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  1. The Philosophy of Horror or Paradoxes of the Heart.Noel Carroll - 1991 - Philosophical Quarterly 41 (165):519.
    Noel Carroll, film scholar and philosopher, offers the first serious look at the aesthetics of horror. In this book he discusses the nature and narrative structures of the genre, dealing with horror as a "transmedia" phenomenon. A fan and serious student of the horror genre, Carroll brings to bear his comprehensive knowledge of obscure and forgotten works, as well as of the horror masterpieces. Working from a philosophical perspective, he tries to account for how people can find pleasure in having (...)
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  • (1 other version)Imagination.Tamar Szabó Gendler - 2012 - In Ed Zalta (ed.), Stanford Encyclopedia of Philosophy. Stanford Encyclopedia of Philosophy.
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  • How Can We Be Moved by the Fate of Anna Karenina.Colin Radford & Michael Weston - 1975 - Aristotelian Society Supplementary Volume 49 (1):67 - 93.
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  • Granny and the robots: ethical issues in robot care for the elderly.Amanda Sharkey & Noel Sharkey - 2012 - Ethics and Information Technology 14 (1):27-40.
    The growing proportion of elderly people in society, together with recent advances in robotics, makes the use of robots in elder care increasingly likely. We outline developments in the areas of robot applications for assisting the elderly and their carers, for monitoring their health and safety, and for providing them with companionship. Despite the possible benefits, we raise and discuss six main ethical concerns associated with: (1) the potential reduction in the amount of human contact; (2) an increase in the (...)
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  • Sound sentiments: integrity in the emotions.David Pugmire - 2005 - New York: Oxford University Press.
    What does it mean for emotion to be well-constituted? What distinguishes good feeling from (just) feeling good? Is there such a distinction at all? The answer to these questions becomes clearer if we realize that for an emotion to be all it seems, it must be responsible as well as responsive to what it is about. It may be that good feeling depends on feeling truly if we are to be really moved, moved in the way that avoids the need (...)
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  • Alief in Action (and Reaction).Tamar Szabó Gendler - 2008 - Mind and Language 23 (5):552--585.
    I introduce and argue for the importance of a cognitive state that I call alief. An alief is, to a reasonable approximation, an innate or habitual propensity to respond to an apparent stimulus in a particular way. Recognizing the role that alief plays in our cognitive repertoire provides a framework for understanding reactions that are governed by nonconscious or automatic mechanisms, which in turn brings into proper relief the role played by reactions that are subject to conscious regulation and deliberate (...)
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  • Fearing fictions.Kendall L. Walton - 1978 - Journal of Philosophy 75 (1):5-27.
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  • Film spectatorship and the institution of fiction.Murray Smith - 1995 - Journal of Aesthetics and Art Criticism 53 (2):113-127.
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  • Sexual perversion.Thomas Nagel - 1969 - Journal of Philosophy 66 (1):5-17.
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  • The expression of feeling in imagination.Richard Moran - 1994 - Philosophical Review 103 (1):75-106.
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  • Emotions and formal objects.Fabrice Teroni - 2007 - Dialectica 61 (3):395-415.
    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 (...)
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  • (1 other version)Alief and Belief.Tamar Gendler - 2008 - Journal of Philosophy 105 (10):634-663.
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  • The March of the robot dogs.Robert Sparrow - 2002 - Ethics and Information Technology 4 (4):305-318.
    Following the success of Sony Corporation’s “AIBO”, robot cats and dogs are multiplying rapidly. “Robot pets” employing sophisticated artificial intelligence and animatronic technologies are now being marketed as toys and companions by a number of large consumer electronics corporations. -/- It is often suggested in popular writing about these devices that they could play a worthwhile role in serving the needs of an increasingly aging and socially isolated population. Robot companions, shaped like familiar household pets, could comfort and entertain lonely (...)
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  • Gut Reactions: A Perceptual Theory of the Emotions.Jesse J. Prinz - 2004 - Oxford University Press.
    Gut Reactions is an interdisciplinary defense of the claim that emotions are perceptions of changes in the body.
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  • The Rationality of Emotion.Ronald De Sousa - 1987 - MIT Press.
    In this urbane and witty book, Ronald de Sousa disputes the widespread notion that reason and emotion are natural antagonists.
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  • (1 other version)Alief and belief.Tamar Gendler - 2018 - In Jeremy Fantl, Matthew McGrath & Ernest Sosa (eds.), Contemporary epistemology: an anthology. Hoboken, NJ: Wiley.
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  • (1 other version)Imagination.Shen-yi Liao & Tamar Gendler - 2019 - Stanford Encyclopedia of Philosophy.
