Dissertations / Theses on the topic 'Pleasure'

This thesis is comprised of a series of paintings that study historical representations of styles, forms and symbols found in gardens. It is less a research project into the history, meaning, and rules of these different gardens throughout time and more of an appreciation, appropriation and reinvention in fantastical form. There is no attempt in these paintings to represent objects or things that exist in the physical world, but instead a desire to create a new fantasy world. The image of ‘garden as paradise’ has been part of our human mythos for a very long time. The image of ‘garden of eden’ appears in the old testament of the Bible. There was a similar early image of ‘garden as paradise’ in Zoroastrian beliefs in ancient ‘Persia’.
Master of Architecture

The state of global health and wellbeing is threatened by the pervasive and dangerous decision to engage in unprotected sex. Only male or female condoms can prevent the spread of both sexually transmitted infections and unintended pregnancies. Despite this, condoms remain dangerously underused because of the perception that they diminish sexual pleasure. The pleasure gap in the design and promotion of condoms cripples sexual health outcomes. Acknowledging and harnessing the power of pleasure in sexual-decision making is key to increasing condom use.

This project introduces the typology of the Pleasure Pier to Stockholm. The Pier starts at Ropsten, an area in the center of the municipality´s extensive plans for The Royal Seaport (or Norra Djurgårdsstaden). The project is a study of the pier typology, how to translate an old idea to give it relevance to Stockholm today, how a structure can be integrated in the intense traffic node that Ropsten will become, and how Stockholm´s abundance of water can become more accessible without diminishing its value.

Pleasure Consuming Medicine investigates the significance of the classification of drugs for conceptions of personhood in the context of consumer citizenship. It examines how drug discourses operate politically to sustain particular notions of personhood and organise bodies. As the normative conception of social life shifts to a discourse of consumer agency and active citizenship, it is argued, drugs come to describe the moral boundaries of a freedom configured around personal consumption. The thesis tracks the parallel rise of two discourses of drug mis/use from the 1970s - a discourse of 'drug abuse' and a discourse of 'patient compliance' - illustrating how these discourses bind personal agency to medical authority through a vocabulary of self-administration. It describes how illicit drugs are constructed as a sign and instance of excessive conformity to consumer culture, and how this excess is opportunistically scooped off and spectacularised to stage an intense but superficial battle between the amoral market and the moral state. Pleasure Consuming Medicine uses a theoretical frame developed from queer theory, corporeal feminism, governmentality studies and cultural studies to explore the political character of drug regimes, tracing some of the ramifications for sex, race, class, and citizenship. Then it turns to the field of gay men's HIV education to conceive some alternative and provisional vocabularies of safety. The thesis develops an argument on the exercise of power in consumer society, with the aim of contributing to cultural and critical understandings of consumption, embodiment, sex, health, and citizenship.

Pleasure Land has a strong regional setting in the fairground of a seaside town North West England, a place where' carousel horses come to die'. A man who is supposed to be dead is found murdered. The detective investigating the murder, Tom Fairfax, is coming to terms with the death of his daughter and isn't really up to the job. A man on the edge, he's been given a second chance and doesn't want to blow it. Talking to the Dead This thesis will examine how I approached the writing of the crime novel Pleasure Land by using influences from both literary and crime fiction. Through reference to mythology and the structure of the hero’s journey I will explore how these influences have been helpful to me in finding a shape and framework for my crime novel and for the voice of its detective, Inspector Tom Fairfax. I will discuss how this has been explored by other crime writers - writers of classic crime noir as well as Contemporary European crime writers, and the influence their approach has had on my ownwork. I will consider some of the moral and philosophical questions raised by the writing of crime fiction, in particular how insistent the voices of the dead can be in the solving of a crime.

Pleasure is part of hedonic well-being, with roots back to Epicurus 2000 years ago. With the new evolving neuroscientific methods of the late 20th and beginning of the 21st century, we are now able to study the biological components of pleasure. This thesis aims to review empirical studies on the neural correlates of pleasure, which can have important implications for well-being, and treatment of addiction and affective disorders. Recent studies have suggested that pleasure can be separated into coding and causing. Discoveries show that causing of pleasure is created in so called hedonic hot spots, areas of the brain that intensely creates pleasure in the shell of nucleus accumbens and in the ventral pallidum. Areas that codes pleasure on the other hand is represented into more cortical areas of the brain, including orbitofrontal cortex, anterior cingulate cortex and anterior insular cortex. There has been a growing understanding about how pleasure is represented in the brain, and a discussion on interpretations and limitations are provided followed by future research suggestions in the final section.

Pain and pleasure have historically been considered opposites, and appear to have mutually inhibitory effects. The aim of this thesis was to investigate the relationships between pain, pleasure and relief, both in terms of affect and in terms of the neural processing underpinning these sensations and their interactions. To this end, three psychophysical and four functional magnetic resonance imaging (fMRI) studies were conducted. The first study investigated the neural underpinnings of itch and motivation for relief. The results demonstrated the involvement of a network of regions previously implicated in sensory and motivational structures, highlighting the perhaps inextricable link between an unpleasant sensation and the desire for relief. The next three studies formed a senes ofpsychophysical investigations aiming to characterize the sensation of relief from brief thermal heat pain, and testing a number ofpredictions from the opponent process theory about relief. The behavioural measures of relief from these experiments showed a strong resemblance to the opponent process ofpain. The next study investigated the effects of anticipatory pleasure on pain processing. Anticipatory pleasure was induced via expectation of immediate cooling relief following noxious thermal stimulation, and results from physiological and fMRI data supported the hypothesis that anticipatory pleasure would reduce pain. The third fMRI experiment reported here investigated the relationship between relief and pleasure processing in the brain. Relief was induced via a safety cue following a 50% predictive pain cue. To allow for the comparison between relief and more classical reward processing, subjects imagined pleasant and neutral scenarios. Results showed some differences but also important similarities in relief and pleasure processing, notably in the medial prefrontal cortex and ventral striatum, where activation correlated with reported pleasantness. The final study reported here used fMRI to investigate the neural substrates ofpleasant pain. A moderate pain stimulus was presented in two different contexts. In one context, the alternative outcome was intensely painful, such that moderate pain caused relief; this stimulus was rated as pleasant during the experiment. In the other context, the moderate pain represented the worst outcome, and was rated as painful. Significant differences between the two (identical) moderate thermal stimuli were found in ratings of sensation and affect, as well as in arousal and activation in medial orbitofrontal cortex and amygdala. These brain regions appear to be involved when a painful sensation is transformed into pleasure. Overall, the results reported in this thesis demonstrated a strong link between relief from pain and pleasure. These findings support the notion that pain and pleasure are opposites and mutually inhibitory in some contexts, but as demonstrated by the co-occurrence of pain and pleasure in the last study reported here, the relationship between pain, pleasure and the resulting hedonic perception is complex. As recognised by Bentham more than two centuries ago, pain and pleasure are the two 'masters of mankind.' The results from this thesis suggest that as we move into a new era of neuroscientific research, the hedonic aspects ofpain and pleasure should be revisited, and their complementary natures explored further.

