It is generally assumed that emotion concepts are purely descriptive. However, recent investigations suggest that the concept of happiness includes information about the morality of the agent's life. In this study, we argue that normative influences on emotion concepts are not restricted to happiness and are not about moral norms. In a series of studies, we show that emotion attribution is influenced by whether the agent's psychological and bodily states fit the situation in which they (...) are experienced. People consider that emotions are not just about feeling in certain ways, but also about feeling the right way. (shrink)

In § 49 of the Critique of the Power of Judgment Kant puts forward a view that the feeling of pleasure in the experience of the beautiful can be stimulated not merely by perceptual properties, but by ideas and thoughts as well. The aim of this paper is to argue that aesthetic ideas fill in the emptiness that abstract and emotion concepts on their own would have without empirical intuitions. That is, aesthetic ideas make these concepts more (...) accessible to us, by creating image schemas that allow us to think about these abstract concepts in a way linked to sensory experience, thereby imbuing them with a more substantive meaning and understanding. (shrink)

RÉSUMÉ. Cet article examine plusieurs façons de comprendre les émotions comme des réactions évaluatives. Il existe un consensus dans les sciences affectives qui veut que les émotions paradigmatiques soient faites de quatre composants : catégorisation du stimulus, tendances à l’action, changements corporels et aspect phénoménal. L’article expose les quatre principales théories dans la philosophie contemporaine des émotions et montre qu’elles ont tendance à se focaliser sur l’un ou l’autre des quatre composants des émotions pour expliquer leur nature évaluative. La conclusion (...) est qu’il est possible de rendre compte des émotions comme réactions évaluatives à ces quatre niveaux et que, pour cette raison, les conceptions présentées sont plus complémentaires qu’on ne le suppose généralement. ABSTRACT. This article examines several ways of understanding emotions as evaluative reactions. There is a consensus in affective sciences that paradigmatic emotions are made up of four components: appraisal process, action tendencies, bodily changes, and phenomenal character. The article outlines the four main theories in contemporary philosophy of emotions and shows that they tend to focus on one of the four components of emotions to explain their evaluative nature. The conclusion is that it is possible to account for emotions as evaluative reactions through the four components and that, for this reason, the theories presented are more complementary than is generally assumed. (shrink)

Many authors have argued that emotions serve an epistemic role in our moral practice. Some argue that this epistemic connection is so strong that creatures who do not share our affective nature will be unable to grasp our moral concepts. I argue that even if this sort of incommensurability does result from the role of affect in morality, incommensurability does not in itself entail relativism. In any case, there is no reason to suppose that one must share our emotions (...) and concerns to be able to apply our moral concept successfully. Finally, I briefly investigate whether the moral realist can seek aid and comfort from Davidsonian arguments to the effect that incommensurability in ethics is in principle impossible, and decide that these arguments are not successful. I conclude that the epistemic role our emotions play in moral discourse does not relativize morality. (shrink)

How might people be wronged in relation to their feelings, moods, and emotions? Recently philosophers have begun to investigate the idea that these kinds of wrongs may constitute a distinctive form of injustice: affective injustice. In previous work, we have outlined a particular form of affective injustice that we called emotional imperialism. This paper has two main aims. First, we aim to provide an expanded account of the forms that emotional imperialism can take. We will do so by drawing inspiration (...) from William Reddy’s (2001) concept of an emotional regime and investigating ways in which colonial powers of the eighteenth to twentieth centuries sought to impose their emotional regimes on their colonial subjects. Second, we will offer more expansive accounts of both emotional imperialism and affective injustice that can accommodate these additional forms of emotional imperialism. (shrink)

Some embodied theories of concepts state that concepts are represented in a sensorimotor manner, typically via simulation in sensorimotor cortices. Fred Adams (2010) has advanced an empirical argument against embodied concepts reasoning as follows. If concepts are embodied, then patients with certain sensorimotor impairments should perform worse on categorization tasks involving those concepts. Adams cites a study with Moebius Syndrome patients that shows typical categorization performance in face-based emotion recognition. Adams concludes that their typical (...) performance shows that embodiment is false. Moebius patients must draw on amodal (non-embodied) emotion concepts. In this paper, I review face-based emotion recognition studies with Moebius patients yielding conflicting results and diagnose these conflicts as a difference in experimental design. When emotion labels are provided, patients have typical performance, but when labels are not provided patients are severely deficient. I then show how an embodied, psychological constructionist view of emotions predicts and explains these performance differences. The upshot is that embodied theories of concepts are vindicated. (shrink)

The emotion theory of concepts maintains that concepts may be in part constituted by sentiments and emotions. Very few works in the contemporary concepts literature discuss this possibility that concepts may be sentiments and emotions, and those that do discuss this possibility ultimately fail to establish the viability of this view. However, by in part relying on experimental evidence from psychology and neuroscience, I contend that some concrete and abstract concepts are in part constituted (...) by sentiments and emotions. (shrink)

In emotion research, both conceptual analyses and empirical studies commonly rely on emotion reports. But what do people mean when they say that they are angry, afraid, joyful, etc.? Building on extant theories of emotion, this paper presents four new studies (including a pre-registered replication) measuring the weight of cognitive evaluations, bodily changes, and action tendencies in people’s use of emotion concepts. The results of these studies suggest that the presence or absence of cognitive evaluations (...) has the largest impact on people’s emotion attributions, and that bodily changes and action tendencies are considered to depend on cognitive evaluations. Implications for theories of emotion (concepts) and the interpretation of emotion reports are discussed. (shrink)

