Challenging and rewarding in equal measure, _Phenomenology of Perception_ is Merleau-Ponty's most famous work. Impressive in both scope and imagination, it uses the example of perception to return the body to the forefront of philosophy for the first time since Plato. Drawing on case studies such as brain-damaged patients from the First World War, Merleau-Ponty brilliantly shows how the body plays a crucial role not only in perception but in speech, sexuality and our relation to others.

Jon Elster has written a comprehensive, wide-ranging book on the emotions in which he considers the full range of theoretical approaches. Drawing on history, literature, philosophy and psychology, Elster presents a complete account of the role of the emotions in human behaviour. While acknowledging the importance of neurophysiology and laboratory experiment for the study of emotions, Elster argues that the serious student of the emotions can learn more from the great thinkers and writers of the past, from Aristotle to Jane (...) Austen. He attaches particular importance to the work of the French moralists, notably La Rochefoucauld, who demonstrated the way esteem and self-esteem shape human motivation. The book also maintains a running dialogue with economists and rational-choice theorists. Combining methodological and theoretical arguments with empirical case-studies and written with Elster's customary verve and economy, this book has great cross-disciplinary appeal. (shrink)

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)

Jon Elster has written a comprehensive, wide-ranging book on the emotions in which he considers the full range of theoretical approaches. Drawing on history, literature, philosophy and psychology, Elster presents a complete account of the role of the emotions in human behaviour. While acknowledging the importance of neurophysiology and laboratory experiment for the study of emotions, Elster argues that the serious student of the emotions can learn more from the great thinkers and writers of the past, from Aristotle to Jane (...) Austen. He attaches particular importance to the work of the French moralists, notably La Rochefoucauld, who demonstrated the way esteem and self-esteem shape human motivation. The book also maintains a running dialogue with economists and rational-choice theorists. Combining methodological and theoretical arguments with empirical case-studies and written with Elster's customary verve and economy, this book has great cross-disciplinary appeal. (shrink)

What is kitsch? What is behind its appeal? More important, what is wrong with kitsch? Though central to our modern and postmodern culture, kitsch has not been seriously and comprehensively analyzed; its aesthetic worthlessness has been generally assumed but seldom explained. _Kitsch and Art _seeks to give this phenomenon its due by exploring the basis of artistic evaluation and aesthetic value judgments. Tomas Kulka examines kitsch in the visual arts, literature, music, and architecture. To distinguish kitsch from art, Kulka proposes (...) that kitsch depicts instantly identifiable, emotionally charged objects or themes, but that it does not substantially enrich our associations relating to the depicted objects or themes. He then addresses the deceptive nature of kitsch by examining the makeup of its artistic and aesthetic worthlessness. Ultimately Kulka argues that the mass appeal of kitsch cannot be regarded as aesthetic appeal, but that its analysis can illuminate the nature of art appreciation. (shrink)

A proposal that extends the enactive approach developed in cognitive science and philosophy of mind to issues in affective science.

Emotions and bodily feelings -- Existential feelings -- The phenomenology of touch -- Body and world -- Feeling and belief in the Capgras delusion -- Feelings of deadness and depersonalization -- Existential feeling in schizophrenia -- What William James really said -- Stance, feeling, and belief -- Pathologies of existential feeling.

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

A collection of the author's most influential essays and short works includes her critique of existentialism, her two dialogues on art and religion, key texts on the continuing importance of the sublime, the concept of love, and more.

The word "truth" retains, in common use, traces of origins that link it to trust, truth, and truce, connoting ideas of fidelity, loyalty, and authenticity. The word has become, in contemporary philosophy, encased in a web of technicalities, but we know that a true image is a faithful portrait; a true friend a loyal one. In a novel or a poem, too, we have a feel for what is emotionally true, though we are not concerned with the actuality of events (...) and characters depicted. To have emotions is to care about certain things: we can wonder whether those things are really worth caring about. We can wonder whether our passions reflect who we are, and whether they constitute fitting responses to the vicissitudes of life. So there are two aspects to emotional truth: how well an emotion reflects the threats and promises of the world, and how well it reflects our own individual nature. That is the starting point of this book, which looks first at the analogies and disanalogies between strict propositional truth and a looser, "generic" sense of truth. As applied to emotions, generic truth is closer to those original meanings: as in a portrait's fidelity or friend's loyalty. Taken in this sense, the notion of emotional truth opens up large vistas on areas of life essential to our existence as social beings, and to our concerns with beauty, morality, love, death, sex, knowledge, desire, coherence, and happiness. Each of those topics illustrates some facet of the dominant theme of the book: the crucial but often ambivalent role of our emotions in grounding and yet also sometimes undermining our values. Emotions act, in holistic perspective, as ultimate arbiters of values where different and independently justified standards of value compete. (shrink)

Challenging and rewarding in equal measure, _Phenomenology of Perception_ is Merleau-Ponty's most famous work. Impressive in both scope and imagination, it uses the example of perception to return the _body_ to the forefront of philosophy for the first time since Plato. Drawing on case studies such as brain-damaged patients from the First World War, Merleau-Ponty brilliantly shows how the body plays a crucial role not only in perception but in speech, sexuality and our relation to others. Perhaps above all, Merleau-Ponty's (...) insights about the embodied mind are a bold and refreshing challenge to the new era of virtual reality and artificial intelligence, as scientists and psychologists discover the centrality of the body to mind and intelligence. (shrink)

In this unusual and much-needed reappraisal of Freud's clinical technique, M. Guy Thompson challenges the conventional notion that psychoanalysis promotes relief from suffering and replaces it with a more radical assertion, that psychoanalysis seeks to mend our relationship with the real that has been fractured by our avoidance of the same. Thompson suggests that, while avoiding reality may help to relieve our experience of suffering, this short-term solution inevitably leads to a split in our existence. M. Guy Thompson forcefully disagrees (...) with the recent trend that dismisses Freud as an historical figure who is out of step with the times. He argues, instead, for a return to the forgotten Freud, a man inherently philosophical and rooted in a Greek preoccupation with the nature of truth, ethics, the purpose of life and our relationship with reality. Thompson's argument is situated in a stunning re-reading of Freud's technical papers, including a new evaluation of his analyses of Dora and the Rat Man in the context of Heidegger's understanding of truth. In this remarkable examination of Freud's technical recommendations, M. Guy Thompson explains how psychoanalysis was originally designed to re-acquaint us with realities we had abandoned by encountering them in the contest of the analytic experience. This provocative examination of Freud's conception of psychoanalysis reveals a more personal Freud than we had previously supposed, one that is more humanistic and real. (shrink)