Decoration holds a contested position in built environment scholarship. Largely marginalised by Modernist claims of material and structural integrity, decoration is often sidelined as the most temporal and superficial of built environment practices. A common misunderstanding is that decoration and interior design merely make built space fashionable. The thesis challenges the misconception of interior design as gratuitous embellishment, and demonstrates how a reconsideration of the term ‘decoration’ makes new insights available for both contemporary practice and scholarship in interior design. I contend that if decoration can be considered a vehicle through which ideas, such as the cultural veneration of appearances and the social motivations of fashion are explored, it can be understood as representative of contemporary cultural concerns.

My practice consists of painting, ceramic sculptures, and performance to consider the construction of self-identity and the role of agency and labor in this construction. Mining my life experiences as a point of departure, I question how visual images, sculptural abstractions, and physical movement create a multi-dimensional representation of the self and how the body is a vehicle for the expression and formation of the self. I source images from family photos and film stills to question how I have embodied qualities from the women in these images. I will discuss my thesis exhibition My Pleasure (Forever Yours) to unpack particular decisions made within the works and how they relate to the larger narrative that I construct.

The present work is a continuation of the ideas developed in previous projects during my Masters studies that explored the relation between pattern, form and space. Starting from the pattern multiplication for space construction the present project proposes textiles as an assortment of flexible expressions. The purpose of the project is to explore aesthetic and functional potential of textiles for out door temporary structures. This is to create a pattern interface which filters sunlight through a textile surface to offer instant sheltering solutions for out door activities. The project combines research and analyses of outdoor temporary structures and scope of textile in the area. The research is interpreted into a concept of a portable space for relaxation. The design process shapes this concept of relaxation into a sun shelter.

I struggle to present work that reflects a psychological expressivity which at the same time conveys intellectual concepts that are of concern to me. It seems that the fluidity of an image can communicate a certain pathos, and correspond to the fluid nature of one’s identity. Drippy paint, distorted bodies, and vertiginous video clips can give an indication about what a body feels like from within. Depictions of these bodily feelings help to communicate ideas about what it means to be alive in general, and a mixed race woman, in particular.

This thesis uses the concept of pleasure as it has been applied to cultural artefacts in order to give a description of various characteristics of the soap opera genre. The concept of pleasure is applied to soap opera narrative, characters, visual style and viewing attitudes. Three soap operas, The Young and the Restless, General Hospital, and Another World, are described in detail according to these various types of pleasures. The Young and the Restless is a soap that relies largely on visual pleasures and melodrama. General Hospital's strongest pleasures are related to its character development and use of humour. Another World, the most traditional of the three soaps, is best at stimulating the pleasures associated with talk. Through analysis of viewer commentary supplied by letters sent to Soap Opera Weekly and Soap Opera Update and Nielsen ratings, it can be concluded that the pleasures that most soap opera viewers seem to value the most are related to visual style, romance and a delicate balance between realistic characters and fantasy in narrative.

It is now widely acknowledged that consumers in developed markets tend not to see functionality and usability as major differentiators in the products that they buy. Recent years have seen the growth of the 'hedonic consumer'; the products that they buy are often chosen for the pleasures that they elicit. To satisfy these consumer demands, designers need to understand more about the less tangible emotional aspects of consumers. The principle aim of this programme of research was to develop a design resource that could support designers in understanding more about the pleasure needs and attitudes of individual consumers and demographic groups. The discipline of ergonomics already supports design, and other disciplines, with understanding the physical and cognitive characteristics of consumers and a growing number of ergonomists have begun to apply its scientifiC methods and human centred perspective to the emotional needs of the consumer. To develop a resource that would ultimately appeal to designers, a study was conducted to investigate their attitudes towards pleasure and design and their needs for tools developed to support them. This led to a comprehensive specification that governed the functional and aesthetic qualities of the resource and its data content. Using Jordan's Four Pleasure Framework (1997); Physio-pleasure, Socio-pleasure, Psycho-pleasure, and Ideo-pleasure, qualitative and quantitative data were collected that showed the manner in which consumers can derive pleasure from the products that they own. The qualitative data consisted of extensive Video-interviews with 100 consumers concerning three products that they own that give them pleasure. Other sets of data were also collected to give the designer more insight into an individual consumer's lifestyle. The quantitative data were the product of a UK wide survey of 682 consumers' attitudes towards product pleasure. A number of significant gender and age effects, concerning the pleasures that we seek from the products we own, were found. For example, females found greater pleasure from the social and ideological aspects of products and males tended to draw pleasure from the status and performance demonstrated. Older generations drew pleasure from sound functionality and usability, while younger generations were more willing to use challenging products and placed more emphasis on the social aspects of prodUcts. To house this data an interactive design resource, named RealPeople, was developed. The driving principle behind its development was the representation of information about real consumers that is not diluted; maintaining the empathic link between the data and the consumer from which it originated. Designers can search and review the database, absorbing information about different individual consumers and the population trends. They can search the data base by product type or consumer characteristics, view video clips of consumers talking about their favourite products and access lifestyle information. Tile functionality of the resource allows designers to save and share different search results, annotate search results with comments, and produce rudimentary presentations of their findings. This information can be used early in the design process to increase awareness of the pleasure needs of different consumer groups, invigorate concept generation, and to initiate research. It can also be used later in the design process, to verify design deCisions, evaluate prototypes against other 'pleasurable' products, and as a presentation tool. Evaluation of the RealPeople resource was extremely Positive. Designers found it highly functional and usable. They were impressed with the relevance and quality of the data that It held. Crucially, they found the novel manner In which the data was presented and the level to which they could interact with it to be appealing. The assessment with designers also unveiled a number of different avenues that future iterations of the resource could potentially take, as well as several longer term research questions that warrant investigation.