Could emotions be a uniquely human phenomenon? One prominent theory in emotion science, Lisa Feldman Barrett’s Theory of Constructed Emotion (tce), suggests they might be. The source of the sceptical challenge is that tce links emotions to abstract concepts tracking socio-normative expectations, and other animals are unlikely to have such concepts. Barrett’s own response to the sceptical challenge is to relativize emotion to the perspective of an interpreter, but this is unpromising. A more promising response (...) may be to amend the theory, dropping the commitment to the abstract nature of emotion concepts and allowing that, like olfactory concepts, they have disjunctive sensory groundings. Even if other animals were emotionless, this would not imply they lack morally significant interests. Unconceptualized valenced experiences are a sufficient basis for morally significant interests, and such experiences may occur even in the absence of discrete, constructed emotions. (shrink)

The overreliance on verbal models and theories in psychology has been criticized for hindering the development of reliable research programs (Harris, 1976; Yarkoni, 2020). We demonstrate how the conceptual space framework can be used to formalize verbal theories and improve their precision and testability. In the framework, scientific concepts are represented by means of geometric objects. As a case study, we present a formalization of an existing three-dimensional theory of emotion which was developed with a spatial metaphor in (...) mind. Wundt posits that the range of human emotion can be represented along three axes of basic emotions (pleasure/displeasure, excitement/inhibition, tension/relaxation), just as color vision can be represented using three basic colors. We use dimensions to represent basic emotions, points to represent emotional states, and regions to represent broader emotional concepts. We then compare our formalization to an existing structuralist formalization of Wundt’s theory. Further, we discuss the empirical predictions that our formalization generates, such as comparisons of similarity and intensity. We conclude by demonstrating how the tools developed in the conceptual space framework can be used to formulate a theory of emotion based on empirical observation. (shrink)

According to psychological constructivism, emotions result from projecting folk emotion concepts onto felt affective episodes (e.g., Barrett 2017, LeDoux 2015). Moreover, while constructivists acknowledge there’s a biological dimension to emotion, they deny that emotions are (or involve) affect programs. So they also deny that emotions are natural kinds. However, the essential role constructivism gives to felt experience and folk concepts leads to an account that’s extensionally inadequate and functionally inaccurate. Moreover, biologically-oriented proposals that reject these commitments (...) are not similarly encumbered. Recognizing this has two implications: biological mechanisms are more central to emotion than constructivism allows, and the conclusion that emotions aren’t natural kinds is premature. (shrink)

Evaluative concepts and emotions appear closely connected. According to a prominent account, this relation can be expressed by propositions of the form ‘something is admirable if and only if feeling admiration is appropriate in response to it’. The first section discusses various interpretations of such ‘Value-Emotion Equivalences’, for example the Fitting Attitude Analysis, and it offers a plausible way to read them. The main virtue of the proposed way to read them is that it is well-supported by a (...) promising account of emotions, namely the Perceptual Theory of Emotions, which emphasises the analogies between emotions and sensory perceptual experiences. The second section considers a worry about whether concepts such as admirable are really evaluative. It is maintained that even though the arguments used to show that thick terms and concepts are not inherently evaluative can be transposed to affective concepts, these arguments can be resisted. So there is no need to abandon the intuitive claim that affective concepts are inherently evaluative. (shrink)

Theories of emotional justification investigate the conditions under which emotions are epistemically justified or unjustified. I make three contributions to this research program. First, I show that we can generalize some familiar epistemological concepts and distinctions to emotional experiences. Second, I use these concepts and distinctions to display the limits of the ‘simple view’ of emotional justification. On this approach, the justification of emotions stems only from the contents of the mental states they are based on, also known (...) as their cognitive bases. The simple view faces the ‘gap problem’: If cognitive bases and emotions (re)present their objects and properties in different ways, then cognitive bases are not sufficient to justify emotions. Third, I offer a novel solution to the gap problem based on emotional dispositions. This solution (1) draws a line between the justification of basic and non-basic emotions, (2) preserves a broadly cognitivist view of emotions, (3) avoids a form of value skepticism that threatens inferentialist views of emotional justification, and (4) sheds new light on the structure of our epistemic access to evaluative properties. (shrink)

The author proposes a dimensional model of our emotion concepts that is intended to be largely independent of one’s theory of emotions and applicable to the different ways in which emotions are measured. He outlines some conditions for selecting the dimensions based on these motivations and general conceptual grounds. Given these conditions he then advances an 8-dimensional model that is shown to effectively differentiate emotion labels both within and across cultures, as well as more obscure expressive language. (...) The 8 dimensions are: (1) attracted—repulsed, (2) powerful—weak, (3) free—constrained, (4) certain—uncertain, (5) generalized—focused, (6) future directed—past directed, (7) enduring—sudden, (8) socially connected—disconnected. (shrink)

Jesse Prinz's The Emotional Construction of Morals is an ambitious and intriguing contribution to the debate about the nature and role of emotion within moral psychology. I review Prinz's recent claims surrounding the nature of emotional concepts as ?embodied representations of concern? and survey his later arguments meant to establish a form of cultural relativism. Although I suggest that other theories of emotional representation (i.e. prototype views) would better serve Prinz's aims, the underlying meta-ethical relativism that results is (...) well defended and represents a significant advance for constructivist Sentimentalists. (shrink)

