In lieu of an abstract, here is a brief excerpt of the content:Notes and Fragments ENJOYING NEGATIVE EMOTIONS IN FICTIONS by John Morreall There is a puzzle going back to Aristotle and Augustine that has sometimes been called the "paradox of tragedy": how is it that nonmasochistic, nonsadistic people are able to enjoy watching or reading about fictional situations which are filled with suffering? The problem here actually extends beyond tragedy to our enjoyment of horror films and other fictional depictions (...) of situations which we would not enjoy in real life. What is it about fiction that turns intensely unpleasant situations into situations we can enjoy? Ofthe many solutions proposed to this puzzle, I shall mentionjust four. Aristotle held that in viewing tragedy we experience negative emotions — pity and fear — but get pleasure from the experience nonetheless because we are thereby purged of excess pity and fear. For Aristotle, too, there is a pleasure which tragedy shares with fiction in general, the delight we take in representations.1 Hume put more weight on this latter delight. Our pleasure in tragedy, he said, is based on our appreciation of the skill with which the literary or other artist has depicted the unpleasant scenes.2 Susan Feagin has recently located the pleasure we take in tragic art not in our direct responses to the work, which are "unpleasant experiences," she says, but in our meta-response of moral self-congratulation at these responses.3 The fourth solution to our puzzle is really a dissolution: it consists of denying that we actually feel fear, pity, and other negative emotions in our experience of fiction. The guiding principle here is that in order to have some emotion toward a situation, we must believe that it is a real situation. This principle is articulated in an influential article by Kendall Walton, though he does not apply it to our puzzle.4 95 96Philosophy and Literature I believe that this last solution is no solution at all because we do in fact feel emotions in our appreciation of fiction (a point I will develop later). The other three solutions above address the puzzle, and the pleasures they appeal to all have some explanatory power. But these solutions seem to me to overlook perhaps the most basic pleasure we take in tragedy, horror films, and the like — the direct pleasure of feeling (ear, pity, and similar emotions. The idea of enjoying negative emotions seems counterintuitive at first; indeed it may seem analytically false. But let us look more closely at those emotions to see what there might be to enjoy in them. Because the idea that we experience real emotions in response to fiction is controversial, we will begin not with fiction but with real life. After seeing how negative emotions can be enjoyed in real life, we can then consider their enjoyment in response to fiction. Fear is perhaps the most basic negative emotion, and at first glance one of the least likely to be enjoyed. To feel fear, many have claimed, we have tojudge that we are in danger, and danger is disturbing to us. And so it is natural that in fear there is the motivation to eliminate the danger, by fleeing, protecting ourselves, or attacking. Changes in the autonomic nervous system and the endocrine system equip us forjust such actions. They produce an increase in alertness and muscle tension, a faster and stronger heartbeat, a redistribution of the blood from the skin and internal organs to the voluntary muscles and brain, and a release of stored sugar from the liver into the bloodstream. Now although we may not be able to identify all these changes when we are in a state of fear, we can feel many of them directly, and we certainly feel the overall excitement which they produce. It is this excitement, I think, that makes fear potentially enjoyable. Especially for someone who leads a relatively dull life, the stimulation provided by fear can be pleasurable by contrast with the ordinary lack of stimulation. Many people, indeed, go to considerable trouble to put themselves into dangerous situations, in part, at least, for the thrill of fear that the danger will provide. Consider mountain climbers and skydivers, for instance. Now there are many sources... (shrink)

There is a distinction between being afraid and being afraid that something is the case. Kathy may be afraid that it will rain without being afraid, and may be afraid without being afraid that it will rain. We shall say that the distinction is between experiential and propositional fear. To be afraid is to experience fear, to be in a state of fear. The state takes many forms, such as fright, terror, and dread. To be afraid that something is the (...) case is to have a certain propositional attitude. We may have reasons for fearing, or being fearful, that it is. My goal is to explain what it means to experience fear. I shall argue that experiential fear can be defined in terms of propositional fear. The basic idea is that fear is experienced when an occurrent propositional fear of harm causes involuntary arousal and unhappiness in a direct way. The degree of fear experienced is the extent of involuntary arousal attributable to the subject's propositional fear. We shall see how this definition accounts for the similarities and differences between fear and the related concepts of hope and anxiety. (shrink)

Mimesis as Make-Believe is important reading for everyone interested in the workings of representational art.

In this study William Lyons presents a sustained and coherent theory of the emotions, and one which draws extensively on the work of psychologists and physiologists in the area. Dr Lyons starts by giving a thorough and critical survey of other principal theories, before setting out his own 'causal-evaluative' account. In addition to giving an analysis of the nature of emotion - in which, Dr Lyon argues, evaluative attitudes play a crucial part - his theory throws light on the motivating (...) role of emotions in our lives, our attitudes towards our emotions and our responsibility for them. (shrink)

Paul E. Griffiths argues that most research on the emotions has been as misguided as Aristotelian efforts to study "superlunary objects" - objects...

ACTION, EMOTION AND WILL "This a clear and persuasive book which contains as many sharp points as a thorn bush and an array of arguments that as neat and ...

The Structure of Emotions argues that emotion concepts should have a much more important role in the social and behavioural sciences than they now enjoy, and shows that certain influential psychological theories of emotions overlook the explanatory power of our emotion concepts. Professor Gordon also outlines a new account of the nature of commonsense (or ‘folk’) psychology in general.

