This paper replies to an argument due to Greenspan (1980) and to Morton (2002) against the view that emotions are perceptions of values. The argument holds that this view cannot make room for ambivalent emotions both of which are appropriate, such as when it is appropriate to feel fear and attraction towards something. This would make for a contradiction, for appropriate emotions are supposed to present things as they are. The problem, I argue, is that this line of thoughts forgets (...) that things can have positive and negative aspects: something can both be dangerous and attractive, for instance. (shrink)

Ira Brevis furor, said the Latins: anger is a brief bout of madness. There is a long tradition that views all emotions as threats to rationality. The crime passionnel belongs to that tradition: in law it is a kind of “brief-insanity defence.” We still say that “passion blinds us;” and in common parlance to be philosophical about life's trials is to be decently unemotional about them. Indeed many philosophers have espoused this view, demanding that Reason conquer Passion. Others — from (...) Hume to the Emotivists — have appeared to reverse this hierarchy.” But those philosophers who refuse to join in the general denigration of emotion as irrational usually share the presupposition that the role of rationality is limited to the calculation of means. In so far as emotions are concerned with the determination of ends, they remain, on this view, beyond the pale of rationality. Modern decision theorists have worked out schemes to assess the rationality of desires, as well as actions, against the background of beliefs and other desires.1 But these schemes leave no room at all for emotions, except, by implication, as disrupters of the rational process. (shrink)

Reviews the book, Upheavals of thought: The intelligence of emotions by Martha C. Nussbaum . Drawing from an astounding array of sources, Nussbaum argues against the common understanding of emotions as irrational and animalistic impulses disconnected from our thoughts and reason. Rather, she argues that emotions are highly discriminating responses to what is of value and importance that are, therefore, suffused with intelligence and discernment. Nussbaum explores the structure of a wide range of emotions, in particular, compassion and love, in (...) order to show that there can be no adequate ethical theory without an adequate theory of emotional experience and meaning. 2012 APA, all rights reserved). (shrink)

This is a reply to de Sousa's 'Emotional Truth', in which he argues that emotions can be objective, as propositional truths are. I say that it is better to distinguish between truth and accuracy, and agree with de Sousa to the extent of arguing that emotions can be more or less accurate, that is, based on the facts as they are.

According to the standard account of actions and their explanations, intentional actions are actions done because the agent has a certain desire/belief pair that explains the action by rationalizing it. Any explanation of intentional action in terms of an appetite or occurrent emotion is hence assumed to be elliptical, implicitly appealing to some appropriate belief. In this paper, I challenge this assumption with respect to the " arational " actions of my title---a significant subset of the set of intentional actions (...) explained by occurrent emotion. These actions threaten the standard account, not only by forming a recalcitrant set of counterexamples to it, but also, as we shall see, by undercutting the false semantic theory that holds that account in place. (shrink)

Some films scare us; some make us cry; some thrill us. Some of the most interesting films, however, leave us suspended between feelings – both joyous and sad, or angry and serene. This paper attempts to explain how this can happen and why it is important. I look closely at one film that creates and exploits these conflicted responses. I argue that cases of conflict in film illuminate a pair of vexing questions about emotion in film: (1) To what extent (...) are emotional responses rational, or in need of rationalization?; and (2) What relationship is there between emotional response and value (moral, filmic, or otherwise)? Conflict, I argue, can be revealing, and can help us better understand emotional responses to narrative film1 in general. The paper is divided into four sections. First, I sketch a theory of emotional engagement that makes sense of the notion of a “conflicted emotional response” to a film. Second, I turn to a particular case of a film that produces this sort of conflict, Fritz Lang’s M (1931), and show that the conflict engendered by that film is both more significant and less unusual than it may appear. In the final two sections, I argue that there is no need to rationalize or make consistent such mixed emotional responses, and that there is real moral, aesthetic, and cognitive value to be had from such conflict. (shrink)

In Emotions and Reasons, Patricia Greenspan offers an evaluative theory of emotion that assigns emotion a role of its own in the justification of action. She analyzes emotions as states of object-directed affect with evaluative propositional content possibly falling short of belief and held in mind by generalized comfort or discomfort.

