Recent philosophical work on responsibility for emotion has tended to focus on what responsibility we can have for our own emotions. Folk psychology suggests we can also be responsible for others’ emotions, and they for ours, and that this can be reason for praise or blame. However, many branches of applied psychology, and some schools of philosophy, deny there can be interpersonal responsibility for emotion. I shall be arguing here against this view, and for an account on which we can, (...) albeit in varying degrees and on some rather diverse grounds, be responsible for each others’ emotions. (shrink)

Bullot & Reber (B&R) put forth a design stance to fuse psychological and art historical accounts of visual thinking into a single theory. We argue that this aspect of their proposal needs further fine-tuning. Issues of transgression and coherence are necessary to provide stability to the design stance. We advocate looking to Art Education for such fundamentals of picture understanding.

Disputing the common misconception that nihilism is wholly negative and necessarily damaging to the human spirit, John Marmysz offers a clear and complete definition to argue that it is compatible, and indeed preferably responded to, with an attitude of good humor. He carefully scrutinizes the phenomenon of nihilism as it appears in the works, lives, and actions of key figures in the history of philosophy, literature, politics, and theology, including Nietzsche, Heidegger, Camus, and Mishima. While suggesting that there ultimately is (...) no solution to the problem of nihilism, Marmysz proposes a way of utilizing the anxiety and despair that is associated with the problem as a spur toward liveliness, activity, and the celebration of life. (shrink)

In both psychology and philosophy, cognitive theories of emotion have met with increasing opposition in recent years. However, this apparent controversy is not so much a gridlock between antithetical stances as a critical debate in which each side is being forced to qualify its position in order to accommodate the other side of the story. Here, I attempt to sort out some of the disagreements between cognitivism and its rivals, adjudicating some disputes while showing that others are merely superficial. Looking (...) at evidence from neuroscience and social psychology, as well as thought experiments and theoretical arguments, I conclude that it is necessary to acknowledge both that emotions have intentional content and that they involve somatic agitation. I also point out some of the more promising directions for future research in this area. (shrink)

This paper argues for an understanding of emotion based upon Merleau-Ponty's conceptions of embodiment and passivity. Through a critical assessment of cognitive theories of emotion, and in particular Solomon's theory, it argues (1) that there is a sense in which emotions may be judgments, so long as we understand such judgments as bodily enactments of meaning, but (2) that even understood in this way, the notion of judgment (or construal) can only account for a subset of emotions which I call (...) "emotional clichés," and not for authentic passions. In contrast with Solomon's account which conceives the subject as constituting, this account of emotion requires us to understand subjectivity as moved by meanings in the world, and as sometimes, in an authentic passion, dispossessed by those meanings. (shrink)

The phenomenology of emotions has traditionally been understood in terms of bodily sensations they involve. This is a mistake. We should instead understand their phenomenology in terms of their distinctively evaluative intentionality. Emotions are essentially affective modes of response to the ways our circumstances come to matter to us, and so they are ways of being pleased or pained by those circumstances. Making sense of the intentionality and phenomenology of emotions in this way requires rejecting traditional understandings of intentionality and (...) so coming to see emotions as a distinctive and irreducible class of mental states lying at the intersection of intentionality, phenomenology, and motivation. (shrink)

We disagree with Juslin & Vll's (J&V's) thesis that music-evoked emotions are indistinguishable from other emotions in both their nature and underlying mechanisms and that music just induces some emotions more frequently than others. Empirical evidence suggests that frequency differences reflect the specific nature of music-evoked emotions: aesthetic and reactive rather than utilitarian and proactive. Additional mechanisms and determinants are suggested as predictors of emotions triggered by music.

My discussion below is an highly abbreviated version of a paper in preparation for a conference on innateness . I allow for both types of influence but suggest that more attention should be paid to mechanisms of social transfer of emotions, as a possible innate source of plasticity in moral learning via emotions - and hence of cultural variation in moral codes.

