William James’s theory of emotion has been controversial since its inception, and a basic analysis of Cannon’s critique is provided. Research on the impact of facial expressions, expressive behaviors, and visceral responses on emotional feelings are each reviewed. A good deal of evidence supports James’s theory that these types of bodily feedback, along with perceptions of situational cues, are each important parts of emotional feelings. Extensions to James’s theory are also reviewed, including evidence of individual differences in the effect of (...) bodily responses on emotional experience. (shrink)

We first present a reconstruction of James’s theory of emotion (JATE) and then argue for four theses: (a) Despite constructivist elements, James’s views are overall in line with basic emotions theory. (b) JATE does not exclude an influence of emotion on intentional action even in its original formulation; nevertheless, this influence is quite limited. It seems possible, however, to repair this problem of the theory. (c) Cannon’s theory of emotion is a centralized version of JATE that inherits from the latter (...) theory a potentially fatal flaw, the insufficient physiological differentiation of emotions. (d) The core claim of JATE, that emotions are bodily feelings, is very likely false. (shrink)

ArgumentThis paper arrives at a normative position regarding the relevance of Henri Bergson's philosophy to historical enquiry. It does so via experimental historical analysis of the adaptation of cinematographic devices to physiological investigation. Bergson's philosophy accorded well with a mode of physiological psychology in which claims relating to mental and physiological existence interacted. Notably however, cinematograph-centered experimentation by British physiologists including Charles Scott Sherrington, as well as German-trained psychologists such as Hugo Münsterberg and Max Wertheimer, contributed to a cordoning-off of (...) psychological from physiological questioning during the early twentieth century. Bergson invested in a mode of intellectual practice in which psychological claims had direct relevance to the interpretation of physiological nature. The in-part cinematograph-inspired breakdown of this mode had significance for subsequent interpretations of his philosophy. It is suggested that this experimental particularization of Bergson's contentions indicates that any adaptation of his thought for historical enquiry must be disciplinarily specific. (shrink)