    To imagine is to form a mental representation that does not aim at things as they actually, presently, and subjectively are. One can use imagination to represent possibilities other than the actual, to represent times other than the present, and to represent perspectives other than one’s own. Unlike perceiving and believing, imagining something does not require one to consider that something to be the case. Unlike desiring or anticipating, imagining something does not require one to wish or expect that something (...)
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  • The Rationality of Emotion.Ronald de Sousa, Jing-Song Ma & Vincent Shen - 1987 - Philosophy and Culture 32 (10):35-66.
    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 (...)
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  • Upheavals of Thought: The Intelligence of Emotions.Robert C. Solomon - 2002 - Mind 111 (444):897-901.
    Reviews the book, Upheavals of thought: The intelligence of emotions by Martha C. Nussbaum . Drawing from an astounding array of sources, Nussbaum argues against the common understanding of emotions as irrational and animalistic impulses disconnected from our thoughts and reason. Rather, she argues that emotions are highly discriminating responses to what is of value and importance that are, therefore, suffused with intelligence and discernment. Nussbaum explores the structure of a wide range of emotions, in particular, compassion and love, in (...)
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  • Upheavals of Thought: The Intelligence of Emotions.Martha C. Nussbaum - 2001 - Cambridge University Press.
    Emotions shape the landscape of our mental and social lives. Like geological upheavals in a landscape, they mark our lives as uneven, uncertain and prone to reversal. Are they simply, as some have claimed, animal energies or impulses with no connection to our thoughts? Or are they rather suffused with intelligence and discernment, and thus a source of deep awareness and understanding? In this compelling book, Martha C. Nussbaum presents a powerful argument for treating emotions not as alien forces but (...)
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  • The Philosophy of Horror: Or, Paradoxes of the Heart.Noel Carroll - 1990 - Routledge.
    Noel Carroll, film scholar and philosopher, offers the first serious look at the aesthetics of horror. In this book he discusses the nature and narrative structures of the genre, dealing with horror as a "transmedia" phenomenon. A fan and serious student of the horror genre, Carroll brings to bear his comprehensive knowledge of obscure and forgotten works, as well as of the horror masterpieces. Working from a philosophical perspective, he tries to account for how people can find pleasure in having (...)
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  • Le paradoxe de la fiction: le retour.Florian Cova & Fabrice Teroni - 2015 - L'expression des Émotions: Mélanges En l'Honneur de Patrizia Lombardo.
    Tullmann et Buckwalter (2014) ont récemment soutenu que le paradoxe de la fiction tenait plus de l’illusion que de la réalité. D’après eux, les théories contemporaines des émotions ne fourniraient aucune raison d’adopter une interprétation du terme « existence » qui rende les prémisses du paradoxe incompatibles entre elles. Notre discussion a pour but de contester cette manière de dissoudre le paradoxe de la fiction en montrant qu’il ne prend pas sa source dans les théories contemporaines des émotions. Bien plutôt, (...)
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  • Biographia Literaria: Or, Biographical Sketches of My Literary Life and Opinions.Samuel Taylor Coleridge & John Shawcross - 1975 - Dutton Adult.
    In addition to his poetry, Coleridge also wrote influential piece of literary criticism, Biographia Literaria, a collection of his thoughts and opinions on literature. The work delivered both biographical explanations of the author's life as well as his impressions on literature. The collection also contained an analysis of a broad range of philosophical principles of literature ranging from Aristotle to Immanuel Kant and Schelling and applied them to the poetry of peers such as William Wordsworth. Coleridge's explanations of metaphysical principles (...)
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  • Does the Paradox of Fiction Exist?Katherine Tullmann & Wesley Buckwalter - 2014 - Erkenntnis 79 (4):779-796.
    Many philosophers have attempted to provide a solution to the paradox of fiction, a triad of sentences that lead to the conclusion that genuine emotional responses to fiction are irrational. We suggest that disagreement over the best response to this paradox stems directly from the formulation of the paradox itself. Our main goal is to show that there is an ambiguity regarding the word ‘exist’ throughout the premises of the paradox. To reveal this ambiguity, we display the diverse existential commitments (...)
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  • Genuine Rational Fictional Emotions.Tamar Szabó Gendler & Karson Kovakovich - 2005 - In Mathew Kieran (ed.), Contemporary Debates in Aesthetics and the Philosophy of Art. Malden, MA: Wiley-Blackwell. pp. 241-253.
    The “paradox of fictional emotions” involves a trio of claims that are jointly inconsistent but individually plausible. Resolution of the paradox thus requires that we deny at least one of these plausible claims. The paradox has been formulated in various ways, but for the purposes of this chapter, we will focus on the following three claims, which we will refer to respectively as the Response Condition, the Belief Condition and the Coordination Condition.