After many years of neglect, philosophers are increasingly turning their attention to the emotions, and recently we have seen a number of different accounts of emotion. In this article, we will first consider what facts an account of emotion needs to accommodate if it is going to be acceptable. Having done that, we will then consider some of the leading accounts and see how they fare in accommodating the facts. Two things in particular will emerge. First, an adequate account of (...) emotion cannot be provided without taking into account a wide range of issues in philosophy of mind that extend beyond the emotions in particular. Secondly, the diversity of emotional phenomena makes it especially hard to provide anything like a comprehensive account of emotion; philosophers not only disagree over what are the essential properties of emotion, but also over what are central cases. (shrink)

In _What Emotions Really Are: The problem of psychological categories_ I argued that it is unlikely that all the psychological states and processes that fall under the vernacular category of emotion are sufficiently similar to one another to allow a unified scientific psychology of the emotions. In this paper I restate what I mean by ?natural kind? and my argument for supposing that emotion is not a natural kind in this specific sense. In the following sections I discuss the two (...) most promising proposals to reunify the emotion category: the revival of the Jamesian theory of emotion associated with the writings of Antonio Damasio and a philosophical approach to the content of emotional representations that draws on ?multi-level appraisal theory? in psychology. (shrink)

A música pode causar emoções fortes. Como havemos de compreender as respostas afetivas à música? Este artigo apresenta os principais enigmas filosóficos atinentes às emoções musicais. O problema principal diz respeito ao chamado "contágio": os ouvintes percebem a música como sendo expressiva de uma certa emoção (por exemplo, tristeza) e a música suscita neles essa mesma emoção. O contágio é desconcertante, pois entra em conflito com a principal teoria da emoção, de acordo com a qual as emoções são experiências de (...) valores (cognitivismo). Este artigo gira, sobretudo, em torno da apresentação crítica das várias respostas a este desafio ao cognitivismo. Apresenta, também, o paradoxo da música triste, isto é, a questão do motivo pelo qual apreciamos música triste. -/- Music can induce strong emotions. How are we to understand affective responses to music? This article presents the main philosophical puzzles pertaining to musical emotions. The chief problem concerns so-called "contagion": listeners perceive music as expressive of some emotion (say, sadness), and the music elicits the same emotion in them. Contagion is perplexing because it collides with the leading theory of emotion, according to which emotions are experiences of values (cognitivism). This article mostly revolves around the critical presentation of the various responses to this challenge to cognitivism. It also presents the paradox of sad music, i.e. the question of why we enjoy sad music. (shrink)

This paper first demonstrates that recognition of the diversity of ways that emotional responses modulate ongoing attention generates what I call the puzzle of emotional attention, which turns on recognising that distinct emotions (e.g., fear, happiness, disgust, admiration etc.) have different attentional profiles. The puzzle concerns why this is the case, such that a solution consists in explaining why distinct emotions have the distinct attentional profiles they do. It then provides an account of the functional roles of different emotions, as (...) tied to their evaluative themes, which explains and further elucidates the distinctive attentional profiles of different emotions, so solving the puzzle of emotional attention. Following that, it outlines how such attentional profiles are reflected in the character of emotional experience and its attentional phenomenology. The resulting picture is a more detailed account of the connections between emotion and attention than is currently on offer in the philosophical literature. (shrink)

Among philosophers of the emotions, it is common to view emotional content as purely descriptive – that is, belief-like or perception-like. I argue that this is a mistake. The intentionality of the emotions cannot be understood in isolation from their motivational character, and emotional content is also inherently directive – that is, desire-like. This view’s strength is its ability to explain a class of emotional behaviors that I argue, the common view fails to explain adequately. I claim that it is (...) already implicit in leading theories of emotion elicitation in cognitive psychology – “appraisal theories.” The result is a deeper understanding of emotional intentionality. Employing Peter Goldie’s “Feeling Theory” of the emotions as an example of the common view, I suggest that emotional feelings, too, should be understood on this model: emotional feelings toward items in the world cannot be disentangled from felt motivation. (shrink)

