- Submit
-
Browse
- All Categories
- Metaphysics and Epistemology
- Value Theory
- Science, Logic, and Mathematics
- Science, Logic, and Mathematics
- Logic and Philosophy of Logic
- Philosophy of Biology
- Philosophy of Cognitive Science
- Philosophy of Computing and Information
- Philosophy of Mathematics
- Philosophy of Physical Science
- Philosophy of Social Science
- Philosophy of Probability
- General Philosophy of Science
- Philosophy of Science, Misc
- History of Western Philosophy
- Philosophical Traditions
- Philosophy, Misc
- Other Academic Areas
- More
Switch to: Citations
References in:
Can Emotions Have Abstract Objects? The Example of Awe
Philosophia 46 (3):733-746 (2018)
Add references
You must login to add references.
|
|
|
With this volume, Werner Pluhar completes his work on Kant's three Critiques, an accomplishment unique among English language translators of Kant. At once accurate, fluent, and accessible, Pluhar's rendition of the Critique of Practical Reason meets the standards set in his widely respected translations of the Critique of Judgement (1987) and the Critique of Pure Reason (1996). |
|
|
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 (...) |
|
|
I present and evaluate Johann Gottfried Herder's criticisms of Kant's account of the sublime and Herder's own theory of the sublime, as presented in his work, Kalligone. Herder's account and criticisms ought to be taken seriously, I argue, as (respectively) a non-reductive, naturalist aesthetics of the sublime, and as illuminating the metaphysical, moral, and political presuppositions underlying Kant's (and Burke's) accounts of the sublime. |
|
|
In recent discussions concerning the definition of argument, it has been maintained that the word ‘argument’ exhibits the process-product ambiguity, or an act/object ambigu-ity. Drawing on literature on lexical ambiguity we argue that ‘argument’ is not ambiguous. The term ‘argu-ment’ refers to an object, not to a speech act. We also examine some of the important implications of our argument by considering the question: what sort of abstract objects are arguments? |
|
|
|
|
|
Although wonder is a response to what is extraordinary or regarded as such, this covers a variety of things. Hence, wonder covers a spectrum from mere surprise or puzzlement to stronger responses like dread or amazement; moreover, it is often linked to other powerful responses like fear or admiration, and it can lead people into many pursuits and areas of reflection. I look at the variety of the objects of wonder, and of the neighbouring responses and conceptual connections found here, (...) |
|
|
|
|
|
|
|
|
While interest in the emotion of awe has surged in psychology, philosophers have yet to devote a single self-standing article to awe’s conceptual contours and moral standing. The present article aims to rectify this imbalance and begin to make up for the unwarranted philosophical neglect. In order to do so, awe is given the standard Aristotelian treatment to uncover its conceptual contours and moral relevance. Aristotelianism typically provides the most useful entry point to ‘size up’ any emotion – more problematically (...) |
|
|
In this paper we present a prototype approach to awe. We suggest that two appraisals are central and are present in all clear cases of awe: perceived vastness, and a need for accommodation, defined as an inability to assimilate an experience into current mental structures. Five additional appraisals account for variation in the hedonic tone of awe experiences: threat, beauty, exceptional ability, virtue, and the supernatural. We derive this perspective from a review of what has been written about awe in (...) |
|
|
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 (...) |
|
|
In this article I will consider how loss of affect in our intellectual lives, through depression for example, can be as debilitating as loss of affect elsewhere in our lives. This will involve showing that there are such things as intellectual emotions, that their role in intellectual activity is not merely as an aid to the intellect, and that loss of affect changes not only one’s motivations, but also one’s overall evaluative take on the world. |
|
|
|
|
|
|
|
|
|
|
|
I am interested in fear of non-existence, which is often discussed in terms of fear one’s own death, or as it is sometimes called, fear of death as such. This form of fear has been denied by some philosophers. Cognitive theories of the emotions have particular trouble in dealing with it, granting it a status that is simultaneously paradigmatic yet anomalous with respect to fear in general. My paper documents these matters, and considers a number of responses. I provide examples (...) |
|
|
The emotions are at the centre of our lives and, for better or worse, imbue them with much of their significance. The philosophical problems stirred up by the existence of the emotions, over which many great philosophers of the past have laboured, revolve around attempts to understand what this significance amounts to. Are emotions feelings, thoughts, or experiences? If they are experiences, what are they experiences of? Are emotions rational? In what sense do emotions give meaning to what surrounds us? (...) |
|
|
|
|
|
18th-century British aesthetics addressed itself to a variety of questions: What is taste? What is beauty? Is there is a standard of taste and of beauty? What is the relation between the beauty of nature and that of artistic representation? What is the relation between one fine art and another? How ought the fine arts be ranked one against another? What is the nature of the sublime and ought it be ranked with the beautiful? What is the nature of genius (...) |
|
|
In recent discussions concerning the definition of argument, it has been maintained that the word ‘argument’ exhibits the process-product ambiguity, or an act/object ambi-guity. Drawing on literature on lexical ambiguity we argue that ‘argument’ is not ambiguous. The term ‘argument’ refers to an object, not to a speech act. We also examine some of the important implications of our argument by considering the question: what sort of abstract objects are arguments? |
|
|
|
|
|
|
|
|
|
|
|
|
PhilPapers logo by Andrea Andrews and Meghan Driscoll.
This site uses cookies and Google Analytics (see our terms & conditions for details regarding the privacy implications). Use of this site is subject to terms & conditions.
All rights reserved by The PhilPapers Foundation
Server: philpapers-web-7c76586df8-l2pxr uwo