Edited by Richard McKeon, with an introduction by C.D.C. Reeve Preserved by Arabic mathematicians and canonized by Christian scholars, Aristotle’s works have shaped Western thought, science, and religion for nearly two thousand years. Richard McKeon’s The Basic Works of Aristotle—constituted out of the definitive Oxford translation and in print as a Random House hardcover for sixty years—has long been considered the best available one-volume Aristotle. Appearing in paperback at long last, this edition includes selections from the Organon, On the Heavens, (...) The Short Physical Treatises, Rhetoric, among others, and On the Soul, On Generation and Corruption, Physics, Metaphysics, Nicomachean Ethics, Politics, and Poetics in their entirety. (shrink)

This important book provides a theory about the nature of fiction, and about the relation between the author, the reader and the fictional text. The approach is philosophical: that is to say, the author offers an account of key concepts such as fictional truth, fictional characters, and fiction itself. The book argues that the concept of fiction can be explained partly in terms of communicative intentions, partly in terms of a condition which excludes relations of counterfactual dependence between the world (...) and the text. This communicative model is then applied to the following problems: how can something be 'true in the story' without being explicitly stated in the text? In what ways does interpreting a fictional story depend upon grasping its author's intentions? Is there always a unique best interpretation of a fictional text? What is the correct semantics for fictional names? What is the nature of our emotional response to a fictional work? In answering these questions the author explores the complex interaction between author, reader, and text. This interaction requires the reader to construct a 'fictional author' - a character in the story whose personality, beliefs and emotional states must be interpreted if the reader is to grasp the meaning of the work. (shrink)

I am going to assume, in what follows, that when we engage with a fiction we are participating in a game of make-believe; that is, that we are engaging in an imaginative effort. In this paper I shall attempt to identify the kind of game we are playing. I begin with two words of caution. First, identifying the kind of game will be a matter of finding a game whose structure best reflects the facts about our engagement with fiction. The (...) fit, however, will not be exact. In a game of mud pies, the fact that the cardboard box holds a maximum of six globs of mud may make it true in the game that the oven holds a maximum of six pies, but the fact that the box has "Fyffes bananas" written on the side of it will probably not make it true in the game that the oven has the same. Second the variety of works of fiction makes it unwise to assume that one kind of game will cover all cases. These two provisos might be thought to vitiate my project before it begins. In the face of an objection to my first proviso, namely, that the kind of make-believe I maintain we play with fiction does not mirror the facts of our relations with fiction, I can reply that the structure is not isomorphic in that particular respect. In reply to the claim that in some particular instance we do not play the game of make-believe that I suggest we do, I can simply agree and count it as one of the many exceptions to the rule. (shrink)

Reviews evidence which suggests that there may be little or no direct introspective access to higher order cognitive processes. Ss are sometimes unaware of the existence of a stimulus that importantly influenced a response, unaware of the existence of the response, and unaware that the stimulus has affected the response. It is proposed that when people attempt to report on their cognitive processes, that is, on the processes mediating the effects of a stimulus on a response, they do not do (...) so on the basis of any true introspection. Instead, their reports are based on a priori, implicit causal theories, or judgments about the extent to which a particular stimulus is a plausible cause of a given response. This suggests that though people may not be able to observe directly their cognitive processes, they will sometimes be able to report accurately about them. Accurate reports will occur when influential stimuli are salient and are plausible causes of the responses they produce, and will not occur when stimuli are not salient or are not plausible causes. (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.

A perfectly matched layer (PML) absorbing material composed of a uniaxial anisotropic material is presented for the truncation of finite-difference time-domain (FDTD) lattices. It is shown that the uniaxial PML material formulation is mathematically equivalent to the perfectly matched layer method published by Berenger (see J. Computat. Phys., Oct. 1994). However, unlike Berenger's technique, the uniaxial PML absorbing medium presented in this paper is based on a Maxwellian formulation. Numerical examples demonstrate that the FDTD implementation of the uniaxial PML medium (...) is stable, equal in effectiveness as compared to Berenger's PML medium, while being more computationally efficient. (shrink)

I shall conclude with a methodological moral. I have tried to show that there are several fundamentally different kinds of fear. One is a pure propositional attitude, one is partially a bodily state, and one is a relation between a person and a nonpropositional object. Other emotions come in similar varieties, such as hope and happiness, but with significant differences. The state of happiness, for example, does not entail any particular bodily state or feeling. So one lesson is this: it (...) is hard to generalize about “the emotions.” Further detailed, analytical studies of particular emotions are needed before a “general theory of the emotions” can be fruitfully attempted. (shrink)

One might imagine that this remark of James was too obvious to be denied, but in fact current philosophical orthodoxy runs against it. Since the renewal of interest in the emotions produced by Anthony Kenny's Action Emotion and Will in 1963, philosophers have focussed primarily on the cognitive aspects of emotions—the judgments, evaluations, beliefs, presuppositions which they contain. Bodily feelings have been, on the whole, slighted. Sometimes they are dismissed outright, as by Robert Solomon: “feelings no more constitute or define (...) the emotion than an army of fleas constitutes a homeless dog. … Feeling is the ornamentation of emotion, not its essence.”; more often, as in Jerome Neu, given only rather slight attention because “thoughts are of greater importance than feelings in the classification and discrimination of emotional states”. (shrink)

Philosophical theories of emotions, and to an extent some theories of scientific psychology, represent attempts to capture the essence of emotions basically as they are conceived in common sense psychology. Although there are problems, the success of explanations of our behavior in terms of believes, desires and emotions creates a presumption that, at some level of abstraction, they reflect important elements in our psychological nature. It is incumbent on a theory of emotions to provide an account of two salient facts (...) about emotions as conceived in common sense psychology. As intentional states, emotions have representational and rational properties: emotions represent states of affairs; and they are rationally related to other mental representations, figure in rational explanations of behavior, and are open to rational assessment. Emotions also have a close relationship to a range of non-intentional phenomena: in typical cases, emotions involve physiological changes, usually associated with the activation of the autonomic nervous system, which are proprioceptively experienced; and they often involve behavioral tendencies, as well. (shrink)