Strong or Pure Intentionalism is the view that the phenomenal character of a conscious experience is exhaustively determined by its intentional content. Contrastingly, impure intentionalism holds that there are also non content-based aspects or features which contribute to phenomenal character. Conscious attention is one such feature: arguably its contribution to the phenomenal character of a given conscious experience are not exhaustively captured in terms of what that experience represents, that is in terms of properties of its intentional object. This paper (...) attempts to get clearer on the phenomenal contribution of conscious attention. In doing so it considers and sets aside two prominent impure intentionalist accounts, namely the Phenomenal Structure view of Sebastien Watzl, and the Demonstrative Awareness view of Wayne Wu. As an alternative I outline a Modification view, which draws on ideas in Husserlian phenomenology. On this view, we should think of the phenomenal contribution of conscious attention in terms of attentive modifications of what I call a ‘pre-attentive phenomenal field’. I develop this view and highlight its benefits over alternatives. (shrink)

Emotions have long been of interest to philosophers and have deep historical roots going back to the Ancients. They have also become one of the most exciting areas of current research in philosophy, the cognitive sciences, and beyond. -/- This book explains the philosophy of the emotions, structuring the investigation around seven fundamental questions: What are emotions? Are emotions natural kinds? Do animals have emotions? Are emotions epistemically valuable? Are emotions the foundation for value and morality? Are emotions the basis (...) for responsibility? Do emotions make us better people? -/- In the course of exploring these questions, the book also discusses cutting-edge empirical research on emotion, feminist approaches to emotions and their value, and methodological questions on how to theorize about the emotions. The book also contains in-depth discussions of specific emotions like compassion, disgust, anxiety, and curiosity. It also highlights emerging trends in emotion research. (shrink)

This paper investigates the emotional import of literary devices deployed in fiction. Reflecting on the often-favored approach in the analytic tradition that locates fictional characters, events, and narratives as sources of readers’ emotions, I attempt to broaden the scope of analysis by accounting for how literary devices trigger non-cognitive emotions. I argue that giving more expansive consideration to literary devices by which authors present content facilitates a better understanding of how fiction engages emotion. In doing so, I also explore the (...) somatic dimension of reading fiction. (shrink)

In the past 60 years or so, the philosophical subject of artistic expression has generally been handled as an inquiry into the artistic expression of emotion. In my view this has led to a distortion of the relevant territory, to the artistic expression of feeling’s too often being overlooked. I explicate the emotion-feeling distinction in modern terms, and urge that the expression of feeling is too central to be waived off as outside the proper philosophical subject of artistic expression. Restricting (...) the discussion to the art of painting, I sketch a partial psychological model for the exrtistic expression of feelipression of feeling. Although the feeling-emotion contrast is seldom made clear in their writings, I stress that many, or even most of the eminent pre-1960’s voices in aesthetics and art criticism—Croce, Dewey, Langer, Bosanquet, Berenson and others—would more or less agree that feeling is no less important for expression than emotion, and indeed can be interpreted as anticipating many points that I set forth. (shrink)

Emotion theory includes attempts to reduce or assimilate emotions to states such as bodily feelings, beliefs-desire combinations, and evaluative judgements. Resistance to such approaches is motivated by the claim that emotions possess a sui generis phenomenology. Uriah Kriegel defends a new form of emotion reductivism which avoids positing irreducible emotional phenomenology by specifying emotions’ phenomenal character in terms of a combination of other phenomenologies. This article argues Kriegel’s approach, and similar proposals, are unsuccessful, since typical emotional experiences are constituted by (...) sui generis feelings towards value. (shrink)

In Emotions, Values & Agency, Christine Tappolet develops a sophisticated, perceptual theory of emotions and their role in wide range of issues in value theory and epistemology. In this paper, we raise three worries about Tappolet's proposal.

