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.

The critical reflection of the aspects of emotional intelligence can be put on account of the different epistemological perspectives, reflecting a maturity of the concept. There is a need to find consistent empirical evidence for the dimensionality of emotional intelligence and to develop appropriate methods for its correct and useful measurement. A concern of researchers is whether emotional intelligence is a theory of personality, a form of intelligence, or a combination of both. Many studies consider emotional intelligence to be a (...) personal factor associated with competence. But most researchers consider emotional intelligence as an emotional awareness of oneself and others, in addition to professional efficiency and emotional management. DOI: 10.13140/RG.2.2.19339.11045. (shrink)

In the epistemological context, two questions have a special relevance: "are emotions knowledge?" and "is a uniform theory of emotions necessary to evaluate the epistemological state of emotions?". A restrictive interpretation of "knowledge" requires theories to have propositional content. In such a case, emotions are usually assimilated to normative beliefs or judgments. More liberal interpretations of "knowledge" also include theories that interpret emotions on the perception model. A minimal definition of cognitive theories of emotions (...) includes the assertion that emotions are intentional. DOI: 10.13140/RG.2.2.11326.72004. (shrink)

In a heterotopic approach, emancipation from emotional uniformity and resistance to emotional scripts quickly turns into a new form of governance where resistance becomes a discipline that, in turn, provides opportunities for resistance. Emotional intelligence seems to exemplify Foucault's arguments that power is exercised both by what is allowed and by what is forbidden, both through collusion and opposition. In this sense, if emotional labor could be understood as a technology of domination, emotional intelligence seems to be a technology of (...) the self. DOI: 10.13140/RG.2.2.34616.37123. (shrink)

Examining the significance of the General’s enlightenment in the Platform Sutra, this article clarifies the fundamental role that emotions play in the development of one’s spiritual understanding. In order to do so, this article emphasizes that the way to enlightenment implicit in the story of the General and the Master involves first granting negative emotions a means for productive expression. By acting as a preparatory measure for calming the mind and surrendering control over it, human passions become a (...) necessary, antecedent condition to wisdom—a conclusion that this article argues is a major, and sometimes underappreciated, lesson embedded in the teachings of the Sixth Patriarch. (shrink)

This chapter examines two premises of cognitive-behavioral therapy (CBT) - that emotions are caused by beliefs and that those beliefs are represented in the mind as words or images. Being a philosophical examination, the chapter also seeks to demonstrate that these two premises essentially are philosophical premises. The chapter begins with a brief methodological suggestion of how to properly evaluate the theory of CBT. From there it works it way from examining the therapeutic practice of capturing the mental representations (...) that supposedly elicit emotional reactions to examining the assumption that emotions are caused by beliefs. The chapter ends by briefly pointing to some consequences of what has been said to the practice of CBT. (shrink)

Recent work in the philosophy of emotion focuses on challenging dualistic conceptualizations. Three of the most obvious dualisms are the following: 1. emotion opposes reason; 2. emotion is subjective, while reason is objective; 3. emotion lies internal to the subject, while reason is external. With challenges to these dualisms, one of the more interesting questions that has surfaced is the idea of emotional appropriateness in a particular context. Here, consider a widely held belief in the United States associates racialized (...) groups with specific emotions—most notably African American women with anger. Clearly these emotional attributions are essentialistic--and hence racist. But this response is too easy. The acknowledgement that emotion lies both internally in the subject and externally in the world opens the possibility of attributing an emotional temperament to a population group. Yet if an identity group has an emotional temperament, can they be accountable for emotionally appropriate behavior? (shrink)

Traditional views concerning musical meaning, in the field of philosophy, quite often oscillate around the discussion of whether music can transfer meaning (and if so if it happens by a means similar to language). Philosophers have provided a wide range of views – according to some, music has no meaning whatsoever, or if there is any meaning involved, it is only of a formal/structural significance. According to the opposing views, music can contain meaning similarly to language and what is (...) more, sometimes it can be even richer than language, as in music we are – arguably – able to encode “emotional meanings”. In recent years, several approaches – also speculative – to the old philosophical question have been proposed by evolutionary psychologists, one of the most controversial views being that of Stephen Pinker’s famous metaphor for music as “auditory cheesecake”. This anti-adaptationist view has been challenged f. ex. by Geoffrey Miller or Ian Cross. In this chapter, I enlist some main philosophical views on the titular problem and investigate some evolutionary-paradigm-based propositions for its solution, to examine whether – both from explanatory and methodological standpoints – the philosophy of music could gain something from recent developments in evolutionary psychology. (shrink)

