In his Aesthetic Croce makes some remarks upon the subject of sincerity:Artists protest vainly: ‘Lasciva est nobis pagina, vita proba’. They are merely taxed with lying and hypocrisy. How far more prudent you were, poor women of Verona, when you founded your belief that Dante had really descended to Hell upon his blackened countenance. Yours was at any rate an historical conjecture.

In his Aesthetic Croce makes some remarks upon the subject of sincerity: Artists protest vainly: ‘Lasciva est nobis pagina, vita proba’. They are merely taxed with lying and hypocrisy. How far more prudent you were, poor women of Verona, when you founded your belief that Dante had really descended to Hell upon his blackened countenance. Yours was at any rate an historical conjecture.

According to a major trend in Hegel scholarship, Hegel advocates a McDowell-style transformativist conception of the human mind. Central to this conception is a methodological dualism, according to which phenomena belonging to the rational mind, in contrast to those belonging to non-rational nature, must be accounted for from within the ‘space of reasons.’ In this paper I argue, by contrast, that Hegel rejects methodological dualism. For Hegel, a constitutive aspect of the rational mind is the activity of expression. I show (...) how Hegel’s philosophy of mind adequately accounts for low-level forms of expressivity without appealing to capacities connected to conceptual thought and judgment, and that he does so by drawing on methods similar to those employed within the empirical sciences of his time. Thus, for Hegel, the sphere of the rational mind is broader than the McDowellian space of reasons. (shrink)

This essay ties together some main strands of the author’s research spanning the last quarter-century. Because of its broad scope and space limitations, he prescinds from detailed arguments and instead intuitively motivates the general points which are supported more fully in other publications to which he provides references. After an initial delineation of several distinct notions of meaning, the author considers such a notion deriving from the evolutionary biology of communication that he terms ‘organic meaning’, and places it in the (...) context of evolutionary game theory. That provides a framework for a special type of organic meaning found in the phenomenon of expression, of which the author here offers an updated characterization while highlighting its wide philosophical interest. Expression in turn generalizes to a paradigmatic form of human communication—conversation—and section 4 provides a taxonomy of conversation-types while arguing that attention to such types helps to sharpen predictions of what speakers say rather than conversationally implicate. We close with a view of fictional discourse on which authors of fictional works are engaged in conversation with their readers, and can provide them with knowledge in spite of the fictional character of their conversation. Such knowledge includes knowledge of how an emotion feels and is thus a route to empathy. (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)

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)