Christabel Bielenberg must be one of the few people to have sought out an appointment with the Gestapo. An Englishwoman married to a senior German civil servant, she was determined somehow to free her husband, who was being held in the aftermath of the 1944 assassination attempt against Hitler. As she related it on Desert Island Discs , her success in facing down the forbidding official who eventually received her owed to the sight of a uniformed female officer leaning over (...) one of the reception desks and repeatedly slapping a rather gracious old man across the face. ‘All of a sudden my fear vanished and I was filled with pure rage.’ For it was in that condition that she entered the interviewing room. Reflecting on this decades later, she opined majesterially, ‘I don't think it possible to have two intense and opposite emotions simultaneously.’. (shrink)

Aristotelian virtue ethics invests emotions and feelings with much moral significance. However, the moral and other conflicts that inevitably beset human life often give rise to states of emotional division and ambivalence with problematic implications for any understanding of virtue as complete psychic unity of character and conduct. For one thing, any admission that the virtuous are prey to conflicting passions and desires may seem to threaten the crucial virtue ethical distinction between the virtuous and the continent. One recent attempt (...) to sustain this distinction -- considered in this paper -- maintains that the contrary-to-virtue emotions and desires of the virtuous (by contrast with those of the continent) must relinquish their motive power as reasons for action. Following some attention to the psychological status of feelings and emotions -- in particular their complex relations with cognition and reason -- this paper rejects this solution in favour of a more constructive view of emotional conflict. (shrink)

What does it mean for emotion to be well-constituted? What distinguishes good feeling from (just) feeling good? Is there such a distinction at all? The answer to these questions becomes clearer if we realize that for an emotion to be all it seems, it must be responsible as well as responsive to what it is about. It may be that good feeling depends on feeling truly if we are to be really moved, moved in the way that avoids the need (...) for constant, fretful replenishment and reinforcement. To be sound, emotions may need to be capable of genuineness, depth, and other kinds of integrity. And that, in turn, may require certain virtues of mind, such as truthfulness, temperateness, and even courage, that are more familiar at the level of action. The governing aim of this book is to demonstrate that there can be problems of a structural kind with the adequacy of emotions and the emotional life. (shrink)

This book reconstructs and interprets the theory of the emotions as expounded by the Stoic philosopher Chrysippus in his 'On Affections', only fragments of which remain. Given its contextual approach, sources such as Galen and Cicero receive ample attention.

In "Upheavals of Thought", Martha Nussbaum offers a theory of the emotions. She argues that emotions are best conceived as thoughts, and she argues that emotion-thoughts can make valuable contributions to the moral life. She develops extensive accounts of compassion and erotic love as thoughts that are of great moral import. This paper seeks to elucidate what it means, for Nussbaum, to say that emotions are forms of thought. It raises critical questions about her conception of the structure of emotion, (...) and about her conception of compassion, in particular. Finally, the paper seeks to show how analyzing the structure, as well as the moral value, of the emotions ultimately requires entering the realm of religious ethics. (shrink)

How should we understand the emotional rationality? This first part will explore two models of cognition and analogy strategies, test their intuition about the emotional desire. I distinguish between subjective and objective desire, then presents with a feeling from the "paradigm of drama" export semantics, here our emotional repertoire is acquired all the learned, and our emotions in the form of an object is fixed. It is pretty well in line with the general principles of rationality, especially the lowest reasonable (...) principles. Turned to the second part of this side of reasonable. I will inquire how emotional beliefs, desires, and behaviors contribute to the rationality. I will present a very general biological hypothesis: emotions by controlling highlights the characteristics of perception and reasoning, so that we remove the difficulties due in particular to lead to paralysis; they are being simulated by a simplified perception of information, thus limiting our practice and cognitive choice. How are we to understand emotional or axiological rationality? I pursue analogies with both the cognitive and the strategic models, testing them against intuitions about emotional desires. We distinguish two different classes of desires, the subjective and the objective, and propose that emotions have a semantics that derives from "paradigmatic scenarios", in terms of which our emotional repertoire is learned and the formal objects of our emotions fixed. This fits in well with emerging facts about how our emotional capacities develop, and it can also be squared with the general principles of rationality, particularly minimal rationality. In the second part, I return to the perspective of rationality. I ask how emotions contribute to the rationality of beliefs, desires, and behavior. I proffer a very general biological hypothesis: Emotions spare us the paralysis potentially induced by a particular predicament by controlling the salience of features of perception and reasoning; they temporarily mimic the informational encapsulation of perception and so circumscribe our practical and cognitive options. (shrink)