There are many psychic mechanisms by which people engage with their selves. We argue that an important yet hitherto neglected one is self-appraisal via meta-emotions. We discuss the intentional structure of meta-emotions and explore the phenomenology of a variety of examples. We then present a pilot study providing preliminary evidence that some facial displays may indicate the presence of meta-emotions. We conclude by arguing that meta-emotions have an important role to play in higher-order theories of psychic harmony.

Are we really sure to correctly know what do we feel in front ofan artwork and to correctly verbalize it? How do we know what weappreciate and why we appreciate it? This paper deals with the problem ofintrospective opacity in aesthetics (that is, the unreliability of self-knowledge) in the light of traditional philosophical issues, but also of recentpsychological insights, according to which there are many instances ofmisleading intuition about one’s own mental processes, affective states orpreferences. Usually, it is assumed that (...) aesthetic statements are intuitivelyclear and self-evident. However, a long tradition in psychological researchhas called the idea of introspective transparency and the infallibility of self-knowledge into question (Wilson 2002). This topic has only recently beenrecognized as an interesting problem in aesthetics (Melchionne 2011, Irvin2014). In this paper I will discuss the main shortcomings in introspective self-knowledge, mostly referring to psychological findings. As a consequence, thedevelopment of a folk psychological account of aesthetic experience could beneeded, investigating how people develop intuitive and naïve theories abouttheir aesthetic reactions, taste, and feelings, distinct from a more objectiveand empirically grounded account of how judgment and preferences areactually formed in ourselves, even on a neurobiological level. However, itwill also be argued that bypassing the individual judgment and his expressedchoices in favor of allegedly more objective levels of description would notbe an innocent step to take. (shrink)

The essay introduces the problem of aesthetic unreliability, the variety of ways in which it is difficult to grasp our aesthetic experience and the consequent confusion and unreliability of what we take as our taste.

This paper focuses on the self-knowledge of emotions. I first argue that several of the leading theories of self-knowledge, including thetransparency method(see, e.g., Byrne 2018) andneo-expressivism(see, e.g., Bar-On 2004), have difficulties explaining how we authoritatively know our own emotions (even though they may plausibly account for sensation, belief, intention, and desire). I next consider Barrett’s (2017a) empirically informedtheory of constructed emotion. While I agree with her that we ‘give meaning to [our] present sensations’ (2017a, p.26), I disagree with her that (...) we construct our emotions, as this has some unwelcome implications. I then draw upon recent data from the science of emotions literature to advance a view I call partial first-person authority. According to this view, first-person authority with respect to our emotions is only partial: we can introspect and authoritatively know our own sensations, and beliefs, in ways others cannot; but we still need to interpret those sensations and beliefs, to know our emotions. Finally, I consider self-interpretational accounts of self-knowledge by Carruthers (2011) and Cassam (2014). I argue that while these accounts are implausible when applied to beliefs, desires, and intentions, they are more plausible when applied to our emotions. (shrink)