In recent decades "virtue ethics" has become an accepted theoretical structure for thinking about normative ethical principles. However, few contemporary virtue ethicists endorse the commitments of the first virtue theorists---the ancient Greeks, who developed their virtue theories within a commitment to eudaimonism. Why? I believe the objections of modern theorists boil down to concerns that eudaimonist theories cannot properly account for two prominent moral requirements on our treatment of others. ;First, we think that the interests and welfare of at least (...) some others ought to give us non-instrumental reason for acting---that is, reason independent of consideration of our own welfare. Second, we think others are entitled to what we might call respect, just in virtue of their being persons. Eudaimonist accounts either cannot account for these intuitions at all, or they give the wrong sort of account. ;My dissertation assesses the resources of eudaimonism to meet these lines of criticism. Chapter 2, 3, and 4 survey the views of Plato, Aristotle, and the Stoics, to discover insights that are important for a successful response. In Chapters 5 and 6, I offer my own account, based on what I call empathic identification. This is the habit or disposition of seeing things, in effect, through the eyes of others. Empathic identification is a process through which the interpersonal transmission of reasons for actions between persons becomes possible. I argue first that our interest in our own eudaimonia justifies us in identifying empathically with others as a general habit or disposition. Second, I argue that empathic identification explains our intuitions about the respect others are due. So empathic identification generates the right sort of explanation of our intuitions about the constraints others and their interests impose upon us after all, and renders eudaimonist virtue ethics a viable form of ethical theory. (shrink)

Contemplating Art is a compendium of writings from the last ten years by one of the leading figures in aesthetics, Jerrold Levinson. The twenty-four essays range over issues in general aesthetics and those relating to specific arts--in particular music, film, and literature. It will appeal not only to philosophers but also to musicologists, literary theorists, art critics, and reflective lovers of the arts.

This essay explores the epistemological significance of the kinds of beliefs that grow out of traumatic experiences, such as the rape survivor's belief that she is never safe. On current theories of justification, beliefs like this one are generally dismissed due to either insufficient evidence or insufficient propositional content. Here, Freedman distinguishes two discrete sides of the aftermath of psychic trauma, the shattered self and the shattered worldview. This move enables us to see these beliefs as beliefs; in other words, (...) as having cognitive content. Freedman argues that what we then need is a theory of justification that allows us to handpick reliable sources of information on sexual violence, and give credibility where deemed appropriate. She advances a mix of reliabilism and coherentism that privileges feminism. On this account, the evidence for the class of beliefs in question will depend on an act of sexual violence (or testimony, or statistics) to the extent that the act is a reliable indication of the prevalence of sexual violence against women. (shrink)

By virtue of an extended consideration of problems and possibilities in the discipline of film studies toward the goal of constructing an Objectivist aesthetics of cinema, this article examines some of the most pressing issues facing contemporary art criticism. Opposing tenets of an Aristotelian aesthetic tradition against tenets of a Kantian aesthetic tradition, the author attempts to resolve a number of long-standing aporias in the Objectivist aesthetics and in the philosophy of art more broadly in the hopes of charting a (...) fruitful path for the future of art criticism. (shrink)

Aristotle has famously made the claim that having the right emotion at the right time is an essential part of moral virtue. Why might this be the case? I consider five possible relations between emotion and virtue and argue that an adequate answer to this question involves the epistemic status of emotion, that is, whether the perceptual awareness and hence the understanding of the object of emotion is like or unlike the perceptual awareness of an unemotional awareness of the same (...) object. If an emotional awareness does not have a unique character, then it is unlikely that emotions provide an understanding that is different from unemotional states of awareness: they are perhaps little more than “hot-blooded” instances of the same understanding. If, on the other hand, an emotional state involves a perceptual awareness that is unique to the emotion, then emotions are cognitively significant, providing an understanding of the object of the emotion that is absent in a similar but unemotional episode of awareness. I argue the latter and substantiate the claim that emotions are essential to moral virtue because they can be essential to a full understanding of the situations that they involve. In such cases, emotions are not merely a symptom of the possession of an adequate understanding, but are rather necessary for having an adequate understanding. (shrink)