It’s plausible that we only fully appreciate the value of something, say a painting or a blameworthy action, when we have a fitting emotional response to it, such as admiration or guilt. But exactly how and why do we grasp value through emotion? I propose, first, that a subject S phenomenally grasps property P only if what it is to be P is manifest in the phenomenal character of S’s experience. Second, following clues from the Stoics, I argue that (...) the phenomenal character of emotional experience is constitutively linked with its having directive content. More precisely, emotional experience directs us both to adopt a maxim for action – take certain characteristic kinds of action for an emotion-specific end – and to treat something about the object as a presumptively decisive reason to take such action for such end. If we assent to what the experience proposes (or rational control gets bypassed), we are motivated to take the relevant action and have a corresponding evaluative belief. This picture of emotional cognition yields a natural conception of the evaluative fittingness conditions of emotions without the problematic assumption that they have a presentational phenomenology. Instead, it is precisely in virtue of the directive and valenced phenomenology of emotion that values are only fully manifest in emotional experience, since values are essentially action- and attitude-guiding properties. (shrink)

The nature and consequences of readers’ affective engagement with literature has, in recent years, captured the attention of experimental psychologists and philosophers alike. Psychological studies have focused principally on the causal mechanisms explaining our affective interactions with fictions, prescinding from questions concerning their rational justifiability. Transportation Theory, for instance, has sought to map out the mechanisms the reader tracks the narrative experientially, mirroring its descriptions through first-personal perceptual imaginings, affective and motor responses and even evaluative beliefs. Analytical philosophers, by contrast, (...) have largely focussed on the problems fiction poses for traditional theories of rationality (as in the ‘Paradox of Fiction), challenging fiction’s wider epistemic value. The result has been a theoretical impasse in which the power of fiction to affectively ‘transport’ a reader is at once often lauded (by psychologists) as a privileged route to interpersonal understanding, and condemned (by philosophers) as an abdication of the authority of reason. This chapter surveys some of the central claims on both sides, tracing the source of the debate to competing conceptions of rationality. (shrink)

Emotional creativity (EC) is a pattern of cognitive abilities and personality traits related to originality and appropriateness in emotional experience. EC has been found to be related to various constructs across different fields of psychology during the past 30 years, but a comprehensive examination of previous research is still lacking. The goal of this review is to explore the reliability of use of the Emotional Creativity Inventory (ECI) across studies, to test gender differences and to compare levels of EC in (...) different countries. Thirty-five empirical studies focused on EC were retrieved and the coefficients required for the meta-analysis extracted. The meta-analysis revealed that women showed significantly higher EC than men (total N = 3,555). The same gender differences were also found when testing scores from three ECI subscales, i.e. emotional novelty, emotional preparedness and emotional effectiveness/authenticity. When comparing EC in 10 different countries (total N = 4,375), several cross-cultural differences were revealed. The Chinese sample showed a significantly lower average ECI total score than all the other countries. Based on the integration of results, the avenues for future research on EC and the breadth of influence of the concept of EC across different fields of psychology are discussed. Keywords: Emotional Creativity, Review, Meta-Analyses, Meta-Analysis, Definition, Emotional Creativity Inventory, ECI, Reliability, Gender Differences, Cross-cultural, Cross-culture, Personality Traits, NEO Personality Inventory, Big Five, Extraversion, Agreeableness, Openness to Experience, Introversion, Neuroticism, Emotions, Creativity, Cognition, Cognitive Abilities, Affect, Fantasy, Coping, Alexithymia, Anhedonia, Self-understanding, Motivation, Creativeness, Innovative Performance, Creative Ability, Artistic Creativity, Creative Thinking. MeSH Headings: Emotions, Creativity, Affect, Affective Symptoms, Gender, Sex, Gender Identity, Cross-Cultural Comparison, Transcultural Studies, Temperament, Extraversion, Neuroticism, Anhedonia, Creativeness, Cognition, Cognitive Function, Artistic Creativity, Creative Ability, Creative Thinking. (shrink)

In this article we develop a taxonomy of emotional injustice: what occurs when the treatment of emotions is unjust, or emotions are used to treat people unjustly. After providing an overview of previous work on this topic and drawing inspiration from the more developed area of epistemic injustice, we propose working definitions of ‘emotion’, ‘injustice’, and ‘emotional injustice’. We describe seven classes of emotional injustice: Emotion Misinterpretation, Discounting, Extraction, Policing, Exploitation, Inequality, and Weaponizing. We say why it is (...) useful to distinguish these and also to subsume them under a single concept. Our aims are both theoretical and practical: to provide a unified account of emotional injustice, while recognizing the diversity of this phenomenon; to facilitate further research on this topic; to recognize the political importance of emotions; and to outline some of the ways in which emotional injustice can be combated. (shrink)

This paper takes as its focus William James' (1884, 1890) and Anthony Kenny's (1963) proposals and strives to show that their point of view is better understood when interpreted as proposals for investigations with different objectives and placed at different angles of complex research revolving around emotions. As James and Kenny are conceived, furthermore, as paradigmatic authors of, respectively, the none–cognitive and cognitive perspectives, this approach to the interpretation of their positions will create new access routes for a dialogue between (...) the traditions and will establish new grounds for a reconciliation between these conceptions in a more ample framework. (shrink)

