Emotions are viewed as having evolved through their adaptive value in dealing with fundamental life-tasks. Each emotion has unique features: signal, physiology, and antecedent events. Each emotion also has characteristics in common with other emotions: rapid onset, short duration, unbidden occurrence, automatic appraisal, and coherence among responses. These shared and unique characteristics are the product of our evolution, and distinguish emotions from other affective phenomena.

The literature on the venerable aesthetic category of the sublime often provides us with lists of sublime phenomena — mountains, storms, deserts, volcanoes, oceans, the starry sky, and so on. But it has long been recognized that what matters is the experience of such objects. We then find that one of the most consistent claims about this experience is that it involves an element of fear. Meanwhile, the recognition of the sublime as a category of aesthetic appreciation implies that attraction, (...) admiration or pleasure is also present.1However, there is also a sense of fear and attraction when we watch car chases or fights. Neither of these is an occasion for the sublime so much as a visceral sort of excitement.2 As .. (shrink)

Neosentimentalist accounts of value need an explanation of which of the sentiments they discuss are pro-attitudes, which attitudes are con-attitudes, and why. I argue that this project has long been neglected in the philosophical literature, even by those who make extensive use of the distinction between pro- and con-attitudes. Using the attitudes of awe and respect as exemplars, I argue that it is not at all clear what if anything makes these attitudes pro-attitudes. I conclude that neither our intuitive sense (...) of the distinction nor the vague accounts of it that exist in the philosophical literature are especially helpful in sorting out the hard cases. What is needed is a more explicit and thorough account of what the valence of our attitudes consists in. (shrink)

The Critique of the Power of Judgment (a more accurate rendition of what has hitherto been translated as the Critique of Judgment) is the third of Kant's great critiques following the Critique of Pure Reason and the Critique of Practical Reason. This entirely new translation of Kant's masterpiece follows the principles and high standards of all other volumes in The Cambridge Edition of the Works of Immanuel Kant. This volume includes: for the first time the indispensable first draft of Kant's (...) introduction to the work; the only English edition notes to the many differences between the first (1790) and second (1793) editions of the work; and relevant passages in Kant's anthropology lectures where he elaborated on his aesthetic views. All in all this new edition offers the serious student of Kant a dramatically richer, more complete and more accurate translation. (shrink)

I present and evaluate Johann Gottfried Herder's criticisms of Kant's account of the sublime and Herder's own theory of the sublime, as presented in his work, Kalligone. Herder's account and criticisms ought to be taken seriously, I argue, as (respectively) a non-reductive, naturalist aesthetics of the sublime, and as illuminating the metaphysical, moral, and political presuppositions underlying Kant's (and Burke's) accounts of the sublime.

This eloquent 1757 treatise examines how interactions with the physical world affect formulation of ideals related to beauty and art. Tremendously influential on the development of aesthetic theory, this formative dissertation was among the first explorations of the concept of the sublime and remains a thought-provoking study for modern readers.

'Pain and pleasure are simple ideas, incapable of definition.'In 1757 the 27-year-old Edmund Burke argued that our aesthetic responses are experienced as pure emotional arousal, unencumbered by intellectual considerations. In so doing he overturned the Platonic tradition in aesthetics that had prevailed from antiquity until the eighteenth century, and replaced metaphysics with psychology and even physiology as the basis for the subject. Burke's theory of beauty encompasses the female form, nature, art, and poetry, and he analyses our delight in sublime (...) effects that thrill and excite us. His revolution in method continues to have repercussions in the aesthetic theories of today, and his revolution in sensibility has paved the way for literary and artistic movements from the Gothic novel through Romanticism, twentieth-century painting, and beyond. In this new edition Paul Guyer conducts the reader through Burke's Enquiry, focusing on its place in the history of aesthetics and highlighting its innovations, as well as its influence on many subsequent authors from Kant and Schiller to Ruskin and Nietzsche. (shrink)

In this paper we present a prototype approach to awe. We suggest that two appraisals are central and are present in all clear cases of awe: perceived vastness, and a need for accommodation, defined as an inability to assimilate an experience into current mental structures. Five additional appraisals account for variation in the hedonic tone of awe experiences: threat, beauty, exceptional ability, virtue, and the supernatural. We derive this perspective from a review of what has been written about awe in (...) religion, philosophy, sociology, and psychology, and then we apply this perspective to an analysis of awe and related states such as admiration, elevation, and the epiphanic experience. (shrink)

Discussion of sublime response to natural environments is largely absent from contemporary environmental aesthetics. This is due to the fact that the sublime seems inextricably linked to extravagant metaphysical ideas. In this paper, I seek to rehabilitate a conception of sublime response that is secular, metaphysically modest and compatible with the most influential theory of environmental aesthetics, Allen Carlson’s scientific cognitivism. First, I offer some grounds for seeing the environmental sublime as a distinctive and meaningful category of contemporary aesthetic experience (...) of nature. Next, from historical and contemporary sources, I reconstruct two philosophical accounts of what I call ‘thin’ and ‘thick’ sublime response. Finally I show how these responses are compatible with scientific cognitivism, though the latter more so than the former. (shrink)

Understanding positive emotions' shared and differentiating features can yield valuable insight into the structure of positive emotion space and identify emotion states, or aspects of emotion states, that are most relevant for particular psychological processes and outcomes. We report two studies that examined core relational themes (Study 1) and expressive displays (Study 2) for eight positive emotion constructs—amusement, awe, contentment, gratitude, interest, joy, love, and pride. Across studies, all eight emotions shared one quality: high positive valence. Distinctive core relational theme (...) and expressive display patterns were found for four emotions—amusement, awe, interest, and pride. Gratitude was associated with a distinct core relational theme but not an expressive display. Joy and love were each associated with a distinct expressive display but their core relational themes also characterised pride and gratitude, respectively. Contentment was associated with a distinct expressive display but not a core relational theme. The implications of this work for the study of positive emotion are discussed. (shrink)