This paper presents a detailed analysis of affective persistence and its significance – that is the persistence of affect in the face of countervailing or contradictory evaluative information. More specifically, it appeals to the phenomena of affective persistence to support the claim that a significant portion of the emotional experiences of adult humans involve a kind of normative phenomenology. Its central claim is that by appealing to a distinctive kind of normative phenomenology that emotions exhibit, we get a neat personal (...) level explanation of why affect persists. In doing so it introduces and explores an interesting claim that Ronald de Sousa makes concerning the distinctiveness of emotion, explicating it in terms of the idea of affective persistence. As such, the contribution of the paper is twofold: a thesis about emotional phenomenology qua its normative phenomenology is presented, and that thesis is used to explain something distinctive about our emotional experiences, namely that they often persist in the face of conflicting evaluative judgements and beliefs. (shrink)

In this paper, I review developments in discussions of fiction and emotion over the last decade concerning both the descriptive question of how to classify fiction-directed emotions and the normative question of how to evaluate those emotions. Although many advances have been made on these topics, a mistaken assumption is still common: that we must hold either that fiction-directed emotions are (empirically or normatively) the same as other emotions, or that they are different. I argue that we should reject this (...) dichotomy. (shrink)

Les paradoxes de l’horreur et de la tragédie posent la question de savoir si, et comment, il peut être rationnel de s’exposer intentionnellement, comme nous le faisons, à des œuvres fictionnelles qu’on qualifie parfois de « douloureuses ». J’entreprends de résoudre ces paradoxes en remettant en question l’idée de valence intrinsèque des émotions sur laquelle ils sont fondés et en expliquant pourquoi les émotions dirigées vers des fictions ne sont jamais désagréables ou déplaisantes, mais sont au contraire hédoniquement positives. Il (...) est donc rationnel de s’exposer aux œuvres qui les suscitent. (shrink)

European Journal of Philosophy, Volume 30, Issue 1, Page 307-325, March 2022.

The place of emotions in aesthetic response has long been a topic in contemporary philosophical theorizing. One aspect of the debate in particular seems to have become a recalcitrant problem: when experiencing fiction, we experience emotional reactions towards what we know not to exist. Is this rational? In fact, is it even possible? This article deals with the so‐called “paradox of fiction” from the viewpoint of ancient poetics. In the first section, I survey some of the main arguments proposed to (...) (dis)solve the paradox in analytic philosophy. In the second and the third sections, I address what I consider two problematic assumptions of existing analytic approaches: their prescriptive, “essentialist” attitude and their exclusive focus on matters of content. By offering a brief sketch of the ancient principles of “likelihood” and “vividness”, I argue that they provide a direct and cognitively realistic answer to the paradox insofar as they account for the neutralization of doxastic features in imaginative acts and ground affective responses to fiction in the phenomenon of “aesthetic immersion”, explained in experiential, rather than representational, terms. (shrink)

Many agree that the more we feel that we can handle a given situation, the less afraid we are. But why? Is the situation no longer dangerous or is fear a response to more than danger? Here I analyze situations in which one reacts in cold blood to danger and argue that the formal object of fear is not the dangerous, but the unsafe. The unsafe indicates not only how the world is, but also how it can be handled. Safety, (...) and its negative counterpart, are characterized by their duality, both evaluative (is the snake dangerous?) and agentive (is it under control?). (shrink)

Following the depiction theory by Clark and Fischer we would expect people interacting with robots to experience fictional emotions akin to those toward films or novels. However, some people's emotional reactions toward robots display the motivational force typical to non-fictional emotions. We discuss this incongruity and offer two suggestions on how to explain it while maintaining the depiction theory.

There is an important debate in the philosophy of mind that has roots in the phenomenological tradition, namely: what are the primitive forms of consciousness, that is, what are the fundamental ingredients or aspects of consciousness. This paper wants to contribute to partially answering this general question by providing an answer to a required sub-question within this question: is emotional phenomenology fundamental? I will answer in the affirmative and will offer an argument focused on contemplative emotions elicited by fiction. Another (...) type of contemplative emotions, namely, esthetic emotions, have been invoked in the literature but I will argue that the phenomenology of emotions elicited by fiction, given their continuity and sameness in kind with the phenomenology of garden variety emotions, are more dialectically efficient vis-à-vis the debate on the irreducibility of emotional phenomenology. (shrink)