At a time when technology seems increasingly poised to render the material realities of its users obsolete, putting the body back into digital media has become a matter of pressing social significance. Scholars like Lisa Nakamura have written compellingly about the importance of attending to the embodied identities of those who sit behind the screen: a crucial step toward disrupting the systems of inequality that characterize much of twenty-first-century Western digital culture. Similarly dedicated to issues of social justice, this project argues for turning attention to another essential element of the relationship between technology and the body: how digital media makes users feel. Far from being disembodied, digital tools have become crucial platforms for expressions of selfhood and desire. Yet, on a phenomenological level, virtual experiences also have a surprising capacity to directly affect the real, physical body. To demonstrate this, this project maps a network of key examples that illustrate how pain and pleasure—commonly imagined as the most embodied sensations—have in fact been brought to life through a range of media forms.

Beginning with the novels of the Marquis de Sade, Leopold von Sacher-Masoch, and Pauline Réage, this project contends that concepts of sadomasochism and literature have evolved side by side for more than two centuries. Moving from textual to visual forms, the project turns to Pier Pasolini’s Salò, a film that notoriously “hurts to watch,” to investigate the intersection of violence, complicity, and viewership. Next, the project moves into the digital realm, offering a reading of the erotic power exchange that drives video-game interactivity. In the final chapter, the project explores digital BDSM: practices of bondage, discipline, sadism, and masochism that take place entirely in virtual spaces. Across these chapters, the project argues for the value of “kink” as a critical lens, much like the “queerness” in queer studies, which underscores the cultural and personal significance of experiences that hurt. Together, the works and cultures considered here bring much-needed attention to the place of non-normative desires in media, both digital and non-digital. They also serve to productively challenge the perceived divide between the “virtual” and the “real.”

