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According to the judgment theory of emotion, emotions necessarily involve evaluative judgments. Despite a number of attractions, this theory is almost universally held to be dead, for a very simple reason: it is overly intellectualistic. On behalf of the judgment theorist, I defend a simple strategy, namely, to claim that her view is restricted to a special class of emotions, a strategy that is rooted in a plausible distinction between two broad classes of emotion. It turns out that, if the (...) |
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Emotions seem to be epistemically assessable: fear of an onrushing truck is epistemically justified whereas, mutatis mutandis, fear of a peanut rolling on the floor is not. But there is a difficulty in understanding why emotions are epistemically assessable. It is clear why beliefs, for instance, are epistemically assessable: epistemic assessability is, arguably, assessability with respect to likely truth, and belief is by its nature concerned with truth; truth is, we might say, belief’s “formal object.” Emotions, however, have formal objects (...) |
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This paper explores the interrelations between temporality and emotion in rhetorical argumentation. It argues that in situations of uncertainty argumentation affects action via appeals that invoke emotion and thereby translate the distant past and future into the situated present. Using practical inferences, a threefold model for the interrelation of emotion and time in argumentation outlines how argumentative action depends on whether speakers provide reasons for the exigence that makes a decision necessary, the contingency of the decision, and the confidence required (...) |
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Thought about fictional characters is special, and needs to be distinguished from ordinary world-directed thought. On my interpretation, Kendall Walton and Gareth Evans have tried to show how this serious fiction-directed thought can arise from engagement with a kind of pretending. Many criticisms of their account have focused on the methodological presupposition, that fiction-directed thought is the appropriate explanandum. In the first part of this paper, I defend the methodological claim, and thus the existence of the problem to which pretense (...) |
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The dichotomy and mutual exclusiveness of the somatic feeling theory and cognitive theories of emotion has been the most deeply entrenched presupposition of emotion theory throughout the 20th century. In the first part of this paper I give a succinct review of both theoretical strands and of the most influential arguments which have been raised against them. This leads me to diagnose an argumentative stalemate: Both approaches have serious shortcomings which can only be overcome within the framework of the other. (...) |
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This article uses a particular view of the basic emotions in order to develop and defend an account of paradigmatic emotion-linked evaluative properties. The view is that felt emotions are constituted by an awareness that one is about to behave in a certain way. This view provides support for a fitting-attitude account of certain evaluative properties. But the relevant sense of fittingness is not to be understood in terms of reasons. The account therefore sidesteps the well-known Wrong Kind of Reasons (...) |
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We argue for an imaginative analog of desire from premises about imaginative engagement with fiction. There's a bit about the paradox of fiction, too. |
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According to some, there is a problem concerning the emotions we feel toward fictional entities such as Anna Karenina, Werther and the like. We feel pity, fear, and sadness toward them, but how is that possible? “We are saddened, but how can we be? What are we sad about? How can we feel genuinely and involuntarily sad, and weep, as we do know that no one has suffered or died?” (Radford, in: Proceedings of the Aristotelian Society, 1975). This is the (...) |
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Most of those who hold that emotions involve appraisals also accept that the content of emotions is nonconceptual. The main motivation for nonconceptulism regarding emotions is that it accounts for the difference between emotions and evaluative judgements. This paper argues that if one assumes a broadly Fregean account of concepts, there are good reasons to accept that emotions have nonconceptual contents. All the main arguments for nonconceptualism regarding sensory perception easily transpose to the case of emotions. The paper ends by (...) |
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Pour contrer le scepticisme au sujet de la connaissance des valeurs, la plupart soutiennent avec John Rawls qu’une croyance comme celle qu’une action est bonne est justifiée dans la mesure où elle appartient à un ensemble de croyances cohérent, ayant atteint un équilibre réfléchi. Christine Tappolet s’inspire des travaux de Max Scheler et d’Alexius von Meinong pour défendre une conception opposée au cohérentisme. La connaissance des valeurs est affirmée dépendre de nos émotions, ces dernières étant conçues comme des perceptions des (...) |
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Le fameux paradoxe de la fiction (Radford 1975) a suscité maintes interprétations. L’une des distinctions importantes qui affleure bien souvent au sein de cette littérature, pour se voir presque aussitôt négligée, est celle entre les deux questions suivantes : « comment les émotions peuvent-elles être suscitées par des œuvres de fiction ? » et « les émotions suscitées par de telles œuvres peuvent-elles être rationnelles ? » Dans ce qui suit, je me concentrerai exclusivement sur la seconde de ces questions (...) |
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This paper examines causal theories of reference with respect to how plausible an account they give of non-physical natural kind terms such as ‘gene’ as well as of the truth of the associated theoretical claims. I first show that reference fixism for ‘gene’ fails. By this, I mean the claim that the reference of ‘gene’ was stable over longer historical periods, for example, since the classical period of transmission genetics. Second, I show that the theory of partial reference does not (...) |
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Emotions often misfire. We sometimes fear innocuous things, such as spiders or mice, and we do so even if we firmly believe that they are innocuous. This is true of all of us, and not only of phobics, who can be considered to suffer from extreme manifestations of a common tendency. We also feel too little or even sometimes no fear at all with respect to very fearsome things, and we do so even if we believe that they are fearsome. (...) |
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The aim of this paper is to propose a systematic classification of emotions which can also characterize their nature. The first challenge we address is the submission of clear criteria for a theory of emotions that determine which mental phenomena are emotions and which are not. We suggest that emotions as a subclass of mental states are determined by their functional roles. The second and main challenge is the presentation of a classification and theory of emotions that can account for (...) |
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John Cook Wilson (1849–1915) was Wykeham Professor of Logic at New College, Oxford and the founder of ‘Oxford Realism’, a philosophical movement that flourished at Oxford during the first decades of the 20th century. Although trained as a classicist and a mathematician, his most important contribution was to the theory of knowledge, where he argued that knowledge is factive and not definable in terms of belief, and he criticized ‘hybrid’ and ‘externalist’ accounts. He also argued for direct realism in perception, (...) |
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In his Meditations On First Philosophy, Descartes points out the awakedreaming indistinguishability problem, which calls into question the reliability of our knowledge about the external world. The argument can be understood as follows: P1) Nothing can rule out the subject being duped into believing she is in X when she is actually in Y. P2) A person can know that she is in Y only if there is something to rule out her being duped into believing she is in X (...) |
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Looking back, the moral panic that precipitated the decimation of horror comics in the 1950s seems quaint, yet concerns about the psychological impact of violent media on consumers have never disappeared. In this article, I outline a particular type of psychological impact we ought to take seriously when evaluating the moral status of entertainment. I then consider (a) ways in which comics seem immune from claims that they create this kind of impact for their readers, as well as (b) ways (...) |
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