In this paper, we argue that, barring a few important exceptions, the phenomenon we refer to using the expression “being moved” is a distinct type of emotion. In this paper’s first section, we motivate this hypothesis by reflecting on our linguistic use of this expression. In section two, pursuing a methodology that is both conceptual and empirical, we try to show that the phenomenon satisfies the five most commonly used criteria in philosophy and psychology for thinking that some affective episode (...) is a distinct emotion. Indeed, being moved, we claim, is the experience of a positive core value (particular object) perceived by the moved subject as standing out (formal object) in the circumstances triggering the emotion. Drawing on numerous examples, we describe the distinctively rich phenomenology characteristic of the experience as well as the far-reaching action-tendencies and functions associated with it. Having thus shown that the candidate emotion seem to satisfy the five criteria, we go on, in section three, to compare it with sadness and joy, arguing that it should not be confused with either. Finally, in section four, we illustrate the explanatory power of our account of “being moved” by showing how it can shed light on, and maybe even justify, the widespread distrust we feel towards the exhibition of ‘sentimentality’. On the whole and if we are right, we have uncovered an emotion which, though never or rarely talked about, is of great interest and no small importance. (shrink)

The power of the positive moral emotions to uplift and transform people has long been known, but not by psychologists. In 1771, Thomas Jefferson's friend Robert Skipwith wrote to him asking for advice on what books to buy for his library, and for his own education. Jefferson sent back a long list of titles in history, philosophy, and natural science. But in addition to these obviously educational works, Jefferson advised the inclusion of some works of fiction. Jefferson justified this advice (...) by pointing to the beneficial emotional effects of great fiction: [E]very thing is useful which contributes to fix us in the principles and practice of virtue. When any... act of charity or of gratitude, for instance, is presented either to our sight or imagination, we are deeply impressed with its beauty and feel a strong desire in ourselves of doing charitable and grateful acts also. On the contrary when we see or read of any atrocious deed, we are disgusted with its deformity and conceive an abhorrence of vice. Now every emotion of this kind is an exercise of our virtuous dispositions; and dispositions of the mind, like limbs of the body, acquire strength by exercise. (shrink)

According to the conceptual act theory, emotions emerge when physical sensations in the self and physical actions in others are meaningfully linked to situations during a process that can be called both cognitive and perceptual (creating emotional experiences, and emotion perceptions, respectively). There are key four hypotheses: (a) an emotion (like anger) is a conceptual category, populated with instances that are tailored to the environment; (b) each instance of emotion is constructed within the brain’s functional architecture of domain-general core systems; (...) (c) the workings of each system must be holistically understood within the momentary state of the brain, the body, and the surrounding context; (d) being emergent states, emotional episodes have functional features that physical states, alone, do not have. Similarities and differences to other theoretical approaches to emotion are discussed. (shrink)

Until now, adult crying has received relatively little interest from investigators, whereas in the popular media there are many strong claims about crying (e.g., crying brings relief) of which the scientific basis is not clear. In this review, we provide an overview of the current state of the scientific literature with respect to crying. We identify gaps in knowledge and propose questions for future research. The following topics receive special attention: Ontogenetic development, antecedents, individual and gender differences, and the intra- (...) and interindividual effects of crying. We conclude that the study of crying may help us obtain better insight into human nature, that is, not only our emotional, but also social, and moral functioning. (shrink)

“All languages have ‘emotive interjections’ ” —and yet emotion researchers have invested only a tiny research effort into interjections, as compared with the huge body of research into facial expressions and words for emotion categories. This article provides an overview of the functions, meanings, and cross-linguistic variability of interjections, concentrating on non-word-based ones such as Wow!, Yuck!, and Ugh! The aims are to introduce an area that will be unfamiliar to most readers, to illustrate how one leading linguistic approach deals (...) with interjectional meaning, and to start a discussion about an interdisciplinary research agenda for the study of emotive interjections. Examples are drawn from English, Polish, and Cantonese. (shrink)

According to evolutionary accounts of distinct emotions, these emotions are shaped by natural selection to adjust the physiological, psychological, cognitive, and behavioral parameters of an organism to facilitate its capacity to respond adaptively to threats and opportunities present in the environment. This account has a number of implications, most notably: each distinct emotion serves, or served, an adaptive function, and emotions are comprised of multiple components, all of which should be functional. In this article, I briefly outline an evolutionary approach (...) to understanding distinct emotions, then explain how this approach could be falsified, how one’s own emotion experience differs from the observation of an emotion experience in someone else, and why variability in emotional responding should be expected. (shrink)

L'ouvrage de l'hagiographe maghrebin Ibn Qunfudh, Uns al-faqīr wa-'izz al-ḥaqīr, a été choisi comme point de départ d’une recherche concernant les modalités médiévales de l'écriture des sentiments et des émotions religieuses. Le corps nous apparaît dans les récits hagiographiques comme étant le véhicule de connaissances spirituelles et, parmi les sens corporels, la vue, ainsi que le toucher et le goût, ont la prééminence. Une hiérarchie se dessine entre les formes de savoir centrées sur la parole et la transmission auditive et (...) celles, véhiculées par la vue et les autres sens corporels, qui impliquent une expérience de contact direct et qui s'acquièrent par un apprentissage informel où les gestes et les silences jouent un rôle de premier plan. (shrink)

Durkheim écrit ce livre avec un but double : d'abord il voulait expliquer ce qui crée une société, ce qui la tient ensemble ; ensuite il voulait éclaircir l'influence qu'a la société sur la pensée logique. Pour Durkheim, la religion est la clé utilisée pour déverrouiller ces deux problématiques.Dans ce livre, Durkheim argumente que les représentations religieuses sont en fait des représentations collectives : l'essence du religieux ne peut être que le sacré. Il est une caractéristique qui se trouve universellement (...) dans toutes les religions. Le sacré, être collectif et impersonnel, représente ainsi la société elle-même. Ensuite il argumente que la société a un impact majeur dans la genèse de la pensée logique. C'est la société qui fournit à l'individu les catégories (le temps, l'espace, le nombre etc.) et les concepts nécessaires pour la pensée logique. (shrink)

Type-scenes have been studied and analysed for over seventy years. This paper presents a more detailed analysis of one type-scene, the 'recognition scene', than has previously been attempted, with the aim of moving towards a better-structured understanding of the 'syntax' of type-scenes generally. The structure of the recognition scene is dissected into motifs and 'moves', all of which are tabulated; this is the core of the analysis. The ensuing points of clarification elaborate on the definitions and assumptions built into the (...) analysis. Following this is an assessment of the 'syntax' and quantifiable elements of the recognition scene. The discussion closes with a general assessment of the more literary face of recognition scenes, discussing them in the context of the plan of the second half of the Odyssey. (shrink)

Feeling moved or touched can be accompanied by tears, goosebumps, and sensations of warmth in the centre of the chest. The experience has been described frequently, but psychological science knows little about it. We propose that labelling one’s feeling as being moved or touched is a component of a social-relational emotion that we term kama muta. We hypothesise that it is caused by appraising an intensification of communal sharing relations. Here, we test this by investigating people’s moment-to-moment reports of feeling (...) moved and touched while watching six short videos. We compare these to six other sets of participants’ moment-to-moment responses watching the same videos: respectively, judgements of closeness, reports of weeping, goosebumps, warmth in the centre of the chest, happiness, and sadness. Our eighth time series is expert ratings of communal sharing. Time series analyses show strong and consistent cross-correlations of feeling moved and touched and closeness with each other and with each of the three physiological variables and expert-rated communal sharing – but distinctiveness from happiness and sadness. These results support our model. (shrink)