This paper argues that an emotion is a state of affectively perceiving its intentional object as falling under a "thick affective concept" A, a concept that combines cognitive and affective aspects in a way that cannot be pulled apart. For example, in a state of pity an object is seen as pitiful, where to see something as pitiful is to be in a state that is both cognitive and affective. One way of expressing an emotion is to assert (...) that the intentional object of the emotion falls under the thick affective concept distinctive of the emotion. I argue that the most basic kind of moral judgment is is this category. It has the form "That is A" (pitiful, contemptible, rude, etc.). Such judgments combine the features of cognitivism and motivational judgment internalism, an advantage that explains why we find moral weakness problematic in spite of its ubiquity. I then outline a process I call "thinning" the judgment, which explains how moral strength, weakness, and apathy arise. I argue that this process is necessary for moral reasoning and communication, in spite of its disadvantage in disengaging the agent's motivating emotion from the judgment. (shrink)

Jesse Prinz (2004) argues that emotional feelings (“state emotions”) can by themselves perceptually represent significant organism-environment relations. I object to this view mainly on the grounds that (1) it does not rule out the at least equally plausible view that emotional feelings are non-representational sensory registrations rather than perceptions, as Tyler Burge (2010) draws the distinction, and (2) perception of a relation requires perception of at least one of the relation’s relata, but an emotional feeling by itself perceives neither the (...) subject’s environment, nor in many cases the relevant subject itself. I then explore two ways in which emotional feelings as non-perceptual sensory registrations might still contribute to significant relation representation when associated with representations of the subject and/or its environment. After briefly discussing some difficulties presented by a multimodal, sensory-perceptual view of such representation, I argue in favor of a “cognitive recognition theory” that holds that significant relation instances are represented during emotion occurrences via applications of emotion-type concepts to "incoming" emotional feelings and their associated mental states. (shrink)

Most of those who hold that emotions involve appraisals also accept that the content of emotions is nonconceptual. The main motivation for nonconceptulism regarding emotions is that it accounts for the difference between emotions and evaluative judgements. This paper argues that if one assumes a broadly Fregean account of concepts, there are good reasons to accept that emotions have nonconceptual contents. All the main arguments for nonconceptualism regarding sensory perception easily transpose to the case of emotions. The paper ends (...) by responding to two important objections: firstly, that nonconceptualism rules out the possibility that emotions justify evaluative judgements and secondly, that nonconceptualism cannot account for the fact that some emotions have conceptually articulated cognitive bases. (shrink)

This paper is a defense of investigations into the meanings of words by reflecting on their use as a philosophical method for investigating the emotions. The paper defends such conceptual analysis against the critique that it is short of empirical grounding and at best reflects current “common-sense beliefs.” Such critique harks back to Quine’s attack on the analytic/synthetic distinction, his idea that all language is theory dependent and the subsequent critique of “linguistic philosophy” as sanctifying our ordinary use of words, (...) as empirically naïve, unscientific and founded on outmoded theories of meaning. This paper is an attempt to show why such critique is misplaced. Conceptual analysis, properly construed, need not depend on empirical considerations. On the contrary, conceptual analysis of emotions is often a prerequisite to empirical investigations. Furthermore, conceptual analysis need not make ordinary language sacred and need not rely on a theory of meaning or on an analytic/synthetic distinction. (shrink)

In this dissertation, I address the question of how to construct scientific theories of emotions that are both conceptually sound and empirically fruitful. To do this, I offer an analysis of the main challenges scientific theories of emotions face, and I propose a meta-theoretical framework to construct scientific concepts of emotions as explications of folk emotion concepts. Part I discusses the main challenges theories of emotions in psychology and neuroscience encounter. The first states that a proper scientific (...) theory of emotions must explain all and only the phenomena under the vernacular term ‘emotion’ with a common set of conceptual resources and under an overarching generic concept of emotion. The second demands that each emotion category corresponds to well-coordinated sets of neural, physiological, and behavioral patterns of responses. I argue that none of the best contemporary theories of emotions in psychology and neuroscience overcomes these challenges. As a result, a new theory of emotions is required. In Part II, I develop the meta-theoretical framework to construct a theory of emotions that overcomes the challenges above. First, I propose a pluralistic account of scientific kinds based on different patterns of projection that various disciplines may take to justify inductive inferences. These are essentialist, historical, and social patterns. Each of these patterns provides a framework to construct different types of scientific concepts. I argue that among the frameworks for scientific kinds available, the one that is best suited to explicate emotion concepts is a functional framework. Consequently, I conclude by recommending scientists pursue functionalist theories of emotions over essentialist, historical, or social theories. (shrink)

Sartre’s account of the emotions presupposes a conception of human nature that is never fully articulated. The paper aims to render such conception explicit and to argue that frustration occupies a foundational place in Sartre’s picture of affective existence.

