According to the Perceptual Analysis of Emotional Expression, behaviors express emotions by making them perceptually manifest. A smile is an expression of joy because an observer who sees a smile can see joy. A pout is an expression of grief because an observer who sees a pout can see grief. And a growl is an expression of anger because an observer who hears a growl can hear anger. The idea is not simply that expressions can enable the perception of emotion, (...) but that expressions essentially do so. In the course of defending this analysis against challenges, I develop a novel account of the relationship between language and expression. (shrink)

One might imagine that this remark of James was too obvious to be denied, but in fact current philosophical orthodoxy runs against it. Since the renewal of interest in the emotions produced by Anthony Kenny's Action Emotion and Will in 1963, philosophers have focussed primarily on the cognitive aspects of emotions—the judgments, evaluations, beliefs, presuppositions which they contain. Bodily feelings have been, on the whole, slighted. Sometimes they are dismissed outright, as by Robert Solomon: “feelings no more constitute or define (...) the emotion than an army of fleas constitutes a homeless dog. … Feeling is the ornamentation of emotion, not its essence.”; more often, as in Jerome Neu, given only rather slight attention because “thoughts are of greater importance than feelings in the classification and discrimination of emotional states”. (shrink)

Richard Wollheim claims that speech acts express emotions always in virtue of how they are said and never solely in virtue of what they say. However, it would seem to follow that we cannot express our emotions in writing, since texts preserve what we wish to say without recording how we would wish to say it. I argue that Wollheim’s thesis in fact sheds new light on how authors can and do express their emotions in writing. In short, an author (...) must employ a variety of techniques within appropriate contexts to substitute for the non-verbal behaviours that would express her emotions physically. This substitution constitutes a ‘virtual expression’ just in case it empowers readers to vividly imagine the production of these behaviours. (shrink)