" has a personal trait, quality or physical attribute that is repugnant thereby going entirely off-topic, and hence "B" concludes that "A" has their "fact" wrong -without ever addressing the point of the debate.
In metaphilosophy and ethics, metaethics is the study of the nature, scope, and meaning of moral judgment. It is one of the three branches of ethics generally studied by philosophers, the others being normative ethics and applied ethics.
Non-cognitivism is the meta-ethical view that ethical sentences do not express propositions and thus cannot be true or false. A noncognitivist denies the cognitivist claim that "moral judgments are capable of being objectively true, because they describe some feature of the world". If moral statements cannot be true, and if one cannot know something that is not true, noncognitivism implies that moral knowledge is impossible.
Suspension of disbelief is the avoidance—often described as willing—of critical thinking and logic in understanding something that is unreal or impossible in reality, such as something in a work of speculative fiction, in order to believe it for the sake of enjoying its narrative. Historically, the concept originates in the Greco-Roman principles of theatre, wherein the audience ignores the unreality of fiction to experience catharsis from the actions and experiences of characters. The phrase was coined and elaborated upon by the English poet and philosopher Samuel Taylor Coleridge in his 1817 work Biographia Literaria.
The sorites paradox is a paradox that results from vague predicates. A typical formulation involves a heap of sand, from which grains are removed individually. With the assumption that removing a single grain does not cause a heap to become a non-heap, the paradox is to consider what happens when the process is repeated enough times that only one grain remains: is it still a heap? If not, when did it change from a heap to a non-heap?
In the case of uncertainty, expectation is what is considered the most likely to happen. An expectation, which is a belief that is centered on the future, may or may not be realistic. A less advantageous result gives rise to the emotion of disappointment. If something happens that is not at all expected, it is a surprise. An expectation about the behavior or performance of another person, expressed to that person, may have the nature of a strong request, or an order; this kind of expectation is called a social norm. The degree to which something is expected to be true can be expressed using fuzzy logic. Anticipation is the emotion corresponding to expectation.
Cognitivism is the meta-ethical view that ethical sentences express propositions and can therefore be true or false, which noncognitivists deny. Cognitivism is so broad a thesis that it encompasses moral realism, ethical subjectivism, and error theory.
Psychological horror is a subgenre of horror and psychological fiction with a particular focus on mental, emotional, and psychological states to frighten, disturb, or unsettle its audience. The subgenre frequently overlaps with the related subgenre of psychological thriller, and often uses mystery elements and characters with unstable, unreliable, or disturbed psychological states to enhance the suspense, horror, drama, tension, and paranoia of the setting and plot and to provide an overall creepy, unpleasant, unsettling, or distressing atmosphere.
Self-deception is a process of denying or rationalizing away the relevance, significance, or importance of opposing evidence and logical argument. Self-deception involves convincing oneself of a truth so that one does not reveal any self-knowledge of the deception.
A microexpression is a facial expression that only lasts for a short moment. It is the innate result of a voluntary and an involuntary emotional response occurring simultaneously and conflicting with one another, and occurs when the amygdala responds appropriately to the stimuli that the individual experiences and the individual wishes to conceal this specific emotion. This results in the individual very briefly displaying their true emotions followed by a false emotional reaction.
Nathan U. Salmon is an American philosopher in the analytic tradition, specializing in metaphysics, philosophy of language, and philosophy of logic.
Projectivism or projectionism in philosophy involves attributing (projecting) qualities to an object as if those qualities actually belong to it. It is a theory for how people interact with the world and has been applied in both ethics and general philosophy. It is derived from the Humean idea that all judgements about the world derive from internal experience, and that people therefore project their emotional state onto the world and interpret it through the lens of their own experience. Projectivism can conflict with moral realism, which asserts that moral judgements can be determined from empirical facts, i.e., some things are objectively right or wrong.
Suspense is a state of mental uncertainty, anxiety, being undecided, or being doubtful. In a narrative work, suspense is the audience's excited anticipation about the plot or conflict, particularly as it affects a character for whom the audience feels sympathy. However, suspense is not exclusive to narratives.
An object of the mind is an object that exists in the imagination, but which, in the real world, can only be represented or modeled. Some such objects are abstractions, literary concepts, or fictional scenarios.
Kendall Lewis Walton is an American philosopher, the Emeritus Charles Stevenson Collegiate Professor of Philosophy and Professor of Art and Design at the University of Michigan. His work mainly deals with theoretical questions about the arts and issues of philosophy of mind, metaphysics, and philosophy of language. His book Mimesis as Make Believe: On the Foundations of the Representational Arts develops a theory of make-believe and uses it to understand the nature and varieties of representation in the arts. He has also developed an account of photography as transparent, defending the idea that we see through photographs, much as we see through telescopes or mirrors, and written extensively on pictorial representation, fiction and the emotions, the ontological status of fictional entities, the aesthetics of music, metaphor, and aesthetic value.
Modal fictionalism is a term used in philosophy, and more specifically in the metaphysics of modality, to describe the position that holds that modality can be analysed in terms of a fiction about possible worlds. The theory comes in two versions: Strong and Timid. Both positions were first exposed by Gideon Rosen starting from 1990.
Affective disposition theory (ADT), in its simplest form, states that media and entertainment users make moral judgments about characters in a narrative which in turn affects their enjoyment of the narrative. This theory was first posited by Zillmann and Cantor (1977), and many offshoots have followed in various areas of entertainment. Entertainment users make constant judgments of a character's actions, and these judgments enable the user to determine which character they believe is the "good guy" or the "villain". However, in an article written in 2004, Raney examined the fundamental ADT assumption that viewers of drama always form their dispositions toward characters through moral judgment of motives and conduct. Raney argued that viewers/consumers of entertainment media could form positive dispositions toward characters before any moral scrutinizing occurs. He proposed that viewers sometimes develop story schemas that provide them "with the cognitive pegs upon which to hang their initial interpretations and expectations of characters". The basic idea of the affective disposition theory is used as a way to explain how emotions become part of the entertainment experience.
Research into music and emotion seeks to understand the psychological relationship between human affect and music. The field, a branch of music psychology, covers numerous areas of study, including the nature of emotional reactions to music, how characteristics of the listener may determine which emotions are felt, and which components of a musical composition or performance may elicit certain reactions.
Drama theory is one of the problem structuring methods in operations research. It is based on game theory and adapts the use of games to complex organisational situations, accounting for emotional responses that can provoke irrational reactions and lead the players to redefine the game. In a drama, emotions trigger rationalizations that create changes in the game, and so change follows change until either all conflicts are resolved or action becomes necessary. The game as redefined is then played.
Aesthetic cognitivism is a methodology in the philosophy of art, particularly audience responses to art, that relies on research in cognitive psychology. Although the term is used more in humanistic disciplines, the methodology is inherently interdisciplinary due to its reliance on both humanistic and scientific research.