Why is it that we respond emotionally to plays, movies, and novels and feel moved by characters and situations that we know do not exist? This question, which constitutes the kernel of the debate on »the paradox of fiction«, speaks to the perennial themes of philosophy, and remains of interest to this day. But does this question entail a paradox? A significant group of analytic philosophers have indeed thought so. Since the publication of Colin Radford's celebrated paper »How Can We (...) Be Moved by the Fate of Anna Karenina?« (1975), the number of proposals to solve, explain, reformulate, dismiss or even revitalize this apparent paradox has continued to proliferate. In line with recent developments in the philosophy of emotion, in this paper I will argue against the sustainability of the paradox, claiming that the only reasonable way to continue our discussions about it consists in using it as a heuristic tool to shed light on problems regarding our involvement with fiction. Against this background, I will then focus on one of the problems related to how our emotional responses to fiction contribute to our appreciation of it. The paper is divided into three main sections. The first section shows the parallel evolution of the paradox of fiction and the analytic philosophy of emotion. Here I claim that, although the paradox is epistemically flawed, since one of its premises is rooted in a limited view on the emotions typical of early cognitiv-ism, the discussions it provokes are still epistemically useful. As Robert Stecker (2011, 295), among others, has pointed out, the paradox was formulated during the heyday of cognitive theories of the emotions in which emotion necessarily requires belief. Today, however, only few authors would endorse this premise. If emotion does not always require belief (as the majority of authors in the contemporary debate admit), let alone belief about the existence of the object towards which it is directed, then there is no reason to speak of a paradox. From this first conclusion, however, it does not follow that the paradox is completely without use from the epistemic point of view. A glimpse at the topics touched on during the discussions about how to solve, reformulate, or negate the paradox reveals their value in shedding light on the interrelation between emotion and fiction. The second section elaborates a phenomenologically inspired cognitive account of the emotions by focusing on their cognitive bases, their influence on Emotion in the Appreciation of Fiction 205 cognitions, and their cognitive function. In this model, emotions are responsible for indicating values, for showing what matters to us, and for being appropriate to their objects. My claim is that this view applies not only to reality, but also to our involvement with fiction. In the final section I draw on this account to focus on one kind of appreciation of fiction which necessarily requires our emotional involvement. Following an idea put forward by Susan Feagin (1996, 1), I employ the concept of »appre-ciation« to refer to a set of abilities exercised with the aim of extracting value from the work. There is a long tradition in aesthetics that condemns any focus on the emotions in the appreciation of art and fiction, and defends the necessity of aesthetic appreciation without emotional influence. To refer to this negative attitude towards the emotions, I will borrow an expression coined by Susan Feagin (2013, 636), who refers to »the intellectualized view of appreciation«. Against this widespread view, I will argue that some aspects of the fiction can only be appreciated with the help of our emotions. The cognitive approach developed in the previous section can explain how the emotions might in fact play a significant role in the appreciation of art and fiction. Attention will be paid to three activities involved in appreciation, for all of which emotion is crucial: processing relevant information about the fictional world, understanding aspects of it, and becoming acquainted with the values it presents. My aim here is to argue that there are particular aspects of the fictional world that can only be appreciated if recipients have the appropriate emotions. (shrink)

The psychiatric diagnostic system, as exemplified by the DSM, is a pseudo-scientific framework for diagnosing sick Cartesian isolated minds. As such, it completely overlooks the exquisite context sensitivity and radical context dependence of human emotional life and of all forms of emotional disturbance. In Descartes’s vision, the mind is a “thinking thing,” ontologically decontextualized, fundamentally separated from its world. Heidegger’s existential phenomenology mended this Cartesian subject-object split, unveiling our Being as always already contextualized, a Being-in-the-world. Here I offer a critique (...) of studies in “phenomenological psychopathology” that presuppose the validity of the psychiatric diagnostic system and leave it unchallenged. In this vein, I contend that all emotional disturbances are constituted in an indissoluble context of human interrelatedness. Specifically, I claim that all emotional disturbances, including those objectified by the DSM, take form in relational contexts of severe emotional trauma. There are no psychiatric entities, only devastating contexts. Additionally, I show that Heidegger’s analyses of Angst, world-collapse, uncanniness, and thrownness into Being-toward-death provide extraordinary philosophical tools for grasping the existential significance of such contexts of emotional trauma. Applying Heidegger’s concept of authenticity, I suggest that emotional health entails an ease of passage—i.e., an absence of dissociation—between the world of trauma and the world of everydayness. (shrink)

This article responds to two arguments against ‘Epistemic Perceptualism’, the view that emotional experiences, as involving a perception of value, can constitute reasons for evaluative belief. It first provides a basic account of emotional experience, and then introduces concepts relevant to the epistemology of emotional experience, such as the nature of a reason for belief, non-inferentiality, and prima facie vs. conclusive reasons, which allow for the clarification of Epistemic Perceptualism in terms of the Perceptual Justificatory View. It then challenges (...) two arguments which purport to show that emotional experience is not a source of reasons for evaluative belief. The first argument claims that because normative why-questions are always appropriate in the case of emotions, then emotions can never be conclusive reasons for corresponding evaluative beliefs. The second purports to show that appeal to emotional experience as a source of reasons for evaluative beliefs renders emotions problematically self-justifying, and since emotions cannot be self-justifying, they cannot provide any sort of reason for corresponding evaluative beliefs. This article responds to these arguments, and in doing so shows there is still much to be learned about the epistemology of emotional experience by drawing analogies with perceptual experience. (shrink)