Arguably, one of the stimuli that move human the most is music. What physically consists in an array of sounds organized in time and frequency, is capable of evoking a rich palette of emotions, thoughts and behaviors in the listener. Despite the complexity of these psychological phenomena, however, music is also capable of evoking one of the most basic psychophysiological reactions to stimuli in humans: pleasure. Thus, a relevant question is how music, an arbitrary concatenation of sounds, ends up translated into this unique affective experience. As with many other aspects of human behavior, studying the brain function underlying this psychological phenomenon offers an insightful view on this intriguing inquiry. As of today, decades of research have been devoted to elucidate the neuropsychological mechanisms through which music-evoked pleasantness takes place. From psychological models of emotion and affect to evidence-based neuroscientific theories, the question of how music becomes pleasurable has been addressed from many different disciplines, approaches and methodologies. As a result, the brain architecture and mechanics underlying music evoked pleasantness have begun to be understood to great detail. Perhaps the most important breakthrough has been to verify that music engages the brain reward system, validating the idea that musical stimuli are indeed a source of hedonic impact. Nevertheless, along the brain reward system work a number of cortical areas responsible for the perceptual processing of musical stimuli. Altogether, this anatomical and functional interplay conforms an extensive network that actively contributes to the pleasurable experience of listening to music. Furthermore, other brain areas have been observed to be involved in these networks depending on the level of familiarity with the music stimuli, a factor that has been replicated to be intimately associated with music reward processing. As such, these networks utilize precise neural dynamics in order to transfer the information back and forth between the areas involved. A candidate mechanism for this information transfer are neural oscillations. By synchronizing to the same inputs, neuronal populations can pass information and process it efficiently to fulfill a task or demand. The neural oscillations associated with music-evoked pleasantness are just beginning to be understood. However, a common oscillatory signature of musical plea­ sure does appear consistently in the literature: theta oscillations. Nonetheless, whether the different areas engaged in music reward processing are indeed synchronized by these rhythms is yet to be determined. One goal of this thesis is to study whether theta rhythms indeed synchronize relevant brain nodes during pleasant music listening. In order to answer this question, in study 1 we acquired EEG signals from a cohort of participants while they listened and rated a number of musical excerpts. After analysis of the EEG data jointly with the self-reports, we observed that right frontal and temporal signals were more synchronized by theta rhythms the more pleasant music was found. These results converge with previous literature pinpointing right fronto-temporal connectivity to be actively involved in the process of assigning value to music, as well as with literature identifying theta rhythms as a correlate of music-evoked pleasantness and related constructs. Following this line of research, another goal of this thesis is to test whether the nodes synchronized by theta rhythms during pleasant music listening are indeed related to the music processing brain networks consistently replicated in the neuroimaging literature. For this purpose, in study 2 we acquired simultaneous fMRI-EEG recordings with a similar paradigm to that of study l. After replicating previous results identifying a fronto-temporal music-related brain network in our fMRI data, we studied the activity of this network in relation to theta synchronization as measured with EEG and reported pleasantness. We observed that theta synchronization between frontal and temporal signals was positively related to music-related brain function when music was reported to be liked the most, providing empirical evidence for the link between the two phenomena. Yet another intriguing question is whether liking for familiar music synchronizes similar or different brain nodes by theta rhythms. Familiar music has been observed to be liked more than unfamiliar music, suggesting qualitative and/or quantitative differences in its processing. lndeed, previous research has revealed that in addition to music processing areas, familiar music engages the parietal cortex. In study 3 we familiarized a cohort of participants with some music stimuli and had them rate the excerpts 24h later along a new set of stimuli while their EEG was recorded . We found that the right fronto-temporal theta connectivity profile found in the previous studies was only associated with liking for novel music. lnstead, temporo-parietal theta connectivity was more engaged when liking familiar music. These results go in line with previous research and pose the first attempt to our knowledge to study the familiarity effect on musical liking from an oscillatory dynamics perspective. Therefore, the research conducted in this thesis adds up to the state of the art in the neuroscience of music-evoked pleasantness. We provide novel evidence for the role of theta oscillations in synchronizing relevant brain nodes during pleasant music listening, as well as the different cortical nodes these rhythms synchronize depending on the familiarity level with music. Particularly, fronto-temporal theta rhythms were identified to be associated with music-evoked pleasantness overall, and with liking for novel music specifically. We also provide evidence that in the particular case of familiar music, liking is supported by theta temporo-parietal synchronization. Last but not least, our results also link empirically the fronto-temporal brain networks underlying music perception as measured with fMRI with theta oscillations associated with music-evoked pleasantness as measured with EEG. Altogether, the results presented in this thesis contribute to the understanding of the brain networks involved in pleasant and familiar music listening, insofar they corroborate theta rhythms as a means of synchronization dynamics, opening up new windows for future research
Podría decirse que uno de los estímulos que más conmueven al ser humano es la música. Lo que físicamente consiste en una serie de sonidos organizados en tiempo y frecuencia, es capaz de evocar una rica amalgama de emociones, pensamientos y comportamientos en el oyente. Sin embargo, a pesar de la complejidad de estos fenómenos psicológicos, la música también es capaz de evocar una de las reacciones psicofisiológicas más básicas que los estímulos pueden despertar en los seres humanos: placer. Por tanto, una cuestión relevante es cómo la música, una concatenación arbitraria de sonidos, acaba traduciéndose en esta experiencia afectiva única. Como ocurre con muchos otros aspectos del comportamiento humano, estudiar la función cerebral asociada a este fenómeno psicológico ofrece un punto de vista esclarecedor sobre esta intrigante cuestión. A día de hoy, se han dedicado décadas de investigación para dilucidar los mecanismos neuropsicológicos a través de los cuales se produce el placer evocado por la música. Desde modelos psicológicos de emoción y afecto hasta teorías neurocientíficas basadas en evidencia empírica, la cuestión de cómo la música se vuelve placentera se ha abordado desde muchas disciplinas, enfoques y metodologías diferentes. Como resultado, la arquitectura del cerebro y la mecánica subyacente a el placer a la música han comenzado a entenderse con gran detalle. Quizás el avance más importante ha sido verificar que la música activa el sistema de recompensa del cerebro, validando la idea de que los estímulos musicales son en efecto una fuente de impacto hedónico. Sin embargo, junto al sistema de recompensa cerebral funcionan una serie de áreas corticales responsables del procesamiento perceptual de los estímulos musicales. En conjunto, esta interacción anatómica y funcional conforma una red extensa que contribuye activamente a la experiencia de escuchar música placentera. Además, se ha observado que otras áreas del cerebro están involucradas en estas redes dependiendo del nivel de familiaridad con los estímulos musicales, un factor íntimamente asociado con el procesamiento de la recompensa musical, como así se ha replicado en la literatura . Como tal, estas redes utilizan dinámicas neuronales concretas para transferir la información entre las áreas involucradas. Un mecanismo candidato para explicar esta transferencia de información son las oscilaciones neuronales. Al sincronizarse con los mismos inputs, las poblaciones neuronales pueden comunicar información y procesarla de manera eficiente para cumplir con una tarea o demanda. Las oscilaciones neuronales asociadas al placer musical apenas han comenzado a entenderse. No obstante, hay un correlato oscilatorio del placer musical que aparece consistentemente en la literatura: las oscilaciones theta. Sin embargo, aún no se ha determinado si las diferentes áreas involucradas en el procesamiento de recompensas musicales están realmente sincronizadas a través de estos ritmos. Uno de los objetivos de esta tesis es estudiar si los ritmos theta realmente sincronizan los nodos cerebrales relevantes durante la escucha de música placentera. Para contestar esta pregunta, en el primer estudio adquirimos señales de EEG en un grupo de participantes mientras escuchaban y evaluaban una serie de fragmentos musicales. Después del análisis de los datos de EEG junto a las evaluaciones de placer, observamos que las señales frontales y temporales derechas estaban más sincronizadas a través de ritmos theta cuanto más placentera resultaba la música. Estos resultados convergen con literatura previa que señala que las redes fronto-temporales derechas participan activamente en el proceso de valoración musical, así como con literatura que identifica los ritmos theta como un correlato del placer evocado por la música y constructos relacionados. Siguiendo esta línea de investigación, otro objetivo de esta tesis es probar si los nodos sincronizados por ritmos theta durante la escucha de música placentera están real­ mente relacionados con las redes cerebrales de procesamiento musical normalmente halladas en la literatura de neuroimagen. Para ello, en el estudio 2 adquirimos registros simultáneos de fMRI-EEG en un paradigma similar. Después de replicar resultados anteriores identificando una red cerebral fronto-temporal relacionada con la música en nuestros datos de resonancia magnética funcional, estudiamos la actividad de esta red en relación con la sincronización theta medida con EEG, y el placer evocado. Observamos que la sincronización theta entre las señales frontales y temporales se relaciona positivamente con la función cerebral relacionada con la música cuando se reporta que ésta gusta más, proporcionando evidencia empírica del vínculo entre estos dos fenómenos. Otra cuestión importante es si el placer evocado por la música familiar sincroniza los mismos o diferentes nodos cerebrales por ritmos theta. Se ha observado que la música familiar gusta más que la música desconocida, lo que sugiere diferencias cualitativas y/o cuantitativas en su procesamiento. De hecho, investigaciones anteriores han revelado que, además de las áreas de procesamiento musical, la música familiar activa la corteza parietal. En el estudio 3 familiarizamos a un grupo participantes con algunos estímulos musicales y les pedimos que evaluaran los mismos fragmentos 24 horas después junto a un nuevo conjunto de estímulos mientras se registraba su EEG. Encontramos que la conectividad theta fronto-temporal derecha encontrada en los estudios anteriores solo se encontró asociada al placer evocado por música novel. En cambio, un perfil de conectividad theta temporo-parietal se encontró más asociado al placer cuando éste fue evocado por música familiar. Estos resultados están en línea con investigaciones previas y suponen el primer intento, a nuestro entender, en estudiar el efecto de familiaridad en el placer musical desde una perspectiva de dinámicas oscilatorias. Por todo esto, la investigación realizada en esta tesis contribuye a la vanguardia en la neurociencia del placer musical. Proporcionamos evidencia novedosa sobre el papel de las oscilaciones theta en la sincronización de los nodos cerebrales relevantes durante la escucha de música agradable, así como los diferentes nodos corticales que estos ritmos sincronizan según el nivel de familiaridad con la música. Particularmente, se identificó que los ritmos theta fronto-temporales están asociados con el placer evocado por la música en general, y específicamente con el placer evocado por la música nueva. También proporcionamos evidencia que en el caso particular de la música familiar, el placer está asociado con sincronización theta temporo-parietal. Por último, aunque no menos importante, nuestros resultados también vinculan empíricamente las redes cerebrales fronto-temporales relacionadas que subyacen a la percepción de la música (medidas con fMRI) con oscilaciones theta asociadas al placer musical (medidas con EEG). En conjunto, los resultados presentados en esta tesis contribuyen a la comprensión de las redes cerebrales involucradas en la escucha de música placentera y familiar, en la medida en que corroboran los ritmos theta como medio de comunicación neuronal, abriendo nuevas oportunidades para futuras investigaciones.

