Gut Reactions is an interdisciplinary defense of the claim that emotions are perceptions of changes in the body.

Peter Goldie opens the path to a deeper understanding of our emotional lives through a lucid philosophical exploration of this surprisingly neglected topic. Drawing on philosophy, literature and science, Goldie considers the roles of culture and evolution in the development of our emotional capabilities. He examines the links between emotion, mood, and character, and places the emotions in the context of consciousness, thought, feeling, and imagination. He explains how it is that we are able to make sense of our own (...) and other people's emotions, and how we can explain the very human things which emotions lead us to do. He argues that it is only from the personal point of view that thoughts, reasons, feelings, and actions come into view. This fascinating book gives an accessible but penetrating exploration of an important but mysterious subject. Any reader interested in emotion and its role in understanding our lives will find much to think about here. (shrink)

Peter Goldie’s The Emotions is a fascinating account distinguished by its originality and breadth. Throughout, the account is well grounded in sound common sense, as Goldie lets his careful and sensitive interpretation of the phenomena drive his theory rather than the other way around.

Abstract The content of an emotion, unlike the content of a perception, is directly dependent on the motivational set of the subject experiencing the emotion. Given the instability of this motivational set, it might be thought that there is no sense in which emotions can be said to pick up information about the environment in the same way that perception does. Whereas it is admitted that perception tracks for us what is the case in the environment, no such tracking relation, (...) it is argued, holds between one's emotions and what they are about. It is to this worry – that the construal of the emotions as perceptions inevitably raises – that this paper tries to respond. In this paper, I suggest that when it is realized that one dimension of perception itself is directly dependent on the perceiver's perspective on her environment, then emotion, which is also essentially perspectival in this sense, bears the comparison with perception very well. After having clarified the nature and the role that perspective plays in perception, I argue that, in the case of emotions, the same perspectival role can be played by agents’ long-standing evaluative tendencies and character traits. The resulting conception of emotion as perception is then tested against possible objections. (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)

The story of our lives is the story of our passions. We fall in love, we are gripped by scientific curiosity and religious fervor, we fear death and grieve for others, we humble ourselves in envy, jealousy, and resentment. In this remarkable book, Robert Solomon shares his fascination with the emotions and illuminates our passions in an exciting new way.

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)

It is often claimed that emotions are linked to formal objects. But what are formal objects? What roles do they play? According to some philosophers, formal objects are axiological properties which individuate emotions, make them intelligible and give their correctness conditions. In this paper, I evaluate these claims in order to answer the above questions. I first give reasons to doubt the thesis that formal objects individuate emotions. Second, I distinguish different ways in which emotions are intelligible and argue that (...) philosophers are wrong in claiming that emotions only make sense when they are based on prior sources of axiological information. Third, I investigate how issues of intelligibility connect with the correctness conditions of emotions. I defend a theory according to which emotions do not respond to axiological information, but to non-axiological reasons. According to this theory, we can allocate fundamental roles to the formal objects of emotions while dispensing with the problematic features of other theories. (shrink)

A set of approximately 500 words taken from the literature on emotion was examined. The overall goal was to develop a comprehensive taxonomy of the affective lexicon, with special attention being devoted to the isolation of terms that refer to emotions. Within the taxonomy we propose, the best examples of emotion terms appear to be those that (a) refer to internal, mental conditions as opposed to physical or external ones, (b) are clear cases of stares, and (c) have affect as (...) opposed to behavior or cognition as a predominant (rather than incidental) referential focus. Relaxing one or another of these constraints yields poorer examples or nonexamples of emotions; however, this gradedness is not taken as evidence that emotions necessarily defy classical definition. (shrink)

The location of verbally reported feelings in a three-dimensional affective space is determined by the results of appraisal processes that elicit the respective states. One group of participants rated their evaluation of 59 pictures from the International Affective Picture System (IAPS) on a profile of nine appraisal criteria. Another group rated their affective reactions to the same pictures on the classic dimensions of affective meaning (valence, arousal, potency). The ratings on the affect dimensions correlate differentially with specific appraisal ratings. These (...) results can be interpreted as showing that the reactions to the IAPS pictures are predictably produced through appraisal of picture content. The relevance of the findings for emotion induction paradigms and for emotion theory in general is discussed. (shrink)