Le fameux paradoxe de la fiction (Radford 1975) a suscité maintes interprétations. L’une des distinctions importantes qui affleure bien souvent au sein de cette littérature, pour se voir presque aussitôt négligée, est celle entre les deux questions suivantes : « comment les émotions peuvent-elles être suscitées par des œuvres de fiction ? » et « les émotions suscitées par de telles œuvres peuvent-elles être rationnelles ? » Dans ce qui suit, je me concentrerai exclusivement sur la seconde de ces questions (...) et chercherai à montrer que la plupart de nos réponse affectives à la fiction ne sont pas irrationnelles. Ma discussion se structure de la manière suivante. La première section esquisse la nature du lien entre émotions et valeurs et introduit une conception selon laquelle les émotions sont des attitudes évaluatives. Au cours de la deuxième section, nous nous tournerons vers le problème de la rationalité des émotions pour mettre l’accent sur deux de ses aspects – celui qui regarde le rapport entre une émotion et sa base cognitive, d’un côté, et, de l’autre, celui entre l’émotion elle-même et les jugements et comportements auxquels elle peut donner lieu. La troisième section applique ces considérations à propos de la rationalité affective aux émotions suscitées par la fiction, dont je distingue trois types principaux : les émotions esthétiques, les émotions-blob et les émotions-pour. Une quatrième et dernière section explore quelques conséquences des conclusions auxquelles m’auront amené ce qui précède. (shrink)

I begin this article with an increasingly accepted claim: that emotions lend differential weight to states of affairs, helping us conceptually carve the world and make rational decisions. I then develop a more controversial assertion: that environments have non-subjective emotional qualities, which organize behavior and help us make sense of the world. I defend this from ecological and related embodied standpoints that take properties to be interrelational outcomes. I also build on conceptions of experience as a cultural phenomenon, one that (...) coheres around shared environmental contours and public emotional concerns, introducing normative constraints (or what might be called “world grammars”). Endorsing this outlook suggests an argument for the view that cultural spaces have affectively charged, non-subjective, normative openings and closures. These openings and closures engender selectively permeable barriers which cordon space without physically preventing entry, as seen with decorative half walls and elevation changes. An area with such barriers may look emotionally hostile to, say, the dispirited homeless who are in fact less welcome there. Outcomes like these might be thought of as “political affordances.” These affordances can be regarded as normative openings and closures that implicitly filter, and hence segregate, according to various social divisions. Although registering political affordances requires more than the detection of ambient arrays, the notion retains core Gibsonian ideas: that affordances are values, that these values are linked with how a space can be used, and that the existence and nature of such affordances is not a subjective matter. (shrink)

What are the motivational bases that help explain the various normative judgements that social agents make, and the normative reasoning they employ? Answering this question leads us to consider the relationships between thoughts and emotions. Emotions will be described as thought-dependent and thought-directing, and as being intimately related to normativity. They are conceived as the grounds that motivate social agents to articulate their reasoning with respect to the values and norms they face and/or share in their social collective. It is (...) argued that because they are modes of thinking, emotions generate cognitive activities that relate to the making of evaluative and deontic judgements, the utterance of speech acts, the mastering of normative concepts and the building of arguments. Furthermore, each type of emotion generates its own constitutive judgements and structures normative thinking according to its own logic. The main thesis is that emotions provide sociological explanations for social agents’ thinking and speech, for emotions are precisely what motivate and, especially, structure normative reasoning and language. Being observable in language, emotions allow us to explain a) how social subjects reason and argue through norms and values, and b) how social subjects through their speech acts can contribute to the (un-)making of the social world. (shrink)

I argue that the direct perception of emotion (DP) is best conceived in terms of event perception, rather than fact perception or object perception. On neither of these two traditional models can the perception of emotion be as direct as its counterpart in ordinary perception; the proponent of DP must either drop the ‘direct’ claim or embrace a part-whole model of emotion perception and its problems. But our best account of how we perceive events directly can be (...) applied to emotion perception without any loss in directness. Not only this but there are good reasons to think that such a conception better respects both empirical evidence and the phenomenology of emotion perception. (shrink)

. In this essay, we move to further advance the work done on God and emotions by RT Mullins, exploring the role exhaustive divine foreknowledge plays as it relates to God’s emotional life. Given our preliminary investigation at the intersection of divine foreknowledge and divine emotions, and focusing specifically on the neoclassical theistic conception of God, we argue that in light of God’s foreknowledge, his emotional life is dissimilar when compared to that of his creation. That said, our primary aim (...) is one of exploration: Should divine foreknowledge play a role in how we understand God’s emotional life? Given our analysis, we answer in the affirmative. (shrink)

A summary of The Emotional Mind: A Control Theory of Affective States is presented: I claim that a convincing account of the emotions requires a rethink of how the mind as a whole is structured. I provide this reconceptualization by introducing a fundamental type of mental concept called “valent representation" and then systematically elaborating this fundamental type in stages. In this way, accounts are provided of the various sorts of affective states ranging from pains and pleasures to character traits.

Are emotions bodily feelings or evaluative cognitions? What is happiness, pain, or “being moved”? Are there basic emotions? In this chapter, I review extant empirical work concerning these and related questions in the philosophy of emotion. This will include both (1) studies investigating people’s emotional experiences and (2) studies investigating people’s use of emotion concepts in hypothetical cases. Overall, this review will show the potential of using empirical research methods to inform philosophical questions regarding emotion.

Turing used the expression “emotional” in three distinct ways: to state his philosophical theory of the concept of intelligence, to classify arguments for and against the possibility of machine intelligence, and to describe the education of a “child machine”. The remarks on emotion include several of the most important philosophical claims. This paper analyses these remarks and their significance for current research in Artificial Intelligence.

The origin of the concept of “emotional sharing” can be traced back to the first edition of Sympathiebuch [1913/23], in which Max Scheler paved the way to a phenomenology of emotions and to social ontology. The importance of his findings is evident: consider the central role of emotional sharing in Michael Tomasello’s analysis and the lively debate on social ontology and collective intentionality.