Increasingly, moral philosophers are seeking to combine (1) An objectivist or value-based theory of reasons for action, on which one’s reasons are provided, not by one’s desires, but by “facts about what is relevantly good, or worth achieving” (Parfit, 2001), with (2) Subjectivist theories of some of the key elements of the good – chiefly, pleasure and well-being – on which one’s desires (or other subjective states such as likings) help to constitute these good things. This picture, which I call The New Standard View, is proving attractive to so many largely because it offers the possibility of explaining the widespread intuition that subjective states have a significant role to play in shaping what we have a reason to do, without giving these states full reign over our reasons and so entailing (counterintuitively) that a person who cares nothing about others (and who still would not care even if she were fully informed and vividly imagining relevant facts) has no reason to treat them well. I accept that there is an important sense in which our reasons are provided by good things. If nothing were good or bad, then nobody would have a reason to do anything. But I disagree with just about everything else in The New Standard View. Indeed, I think this view has things back to front. We should be objectivists about the good, and subjectivists about reasons. On the picture I favour, which I call The New Rival View, the good consists just in whatever makes people better off in some way (welfarism), what makes people better off is just anything that increases the pleasurableness (or decreases the unpleasurableness) of their lives (hedonism about well-being), and for an experience to be pleasurable (or unpleasurable) is just for it to have a certain phenomenology. Reasons, in turn, are provided by desires (subjectivism about reasons). But, of necessity, there is only one thing each of us intrinsically desires: that the good be done (the guise of the good). It follows that each of us has a reason to do just whatever is good in some way.

La mayoría de personas recurren al consumo de cigarrillos en búsqueda de placer y relajo para calmar la ansiedad. Es conocido que estos cigarrillos convencionales contienen aditivos químicos que agravan la salud de las personas. En el siguiente trabajo de investigación, se evaluó la implementación de un cigarrillo sin aditivos químicos hecho de la planta del mapacho, producto que es consumido en la selva peruana, que pueda ofrecer la misma experiencia que tiene una persona al consumir uno que si los tiene. Se presentará el modelo de negocio final del proyecto y las validaciones que se realizaron para cada cuadrante. Se realizaron diferentes experimentos con personas que consumían cigarrillos comerciales para validar si el producto era aceptado. Asimismo, nos dimos cuenta que el sabor menta era solicitado cuando ofrecíamos el producto en los experimentos por lo cual decidimos ofrecer este nuevo sabor. Luego de validaciones y experimentos realizados, se obtuvo un empaque final con dos presentaciones de cigarrillos: tradicional y menta. Las ventas de los productos finales se realizaron mediante la plataforma de Facebook y de manera directa con las personas que ya conocían el producto. Finalmente, a raíz de las ventas y los gastos realizados, se desarrolló los planes y las proyecciones a tres años de los presupuestos de las áreas de operaciones, recursos humanos, marketing, responsabilidad social empresarial y finanzas.
Most people recur to the consumption of cigarettes in search of pleasure and relaxation to calm the anxiety. It is known that these conventional cigarettes contain chemical additives that aggravate the health of people. In the following research work, the implementation of a cigarette without chemical additives made of the mapacho plant was evaluated, a product that is consumed in the Peruvian jungle, which can offer the same experience that a person has with a conventional cigarette. The final business model of the project and the validations that were made for each quadrant will be presented. Different experiments were carried out with people who smoke commercial cigarettes to validate if the product was accepted. Also, we realized that the mint flavor was requested when we offered the product in the experiments for which we decided to offer this new flavor. After validations and experiments, a final packaging was obtained with two presentations of cigarettes: traditional and mint. The sales of the final products were made through Facebook and directly with the people who already knew about the product. Finally, as a result of sales and expenses, plans and three-year projections of the budgets of the areas of operations, human resources, marketing, corporate social responsibility and finance were developed.
Trabajo de investigación

This thesis proposes that an ethics of pleasure informs the destabilising elements of Sterne's texts, delineated through the peculiar energies and vitality in his jesting narrative voice. I demonstrate the Sternean synthesis of two problematic principles, ethics and pleasure, incompatible for the modem mind but complementary for Eighteenth century moralists. Sterne's configuration of ethical pleasure can be differentiated from those of major moral discourses of the seventeenth and eighteenth century: 1) by his distinctive ethical position which enfranchises laughter, gaiety, and mirth which his contemporaries underplay; 2) through a Rabelaisian humour which Bakhtin sees as exemplifying signs of Renaissance folk and peasant culture, so creating a distance from the progressivistic zeal of the Enlightenment; 3) in his conjunction of Fideistic scepticism with Rabelaisian grotesque, which absorbs and transfigures a sense of the plenitude and the inexplicability of nature. The first chapter examines Sterne's incorporation of a "heteroclite" perspective into orthodox latitudinarian theism in his sermons, in the specific forms of his selectiveness in adaptations or borrowings from various divine homilies. The second chapter compares his ethics of pleasure with major contemporaneous moral discourses, focusing on the production of different moral frameworks through differing perceptions of man's place in nature. The third chapter locates Sterne's formulation of text and narrative in a material presence of communion and fellow-feeling among disparate sUbjectivities. The fourth chapter investigates the ethical significance of Sterne's particular use of laughter, in which he tries to re-enact the laughing spirit of Rabelaisian grotesque with partial success, thus suggesting his comic spirit be identified as Romantic grotesque. A fmal chapter concludes with Sterne's attempt to test his ethics through interlocution and engagement with strangers in A Sentimental Journey, charting the pragmatic obstacles to a praxis of love for the concretised being.

COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
A presente dissertação de mestrado tem o objetivo de mostrar os vínculos entre a noção de mimesis, prazer e conhecimento na Poética de Aristóteles. No texto da Poética, dois momentos são importantes para analisar o prazer que o homem experimenta ao estar diante de um mimema: quando o exemplo é uma pintura, e quando o exemplo é uma tragédia. No caso do exemplo pictórico, o prazer é claramente cognitivo: há prazer em reconhecer do que o mimema (a pintura) é mimema. No caso da tragédia a questão é mais complexa, pois ela surte no espectador, ou no leitor, terror e piedade, emoções descritas na Retórica como dores. Na mimesis trágica, o prazer estaria ligado à compreensão de quais ações levam ao desfecho doloroso, sendo então o prazer trágico também cognitivo.
This dissertation intends to show the relationship between the notion of mimesis, pleasure and knowledge in Aristotle Poetics. Within the Poetics, two moments are necessary for an analysis of the pleasure that Man experiences when he finds himself before a mimema: the example of painting and the example of tragedy. As concerns the first, pleasure is clearly cognitive: there is pleasure in finding out what the mimema (the painting) is a mimema of. But the case of tragedy is of greater complexity, because tragedy causes terror and pity in the spectator or reader, and such emotions are described as pain in the Rhetoric. In the tragic mimesis, pleasure is derived from the understanding of what actions have lead to the painful outcome, so that tragic pleasure is also of a cognitive kind.

COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
A presente tese de doutorado trata da catarse, da emoção e do prazer na Poética de Aristóteles. O filósofo não define o que entende por catarse trágica na obra; no entanto, ele nos diz que a trama trágica suscita duas emoções dolorosas – piedade e temor – e, além disso, surte um prazer que lhe é próprio. A questão é entender como estes dois opostos, prazer e dor, relacionam-se entre si e se no esclarecimento dessa relação encontramos também pistas para interpretarmos a catarse.
The PHD thesis presented here is a reflection on the problems of catharsis, emotion and pleasure on Aristotle’s Poetics. In his work, the philosopher does not define what he understands as tragic catharsis; nevertheless, he tells us that the tragic framework arouses two painful emotions - pity and fear - besides originating an inherent pleasure. The arising questions are: how can pleasure and pain, being converses, relate and if on the event of this issue being clarified will we provide hints for interpreting catharsis.

PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
Apesar de ser um tema pouco divulgado tanto publicamente quanto dentro da própria classe musical, é grande o número de músicos que sofre com dores, desconfortos e até mesmo lesões e outros problemas de saúde decorrentes da atividade musical. A respeito disso se têm observado, nas últimas décadas, um crescente interesse de pesquisadores, principalmente da área da saúde, o que faz com que já existe uma considerável bibliografia sobre o assunto. Entretanto, ainda existem muitas lacunas de conhecimento que precisam ser preenchidas a fim de tornar a prática musical (profissional ou não) menos prejudicial à saúde de seus praticantes. Esta pesquisa, de caráter exploratório, investiga o tema numa amostra de 39 músicos instrumentistas da cidade de Manaus, dando ênfase às questões emocionais envolvidas na prática e sobre como elas podem interferir na percepção desses constrangimentos por parte dos indivíduos. Um dos pontos centrais abordados é a questão de que a prática musical seria uma situação favorável à ocorrência do estado de flow (CSIKSZENTMIHALYI, 1997), o que justificaria o fato de muitos músicos nem perceberem as dores e desconfortos durante a execução das atividades. Foi aplicado junto a esses respondentes um instrumento de coleta de dados composto de quatro partes: um questionário com informações gerais sobre a prática musical e os constrangimentos; um processo de ordenação de cartões com emoções/sentimentos presentes na prática; uma série de escalas de avaliação tratando do estado de flow e da cultura da dedicação presente no meio musical; e uma entrevista final visando ter opiniões mais aprofundadas dos músicos a respeito do tema tratado. Os dados coletados foram cruzados e analisados e os resultados apontam, entre outras coisas, que a prática musical, dentro dessa amostra, apresenta características similares às encontradas nas ocorrências do estado de flow e ainda contam da importância das questões emocionais na prática, de acordo com a opinião dos músicos participantes.
Despite being a little divulged issue both publicly and within the musical class, is high the number of musicians who suffer from pains, discomforts and even injuries and other health problems associated with the musical activity. About this, have been observed in recent decades, a growing interest from researchers, especially in the health area, which means there is already a considerable literature on the subject. However, there are still many knowledge gaps that need to be filled in order to make the musical practice (professional or not) less harmful.This study, which has an exploratory character, investigates this issue with a sample of 39 instrumentalists from Manaus, emphasizing the emotional aspects involved in the practice and how they can interfere in the perception of the constraints of these individuals. One of the main points discussed is that musical practice would be a favorable situation to occurrence of flow state (CSIKSZENTMIHALYI, 1997) what could justify the fact that many musicians don’t even realize the pain and injuries during the execution of the activity. It was applied at these respondents an instrument of data collection consisted on four parts: a questionnaire with general information about musical practice and constraints; a process of ordination of cards containing emotions/feelings involved in the practiced; a series of assessments scales about the flow state and about the dedication culture that exists in the musical environment; and a final interview seeking for more deeper opinions from musicians about the issue. The collected data were crossed and analyzed and the results indicate, among other conclusions, that musical practice from this sample, has similar characteristics from other where flow state is found, and still contain the importance of emotional matters in the practice, according to the participants musicians.

