Witasek's aesthetics may therefore be seen also as a contribution to the Gestaltist tradition of aesthetic value-theory, from Ehrenfels and Rausch to Robert Nozick. 6 Here, however, I shall be interested not in this value-theoretical aspect of Witasek's work but rather in the implications of his ideas for the understanding of the structures of aesthetic experience. In particular, I shall be interested in his account of the way in which a play of pseudo-emotions such as is generated, for example, by a dramatic work, is able to give rise to genuinely pleasurable experiences of aesthetic enjoyment