This paper testifies the crucial importance of Philosophy for Children for Emotional Growth. It begins by establishing the open ended character of emotional processes, showing how feminist philosophers have criticized the fixed conception of negative valence of certain emotions, and how, ultimately, the normative structure of emotions is open to modification. Then, it shows how talking about emotional processes and emotional situations can foster emotional growth once we understand that the acquisition of language and emotional vocabulary is one way to (...) best capture the openended character of emotions. Finally, attention is turned to Philosophy for Children. Taking as an illustration the emotion of hope and its importance to inquiry, the paper concludes by examining in what way P4C both benefits and reinforces the previous insights about emotion theory. (shrink)

The concept of work can be understood as a purposeful human activity, which is focused on the processing of natural goods, items and/or information by using tools to meet tangible and intangible needs. Work is the usage of instruments to support the existence of humankind and the social world. Domestic work refers to work of domestic help, which applies to employees, usually individuals who work and often live in the house of the employer. Emotional labor takes place in the public (...) sphere as a social and economic exchange sold for wages during interactions with customers or coworkers. Emotional labor requires certain emotions to be displayed and expressed in line with organizational aims. (shrink)

The concept of emotional intelligence is invalid, both because it is not a form of intelligence, and because it is so broad and inclusive that it has no intelligible meaning. The extension of the term "intelligence" distorts the meaning of the concept. The final reason would be egalitarianism, so that everyone would be considered equal in intelligence. DOI: 10.13140/RG.2.2.17749.04329.

Let us assume that the basic claim of the belief-desire theory of emotion is true: What, then, is an emotion? According to Castelfranchi and Miceli (2009), emotions are mental compounds that emerge from the gestalt integration of beliefs, desires, and hedonic feelings (pleasure or displeasure). By contrast, I propose that emotions are affective feelings caused by beliefs and desires, without the latter being a part of the emotion. My argumentation for the causal feeling theory proceeds in three (...) steps. First, I argue that affective feelings should be regarded as components of emotions because this assumption provides the best available explanation of the phenomenal character and the intensity of emotional experiences. Second, I examine the two main arguments for regarding beliefs and desires as emotion components—that doing so is needed to explain the finer distinctions among emotions and their object-directedness—and argue that they are unconvincing: Emotions can be distinguished by referring to their cognitive and motivational causes, and their appearance of object-directedness could be an illusion. Third, I present three objections against the hypothesis that beliefs and desires are components of emotions: This hypothesis fails, at second sight, to explain the directedness of emotions at specific objects; it has difficulty accounting for the duration of emotional reactions caused by the fulfillment of desires and the disconfirmation of beliefs; and there are reasons to question the existence of the postulated emotional gestalts and the process that presumably generates them. The causal feeling theory avoids these problems. I therefore recommend abandoning the belief-desire compound theory of the nature of emotions in favor of the causal feeling theory. However, a partial reconciliation of the two theories is possible with respect to the concept of “affectively tinged” thoughts. (shrink)

Basic Emotion theory has had a tremendous influence on the affective sciences, including music psychology, where most researchers have assumed that music expressivity is constrained to a limited set of basic emotions. Several scholars suggested that these constrains to musical expressivity are explained by the existence of a shared acoustic code to the expression of emotions in music and speech prosody. In this article we advocate for a shift from this focus on basic emotions to a constructionist account. This (...) approach proposes that the phenomenon of perception of emotions in music arises from the interaction of music’s ability to express core affects and the influence of top-down and contextual information in the listener’s mind. We start by reviewing the problems with the concept of Basic Emotions, and the inconsistent evidence that supports it. We also demonstrate how decades of developmental and cross-cultural research on music and emotional speech have failed to produce convincing findings to conclude that music expressivity is built upon a set of biologically pre-determined basic emotions. We then examine the cue-emotion consistencies between music and speech, and show how they support a parsimonious explanation, where musical expressivity is grounded on two dimensions of core affect (arousal and valence). Next, we explain how the fact that listeners reliably identify basic emotions in music does not arise from the existence of categorical boundaries in the stimuli, but from processes that facilitate categorical perception, such as using stereotyped stimuli and close-ended response formats, psychological processes of construction of mental prototypes, and contextual information. Finally, we outline our proposal of a constructionist account of perception of emotions in music, and spell out the ways in which this approach is able to make solve past conflicting findings. We conclude by providing explicit pointers about the methodological choices that will be vital to move beyond the popular Basic Emotion paradigm and start untangling the emergence of emotional experiences with music in the actual contexts in which they occur. -/- . (shrink)

If, as argued in some simulationist accounts, empathy aims at grasping the phenomenal richness of the other’s experience and resonating with it, it is difficult to explain our empathy with emotions that we have never experienced ourselves. According to a long philosophical tradition, imagination is constrained by experience. We have to be acquainted with the qualitative feel of the other’s experience in order to imagine it. A critical view of simulationist accounts would claim that if we cannot imagine how the (...) other feels because we are not acquainted with it, empathy cannot take place. Contrary to such criticism, this paper takes a moderately optimistic view of the simulationist claim. It develops a model to explain how we imagine the other’s emotions by drawing on phenomenal concepts, affective memories, and imaginative scaffoldings. I argue that this model can explain how we empathize with the other’s emotions regardless of whether these are familiar or novel to us. However, in the latter case, the imagined phenomenal quality is not identical but probably only similar to the other’s emotion. This similarity suffices for us to speak about empathy. (shrink)