Thesis (MA (Psychology))--University of Stellenbosch, 2010.
ENGLISH ABSTRACT: Jacques Lacan and Sigmund Freud‟s ideas are presented with specific emphasis on the themes presented in Freud‟s (1920a) Beyond the Pleasure Principle. Freud‟s Project for a Scientific Psychology (1950) provides important clues to describe the pleasure principle in terms of Quantity (Q), facilitations [Bahnung] and contact-barriers. Therefore, the implications of the pleasure principle relate greatly to 1) Freud‟s notion of the unconscious, 2) Lacan‟s explanation of das Ding, 3) the difference between jouissance and plaisir, and 4) the relationship between das Ding and the Law. Lacan‟s understanding of the death drive is consequently the culmination of all the topics mentioned and repeated throughout. Lacan‟s description of the death drive is twofold: firstly, the mechanical explanation of the pleasure principle, and secondly, how desire features within the pleasure principle. Lacan‟s description of the death drive encompasses libido, desire, economy, Linguistics, and the Oedipus complex, which illustrates why Freud‟s (1920) Beyond the Pleasure Principle is not only an important text in Freud‟s oeuvre, but also in Lacan‟s.
AFRIKAANSE OPSOMMING: Jacques Lacan en Sigmund Freud se idees word nagegaan met spesifieke beklemtoning van die temas in Freud (1920a) se Beyond the Pleasure Principle. Freud (1950) se Project for a Scientific Psychology verskaf belangrike wenke vir die beskrywing van die pleasure principle in terme van kwantiteit (Q), fasilitasies (Bahnung) en kontak-versperrings [contact-barriers]. Gevolglik het die implikasies van die pleasure principle betrekking tot 1) Freud se begrip van die onbewussyn, 2) Lacan se verduideliking van das Ding, 3)die verskil tussen jouissance en plaisir, en 4) die verhouding tussen das Ding en die Wet. Lacan se begrip van die doodsdrang (death drive) is gevolglik die toppunt van al die onderwerpe wat deurentyd genoem en herhaal is. Lacan se beskrywing van die doodsdrang is tweedelig: eerstens, die meganiese verduideliking van die pleasure principle en tweedens, die rol van begeerte in die pleasure principle. Lacan se beskrywing van die doodsdrang behels libido, begeerte, ekonomie, Linguistiek, en die Oedipus-kompleks, wat wys hoekom Freud (1920) se Beyond the Pleasure Principle nie net „n belangrike teks in Freud se werke is nie, maar ook in Lacan s‟n.

This dissertation explores a number of interrelated metaphysical and epistemological issues regarding pleasure, suffering and their apparent value and disvalue, thematically tied together by the broad idea that pleasant and unpleasant experiences are, respectively, experienced as good and bad. More specifically, I try, firstly, to advance the debate regarding the nature of pleasure by arguing for what I shall call the "Self-Experiential View" - the view that pleasant experiences are pleasant in virtue of being experienced as good. Secondly, I assess the merits of the "Hedonic-Evaluative Acquaintance Thesis" - the natural conjecture, expressed by a number of authors, that our especially intimate experiential relationship ("acquaintance") with the evaluative features of our hedonic experiences grounds a particularly robust kind of epistemic status enjoyed by our hedonic-evaluative beliefs, which makes them less vulnerable to sceptical doubt. In chapter 1, I lay some groundwork for the ensuing discussion, by introducing a number of background claims which help to motivate these two theses. Moreover, I isolate two specific important ways of unpacking the Hedonic-Evaluative Acquaintance Thesis and clarify some central concepts which feature prominently in the subsequent chapters. In chapter 2, I defend the "Self-Experiential View." I proceed by addressing a number of objections which have been levelled against the view in the literature, and locate it in relation to the views which currently dominate the debate regarding the nature of pleasure. In chapter 3, I assess and ultimately reject the first important version of the Hedonic-Evaluative Acquaintance Thesis singled out in chapter 1, the "Naïve Realist Hedonic-Evaluative Acquaintance Thesis," which states that Naïve Realist acquaintance with pleasure's evaluative nature grounds a distinctive, especially robust kind of epistemic status enjoyed by our hedonic-evaluative beliefs. In chapter 4, I assess the "Introspective Hedonic-Evaluative Acquaintance Thesis", the attempt to vindicate the Hedonic-Evaluative Acquaintance Thesis by extending an acquaintance account of phenomenal introspective justification to the hedonic-evaluative case. By carefully unpacking a range of different candidate conceptions of introspective acquaintance, I home in on what I consider the most appealing acquaintance account of phenomenal introspection, and argue that it should not be extended to the hedonic-evaluative case, which means that this proposal also fails. A brief concluding chapter summarises the key conclusions of the dissertation and highlights some questions raised in the course of my discussion which would seem to warrant further investigation.

English
Ph.D.
Food and Pleasure in Modern American Literature is a study of the dynamics of pleasure in literary scenes of food, eating, and hungering in American poetry and novels from the early 20th century to the present. From infamous poetic instances of plums and memorialized moveable feasts in the early twentieth century to present-day preoccupations with overdetermined foods and bodies, food scenes in literature help develop character, play out cultural or social dynamics, or dramatize appetite and desire. In many instances, pleasure (or its absence) is what gives such scenes weight and dimension. I apply tools and concepts from both structuralism and phenomenology to explore the tensions between seemingly opposing ideas introduced in food-focused texts, which have been selected from a broad range of genres and eras. Chapters 2 through 6 focus specifically on poetry, which offers the opportunity to explore specific structuralist and phenomenological concepts within the space of a few lines, for closer attention. Chapters 7 through 10 examine fiction and non-fiction prose at lengths which permit many more layers of conflict and desire in regard to food and pleasure. The culminating chapters examine contemporary food writing and recent novels that shed light on the food issues of the present day.
Temple University--Theses

There have been many studies of keywords in Paradise Lost. Over the last fifty or so years words such as �wander�, �lapse�, �error�, �fruit�, �balmy�, �fall�, �hands�, among others, have attracted critics� attention. The present enquiry brings under scrutiny three linked keywords which have up to now escaped notice. These are the words �bliss�, �delight�, and �pleasure�. The fundamental proposition of the thesis is that Milton does not use these words haphazardly or interchangeably in his epic poem (though in other of his poetic productions he is by no means as fastidious). On the contrary, he self-consciously distinguishes among the three terms, assigning to each its own particular �theatre of operations�. Meant by this is that each keyword is selectively referred to a separate structural division of the epic, thus, �bliss� has reference specifically to Heaven (or to the earthly paradise viewed as a simulacrum of Heaven), �delight� to the earthly paradise in Eden and to the prelapsarian condition nourished by it; while �pleasure�, whose signification is ambiguous, refers in its favourable sense (which is but little removed from �delight�) to the Garden and the sensations associated with it, and in its unfavourable one to postlapsarian sensations and to the fallen characters. Insofar as the three structural divisions taken into account (Hell is not) are hierarchically organized in the epic, so too are the three keywords that answer to them. Moreover, in relating keywords to considerations of structure, the thesis breaks new ground in Paradise Lost studies.