By briefly sketching some important ancient accounts of the connections between psychology and moral education, I hope to illuminate the significance of the contemporary debate on the nature of emotion and to reveal its stakes. I begin the essay with a brief discussion of intellectualism in Socrates and the Stoics, and Plato's and Posidonius's respective attacks against it. Next, I examine the two current leading philosophical accounts of emotion: the cognitive theory and the noncognitive theory. I maintain that the noncognitive (...) theory better explains human behavior and experience and has more empirical support than the cognitive theory. In the third section of the essay I argue that recent empirical research on emotional contagion and mirroring processes provides important new evidence for the noncognitive theory. In the final section, I draw some preliminary conclusions about moral education and the acquisition of virtue. (shrink)

I argue two things. One is that conceptual considerations about the nature and identification of psychological systems suggest that these recent empirical findings, being based on manipulated conditions, are not relevant to the issue of what emotions are and thus do not underwrite noncognitivism. The other is that these same considerations lend support to the idea that paradigm emotions, including the purported noncognitive basic emotions, are in fact cognitive. Central to these claims is the concept of proper function, particularly as (...) laid out by Ruth Millikan, which has received insufficient attention in work on the nature of emotion. (shrink)

Bob Solomon used to inveigh against William James’ theory of emotions, but he eventually arrived at a rapprochement with James and James’s recent successors. In particular, James suggested that emotions are initiated by the “automatic, instinctive” appraisals that register important information in the body and are recorded by body-mapping brain areas. In recent work Solomon describes the judgments he thinks constitute emotions as felt bodily appraisals in similar fashion.

Innate emotional bases of ethics have been proposed by authors in evolutionary psychology, following Darwin and his sources in eighteenth-century moral philosophy. Philosophers often tend to view such theories as irrelevant to, or even as tending to undermine, the project of moral philosophy. But the importance of emotions to early moral learning gives them a role to play in determining the content of morality. I argue, first, that research on neural circuits indicates that the basic elements or components of emotions (...) need not be limited to what psychologists think of as basic emotions. But in that case, innate mechanisms of social transfer of emotion, such as infants’ tendency to facial imitation, gaze-following, and emotional contagion or empathy, provide a source of plasticity in developing the basic elements that lets emotions incorporate cultural influence from early on. This leaves room later for cognitive components of adult human emotions and hence for the further role of language in conveying cultural influence. We can thus see how moral judgment might depend on innate emotional capacities that are both modifiable by culture and capable of registering objective values. I use Rawls’s treatment of the development of moral sentiments to illustrate the kind of supportive role that emotions can play in a principle-based account – though my own account involves modifications I go on to indicate. (shrink)

It is now a commonplace that emotions are not mere sensations but, rather, conceptually contentful states. In trying to expand on this insight, however, most theoretical approaches to emotions neglect central intuitions about what emotions are like. We therefore need a methodological shift in our thinking about emotions away from the standard accounts' attempts to reduce them to other mental states and toward an exploration of the distinctive work emotions do. I show that emotions' distinctive function is to engage us (...) with both objective and personal values. Attention to emotions' work reveals that it is precisely their “unruliness” that allows them to play meaningful roles in our lives. (shrink)

What can a moral realist say about why we should take morality seriously and about the relation between morality and rationality? I take off from Christine Korsgaard's criticism of moral realism on this score. The aim is to achieve an understanding of the relation between moral and rational properties and of the role of practical deliberation on a realist view. I argue that the justification for being concerned with rational and moral normative properties may not be an aspect of our (...) minds to which we have access. I argue against a view that gives automatic pride of place to the rational properties of our mind by drawing attention to valuable non-rational modes of thought such as creative, imaginative and instinctive thought. Thus the value of taking account of rationality is contingent on its benefits. But this is not why we should be taking account of morality. (shrink)