The paradox of fiction tackles how we can be considered as rational while having emotions towards fictional and thus non-existing events. I aim to show that the different philosophical positions on this issue can be reconciled within the emotion regulation framework. This approach refines the concept of emotion, defining it as a sequence of distinct regulated processes. I argue that the philosophical solutions that have been proposed to solve the paradox can be framed as different regulation mechanisms occuring (...) at each stage of the emotion sequence. Based on these results, I propose an original and unifying solution to the paradox of fiction which relies on the notion of quasi-belief. On one hand, this solution solves the paradox of fiction through rejecting each proposition of the paradox at different stages of the emotion process. On the other hand, it explains through the notion of rational appraisal why the question of the existence of emotions towards fictional events is bound to the question of their rationality. The functional roles of emotion towards fictional events are thus discussed, showing how rationality shapes emotions towards fictional events. (shrink)

(written in 2017) According to Dorothea Debus (2007), all emotional aspects related to an act of remembering are present and new emotional responses to the remembered past event. This is a common conception of the nature of the emotional aspect of personal memories, if not explicitly defended then at least implicitly accepted in the literature. In this article, I first criticize Debus’ arguments and demonstrate that she does not give us valid reasons to believe that all the emotional aspects related (...) to a memory are present and new emotional responses to that past event. I then criticize Debus’ thesis tout court for being a direct consequence of assuming a particular conceptualization of the nature of emotions: emotions as physiological changes. Finally, based on a different conceptualization of emotions that focuses on their relational nature, I propose an alternative framework for analyzing the different possible emotional aspects of our personal memories. This leads me to conclude, contrary to Debus, that some emotional aspects of our memories are not occurrent emotions but are better conceived as quasi-emotions. (shrink)

The problem of variability concerns the fact that empirical data does not support the existence of a coordinated set of biological markers, either in the body or the brain, which correspond to our folk emotion categories; categories like anger, happiness, sadness, disgust and fear. Barrett (2006a, b, 2013, 2016, 2017a, b) employs this fact to argue (i) against the faculty psychology approach to emotion, e.g. emotions are the products of emotion-specific mechanisms, or “modules”, and (ii) for the (...) view that emotions are constructed from domain-general “core systems” with the aid of our folk concepts. The conjunction of (i) and (ii), she argues, heralds a paradigm shift in our understanding of emotion: emotions aren’t triggered but made. In this paper, I argue such a shift is premature for a faculty psychology framework can accommodate the neurobiological variability of emotion. This can be done by treating emotions as developmental modules: non-innate systems which behave like modules, but form as a product of ontogenetic development. (shrink)

Individuals with high self-concept will likely have high life satisfaction, they easily get adjusted to life, and they communicate their feeling more appropriately. However, it was not certain whether self-concept would decline or improve as individuals age, or whether self-concept would vary between genders and ethnic groups. To prove, a study was carried out to compare the self-concept of college students in an Asian context. The inquiry utilized the cross-sectional design in finding out significant differences in the self-concept of participants (...) in terms of age, gender, and ethnicity. A 22-item questionnaire was adapted and administered to 222 Bachelor of Public Administration and Bachelor of Science in Business Administration students from the satellite campus of Bukidnon State University in the Philippines. Initially, a sample was randomly drawn from the population. During the actual data collection, the researchers had difficulty getting the responses from the randomly selected individuals due to internet connection and it was done amidst a pandemic. Instead, it took all responses from those who were available, have access to the internet, and could accomplish the google forms. The data were analyzed using Mean, Standard Deviation, T-test for independent sample, ANOVA and Post Hoc test. The results revealed that college students at the locale have a high level of self-concept in self-fulfilment, emotional adjustment, and honesty. Yet, they only had a moderate level of self-concept in autonomy. Further, there were significant differences in college students’ autonomy and honesty in terms of age and gender. Furthermore, there were significant differences in their emotional adjustment and self-fulfilment as to their ethnicity. The results have implications for instruction, administration, guidance services, and future research. (shrink)

At least in one well-motivated sense of ‘concept’, all perception involves concepts, even perception as practiced by lizards and bees. That is because—the paper argues—all perception involves belief.

An ongoing debate in the philosophy of emotion concerns the relationship between two prima facie aspects of emotional states. The first is affective: felt and/or motivational. The second, which I call object-identifying, represents whatever the emotion is about or directed towards. “Componentialists” – such as R. S. Lazarus, Jesse Prinz, and Antonio Damasio – assume that an emotion’s object-identifying aspect can have the same representational content as a non-emotional state’s, and that it is psychologically separable or dissociable (...) from the emotion’s affective aspect. Some further hold that emotions have no object-identifying aspects of their own, and can properly be said to be about things only in virtue of their associations with other mental states (such as beliefs or perceptions). By contrast, “blenderists” – such as Peter Goldie, York Gunther, and Matthew Ratcliffe – insist that the two aspects are indissociable, because the affective aspect “infuses” the object-identifying aspect, altering the subject’s concept or percept of the object. As a result, an emotion’s object-identifying aspect cannot possibly have the same representational content as any non-emotional state’s. I argue that the strongest blenderist arguments fail to rule out plausible componentialist alternatives, and that the blenderists’ broader motivations are orthogonal to structural issues. (shrink)