There have been many studies of keywords in Paradise Lost. Over the last fifty or so years words such as �wander�, �lapse�, �error�, �fruit�, �balmy�, �fall�, �hands�, among others, have attracted critics� attention. The present enquiry brings under scrutiny three linked keywords which have up to now escaped notice. These are the words �bliss�, �delight�, and �pleasure�. The fundamental proposition of the thesis is that Milton does not use these words haphazardly or interchangeably in his epic poem (though in other of his poetic productions he is by no means as fastidious). On the contrary, he self-consciously distinguishes among the three terms, assigning to each its own particular �theatre of operations�. Meant by this is that each keyword is selectively referred to a separate structural division of the epic, thus, �bliss� has reference specifically to Heaven (or to the earthly paradise viewed as a simulacrum of Heaven), �delight� to the earthly paradise in Eden and to the prelapsarian condition nourished by it; while �pleasure�, whose signification is ambiguous, refers in its favourable sense (which is but little removed from �delight�) to the Garden and the sensations associated with it, and in its unfavourable one to postlapsarian sensations and to the fallen characters. Insofar as the three structural divisions taken into account (Hell is not) are hierarchically organized in the epic, so too are the three keywords that answer to them. Moreover, in relating keywords to considerations of structure, the thesis breaks new ground in Paradise Lost studies.

The task of this dissertation is to answer the question, "Of all the parts of the best whole life, where, according to Plato, does pleasure fit in?" While Plato believes that pleasure is neither the good nor a good, he nonetheless believes that pleasure does have an important place in the good life. In the dissertation, I show what this "important place" is. For Plato, although pleasure is not a good it has value inasmuch as it both reflects an agent's commitment to virtue and reinforces it. I develop this evaluation of pleasure, and amplify it in two connected ways. First, I show how this evaluation of pleasure is related to Plato's conception of the human good, or "final end," which for Plato is to "become like God." I argue that "becoming like God" is for Plato an especially illuminating way of understanding the virtuous life, which both explains why pleasure cannot be a good and shows more clearly how pleasure is related to virtuous activity: a fundamental part of virtue is the proper harmonization of pleasure with reason. Hence pleasure is a part of the life of virtue, because pleasure is a part of virtuous activity itself. Second, I locate Plato's evaluation of pleasure within his moral psychology. Plato's ethical evaluation of pleasure seeks to make pleasure something transformed by virtue. However, in order for pleasure so to be transformed by virtue, it must be in harmony and agreement with virtue. But in Plato's moral psychology the capacities in virtue of which the soul experiences pleasure are not able to agree with virtue, but must be merely controlled or contained by it. Consequently, this tension in Plato's moral psychology places a severe limit on Plato's attempts to provide a more satisfying account of the place of pleasure in the good life.

This performance-as-research project documents, both through linguistic and non-linguistic texts, an investigation of the materiality of performative knowledges and analyses Music Theatre as an ecstatic and hyper-erotic creator of these knowledges. By actively engaging in a performative translation of an historical Music Theatre work, this research investigates how ecstatic inscription creates materiality within the performative knowledges of Music Theatre, and aims to provide further substance to the discourse surrounding performative knowledges and their relation to the epistemology and methodology of performance-as-research.

This performance-as-research project documents, both through linguistic and non-linguistic texts, an investigation of the materiality of performative knowledges and analyses Music Theatre as an ecstatic and hyper-erotic creator of these knowledges. By actively engaging in a performative translation of an historical Music Theatre work, this research investigates how ecstatic inscription creates materiality within the performative knowledges of Music Theatre, and aims to provide further substance to the discourse surrounding performative knowledges and their relation to the epistemology and methodology of performance-as-research.

22 pp.
Private horse ownership is not for everyone; owning a horse comes with many responsibilities. You must properly house and care for the horse. This care includes the horse's feeding, health care, and hoof care, but these are only part of the equation. You must also provide housing facilities, transportation, and riding equipment. This booklet is an introductory guide to the proper care and cost of owning and maintaining a pleasure horse in Arizona. We discuss how to feed and care for a horse as well as all of the associated costs to expect whether you board your horse or house and care for it privately. The publication has two major sections: (1)maintaining and caring for a horse, and (2) budgeting for the costs of ownership and care. There is also an introduction to getting started and a list of additional resources at the end.

Rubrik: Business or pleasure? En studie över framtidens köpcentrum.

Problem: Vi vill teoretiskt skissera hur citygallerior kommer att se ut i framtiden, vilka trender som råder och därmed även beröra hur situationen för citygallerior är i nuläget. Men då detta problem är förhållandevis teoretiskt vill vi även kartlägga det mer empiriska problemet om hur kunderna vill att citygallerior ska se ut i framtiden och hur de upplever dagens citygallerior.

Syfte: Syftet med denna uppsats är att öka förståelsen för hur framtiden för citygallerior ser ut genom att studera den forskning som råder inom området och studera de trender som råder. Syftet är även att undersöka hur kunderna vill att citygallerior ska se ut i framtiden genom en enkätundersökning.

Teori: De teorier vi använt oss av handlar främst om köpcentrum och allt vad det innebär, framtiden, kundtillfredsställelse, shoppingvanor och olika shoppingsegment. Vi har använt oss av både svenska och utländska källor.

Metod: Vår uppsats är skriven på uppdrag av ett fastighetsbolag och vi antar därmed ett företagsperspektiv. Vi vill skissera hur framtiden kommer att se ut med hjälp av en kvalitativ metod där intervjuer har gjorts med kunniga personer inom området. Då kunderna styr marknaden har vi dock valt att lägga fokus på dem för att förstå hur de vill att framtiden ska se ut. Detta gjordes med hjälp av enkätundersökningar, vilket medför att vi även har en kvantitativ metod.

Resultat: Vi har kommit fram till att kunderna ställer höga krav på köpcentrum. Vad de vill uppnå med sin shopping är situationsstyrt och det måste handlarna inse. Ena dagen vill kunden shoppa snabbt och effektivt medan den en annan dag vill kunna njuta av en mer upplevelsebaserad shopping.

This thesis is an examination of reader or audience response to Shakespeare’s tragedies. Primarily, it identifies key pleasures that Shakespeare’s King Lear and Othello offer. The complementary nature of these two plays is such that the analysis of their various pleasures allows for an in-depth treatment of the topic and also reflects the diversity of emotional response elicited by Shakespeare’s tragedies. The kinds of pleasure addressed in this study are catharsis as explained by Aristotle, the delight of violent passion as advocated by DuBos, pleasure from details in the work, satisfaction from the coherence of the tragedy, and pleasure in the idealization of tragedy.