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  • Truth, Authenticity, and Rationality.Ronald De Sousa - 2007 - Dialectica 61 (3):323-345.
    Emotions are Janus‐faced. They tell us something about the world, and they tell us something about ourselves. This suggests that we might speak of a truth, or perhaps two kinds of truths of emotions, one of which is about self and the other about conditions in the world. On some views, the latter comes by means of the former. Insofar as emotions manifest our inner life, however, we are more inclined to speak of authenticity rather than truth. What is the (...)
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  • (1 other version)The Rationality of Emotion.Ronald DE SOUSA - 1987 - Philosophy and Rhetoric 22 (4):302-303.
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  • Emotional Truth.Ronald de Sousa - 2011 - Oxford University Press USA.
    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 (...)
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  • On Being Moved by Anna Karenina and "Anna Karenina".Barrie Paskins - 1977 - Philosophy 52 (201):344 - 347.
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  • Fiction and the suspension of disbelief.Eva Schaper - 1978 - British Journal of Aesthetics 18 (1):31-44.
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  • Précis of Upheavals of Thought.Martha C. Nussbaum - 2004 - Philosophy and Phenomenological Research 68 (2):443-449.
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  • Alief in Action (and Reaction).Tamarszabó Gendler - 2008 - Mind and Language 23 (5):552-585.
    I introduce and argue for the importance of a cognitive state that I call alief. An alief is, to a reasonable approximation, an innate or habitual propensity to respond to an apparent stimulus in a particular way. Recognizing the role that alief plays in our cognitive repertoire provides a framework for understanding reactions that are governed by non‐conscious or automatic mechanisms, which in turn brings into proper relief the role played by reactions that are subject to conscious regulation and deliberate (...)
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  • The Philosophy of Horror, or Paradoxes of the Heart.Mary Devereaux - 1992 - Philosophical Review 101 (4):950.
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  • How can we fear and pity fictions?Peter Lamarque - 1981 - British Journal of Aesthetics 21 (4):291-304.
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  • (1 other version)Upheavals of Thought. The Intelligence of Emotions.Martha C. Nussbaum - 2003 - Tijdschrift Voor Filosofie 65 (1):174-175.
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  • Brutality and Sentimentality.Mary Midgley - 1979 - Philosophy 54 (209):385 - 389.
    The notion that concern for the feelings of animals is as such sentimental is rather a common one. I shall suggest that, in general, the charge of sentimentality can never be made to stick in this way merely because concern is directed towards one class of sentient beings rather than another. It rests on the motives and reasons for being concerned, not on the objects to which concern is directed. About animals, however, a special point arises which I must deal (...)
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  • The paradox of fiction.Steven Schneider - 2002 - Internet Encyclopedia of Philosophy.
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  • True emotions.Mikko Salmela - 2006 - Philosophical Quarterly 56 (224):382-405.
    Philosophers widely agree that emotions may have or lack appropriateness or fittingness, which in the emotional domain is an analogue of truth. I defend de Sousa's account of emotional truth by arguing that emotions have cognitive content as digitalized evaluative perceptions of the particular object of emotion, in terms of the relevant formal property. I argue that an emotion is true if and only if there is an actual fit between the particular and the formal objects of emotion, and the (...)
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  • Feeling for the fictitious.William Charlton - 1984 - British Journal of Aesthetics 24 (3):206-216.
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  • Art and emotion.Alex Neill - 2003 - In Jerrold Levinson (ed.), The Oxford handbook of aesthetics. New York: Oxford University Press.
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  • Poetry.Alex Neill - 2003 - In Jerrold Levinson (ed.), The Oxford handbook of aesthetics. New York: Oxford University Press.
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  • Assistive social robots in elderly care: a review.J. Broekens, M. Heerink & H. Rosendal - 2009 - Gerontechnology 8 (2):94-103.
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  • Robots and reality: a reply to Robert Sparrow.Russell Blackford - 2012 - Ethics and Information Technology 14 (1):41-51.
    We commonly identify something seriously defective in a human life that is lived in ignorance of important but unpalatable truths. At the same time, some degree of misapprehension of reality may be necessary for individual health and success. Morally speaking, it is unclear just how insistent we should be about seeking the truth. Robert Sparrow has considered such issues in discussing the manufacture and marketing of robot ‘pets’, such as Sony’s doglike ‘AIBO’ toy and whatever more advanced devices may supersede (...)
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  • Nuclear Energy as a Social Experiment.Ibo van de Poel - 2011 - Ethics, Policy and Environment 14 (3):285 - 290.
    Ethics, Policy & Environment, Volume 14, Issue 3, Page 285-290, October 2011.
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