Este libro promete ser una contribución para el estudio de la teoría crítica en general y para el análisis de la historia de la Escuela de Frankfurt en particular. Todos los trabajos que están contenidos en este volumen hacen parte del amplio marco teórico de la teoría crítica de la sociedad. Muchos siguen las huellas de los fundadores de esta tendencia, mientras que otros se presentan como críticos de la misma y unos cuantos más tratan de vincular problemas y contextos (...) de relevancia a los conceptos más destacados que se empezaron a construir hace cien años en Frankfurt. Encontramos como buena excusa para su publicación precisamente el año centenario del Instituto de Investigación Social. Además, hemos creído conveniente organizar los materiales en secciones que van desde la historia de la Escuela de Frankfurt hasta la consideración de algunos interrogantes de actualidad motivados por el desarrollo de la teoría crítica. No obstante, con esto no pretendemos establecer límites absolutos de clasificación. Confesamos que nuestra forma de organizar los ensayos responde simplemente a criterios editoriales más que a cuestiones teóricas y conceptuales. Claramente las intersecciones entre los estudios aquí presentados son amplias y hacen que cada una de las propuestas pueda dialogar con las otras en función de sus evidentes parecidos de familia. (shrink)

This article provides a conceptual map of the affective terrain while focusing on enduring positive affective attitudes, such as love and happiness. The first section of the article examines the basic characteristics of affective attitudes, i.e., intentionality, feeling, and dispositionality, and classifies the various affective attitudes accordingly. An important distinction in this regard is between acute, extended, and enduring affective attitudes. Then a discussion on the temporality of affective attitudes is presented. The second section discusses major mechanisms that enable long-lasting (...) affective attitudes to endure. These mechanisms include, Hedonic adaptation, which reduces affective intensity, thereby enabling adaptation to a stable, average level of affective intensity; Positive mood offset, which maintains a moderate level of positive mood in the absence of adverse stimuli; The enduring mood of being dissatisfied, thereby keeping the agent’s interest high, and Meaningful development, which underlies the continuation and enhancement of the affective attitude. Each of these mechanisms sustains, in its own unique way, the balance required for enduring affective attitudes. The third section applies the above considerations to two major enduring positive affective attitudes: the mood of lasting happiness and the enduring emotion of profound romantic love. Time is typically a necessary condition for the creation and enhancement of such love. However, it is not a sufficient condition. So only in some cases, but not in all, does loving longer mean loving more. (shrink)

This article proposes a three-step model of empathy. It assumes that people have various empathy-related mechanisms available and thus can be described as hyper-empathic (Step 1). Under these conditions, the question of blocking and controlling empathy becomes a central issue to channel empathic attention and to avoid self-loss (Step 2). It is assumed that empathy can be sustained only when these mechanisms of controlling empathy are bypassed (Step 3). In particular, the article proposes a three-person scenario with one observing a (...) conflict of two others. By taking the side of one of the combatants, the observer is led into empathizing, perhaps to justify her/his earlier side-taking. (shrink)

This article examines the role of moods in aesthetic experience by focussing on film. It considers specifically the function of moods in relation to narrative and aesthetic perspectives which a film provides and which recipients are invited to adopt. I distinguish superficial transitory moods from profound enduring ones. This differentiation is important with regard to the question why moods in film matter and why they are different from emotions. I will focus on Lars von Trier’s film “Melancholia” and claim that (...) the moods of the leading characters can at one and the same time count as moods and perspectives on the world. Their moods are strongly connected to how they perceive their world, evaluate it, and “are” in the world. By being put into a mood that assails human beings holistically, viewers get acquainted with a perspective of a fictional character in an encompassing manner that includes mind and body. However, it will be discussed whether the viewers feel profound or superficial moods when engaging in the moods of the film and the characters and whether they are infatuated or can remain aesthetic distance. (shrink)