Philosophers often call emotions appropriate or inappropriate. What is meant by such talk? In one sense, explicated in this paper, to call an emotion appropriate is to say that the emotion is fitting: it accurately presents its object as having certain evaluative features. For instance, envy might be thought appropriate when one’s rival has something good which one lacks. But someone might grant that a circumstance has these features, yet deny that envy is appropriate, on the grounds that it is (...) wrong to be envious. These two senses of ‘appropriate’ have much less in common than philosophers have supposed. Indeed, the distinction between propriety and correctness is crucial to understanding the distinctive role of the emotions in ethics. We argue here that an emotion can be fitting despite being wrong to feel, and that various philosophical arguments are guilty of a systematic error which we term the moralistic fallacy. (shrink)

In his novel Remembrance of Things Past, Marcel Proust argues that conventional descriptions of the phenomenology of consciousness are incomplete because they focus too much on the highly-salient sensory information that dominates each moment of awareness and ignore the network of associations that lies in the background. In this paper, I explicate Proust’s theory of conscious experience and show how it leads him directly to a theory of aesthetic perception. Proust’s division of awareness into two components roughly corresponds to William (...) James’ division of the stream of thought into a “nucleus” and “fringe.” Proust argues that the function of art is to evoke the underlying associative network indirectly in the mind of the observer by using carefully chosen sensory surfaces to control the stream of thought. I propose a possible neural basis for this Proustian/Jamesian phenomenology, and argue that the general principles of Proustian aesthetics can be applied to all forms of art. I conclude that a scientific theory of art should follow in a straightforward manner from a scientific theory of consciousness. (shrink)

We sometimes experience emotions which are directed at past events (or situations) which we witnessed at the time when they occurred (or obtained). The present paper explores the role which such "autobiographically past-directed emotions" (or "APD-emotions") play in a subject's mental life. A defender of the "Memory-Claim" holds that an APD-emotion is a memory, namely a memory of the emotion which the subject experienced at the time when the event originally occurred (or the situation obtained) towards which the APD-emotion is (...) directed. On this view, APD-emotions might play an important role in our acquiring knowledge about our own past emotions, which renders the view rather attractive. However, as I show in the present paper, none of the various possible versions of the Memory-Claim are tenable. This leaves us with the "Universal-New-Emotion-Claim", according to which all APD-emotions are new emotional responses to the past events (or situations) towards which the relevant APD-emotions are directed. Further consideration of the "Universal-New-Emotion-Claim" shows that while APD-emotions do not play the epistemological role they could have played had some version of the Memory-Claim turned out to be true, a subject's APD-emotions nevertheless do play a vital role in a subject's mental life: they help the subject to develop a balanced sense of self. (shrink)

Philosophers often call emotions appropriate or inappropriate. What is meant by such talk? In one sense, explicated in this paper, to call an emotion appropriate is to say that the emotion is fitting: it accurately presents its object as having certain evaluative features. For instance, envy might be thought appropriate when one's rival has something good which one lacks. But someone might grant that a circumstance has these features, yet deny that envy is appropriate, on the grounds that it is (...) wrong to be envious. These two senses of `appropriate' have much less in common than philosophers have supposed. Indeed, the distinction between propriety and correctness is crucial to understanding the distinctive role of the emotions in ethics. We argue here that an emotion can be fitting despite being wrong to feel, and that various philosophical arguments are guilty of a systematic error which we term the moralistic fallacy. (shrink)