For anyone with an interest in the philosophical teachings of Ch’an (Zen Buddhism), the Platform Sutra is arguably the classic source of philosophical as opposed to religious Ch’an. The text is exclusively concerned with expounding the nature of Ch’an and its key feature: enlightenment achieved by the mind alone or by pure understanding without the assistance of textual authority, religious devotion, charitable acts, meditative practices or monastic discipline. Yet, despite its centrality in Zen Buddhism, the book presents one account of (...) enlightenment that has received very little attention: the story of the General. It is commonly thought that emotions are to be repressed in order to attain enlightenment. The argument I would like to present is that one case of attaining enlightenment recounted in the Platform Sutra shows that one ought to take a very different attitude to desire and emotions than annihilation, tranquilization or repression. From the account of the General, it would appear that desires and emotions are not to be simply eradicated or repressed. Rather, they must first be expressed and then acknowledged as possessed before one can attain enlightenment. (shrink)

In this paper, I explore the sociality of emotional experience in the work of Friedrich Nietzsche. Specifically, I describe four key mechanisms through which an individual's sociocultural context shapes her emotional experience on Nietzsche's view—emotional contagion as habitual affective mimicry, the production of emotions' felt character through the assimilation of dominant social beliefs and norms, affective interpretation à la Christopher Fowles, and the imposition of dominant notions of emotional appropriateness—fleshing out a dimension of Nietzsche's thought which is largely taken (...) for granted but remains undertreated. After detailing these mechanisms, I argue that attending to the sociality of emotional experience in Nietzsche's thought is crucial not only for understanding key elements of his moral psychology (including certain of his reflections on freedom and self‐transformation), but also for understanding his interpretation of nihilism as a psychological‐affective phenomenon produced by the society to which one belongs. On Nietzsche's view, attending to the sociality of emotion helps individuals recognize the way in which the sociocultural contexts they inhabit might undermine their flourishing—and also helps them envision the conditions (especially sociocultural conditions) requisite for healthier, more empowering emotional lives. (shrink)

Experimental philosophy of consciousness aims to investigate and explain our thinking about phenomenally conscious states. Based on empirical studies, researchers have argued (a) that we lack a folk concept of consciousness, (b) that we do not think entities like Microsoft feel regret, (c) that unfelt pains are widely accepted, and (d) that people do not attribute phenomenally conscious states to duplicated hamsters. In this article, I review these and other intriguing claims about people’s understanding of phenomenal consciousness. In doing (...) so, I also show why experimental philosophy of consciousness is challenging, although perhaps not quite as daunting as studying phenomenal consciousness itself. (shrink)

In this paper, I give readers an idea of what some scholars are interested in, what I found interesting, and what may be of future interest in the philosophy of emotion. I begin with a brief overview of the general topics of interests in the philosophy of emotion. I then discuss what I believe to be some of the most interesting topics in the contemporary discourse, including questions about how philosophy can inform the science of emotion, responses (...) to aspects of the mind–body problem, and concerns about perception, cognition, and emotion, along with questions about the place of 4E approaches and meta-semantic pluralist(e) approaches in the embodied cognitive tradition. I also discuss the natural kind–social construction debate in the philosophy of emotion, the emerging field of cultural evolution, the import of a dual-inheritance theory in this emerging field, and I propose a possible way to integrate the frameworks of dual-inheritance theory and meta-semantic pluralism(e) to demonstrate at least one way in which the philosophy of emotion can contribute to the emerging field of cultural evolution. I conclude with a brief summary of this paper and note at least one significant implication of my proposal for the natural kind–social construction debate in the philosophy of emotion. (shrink)

In this paper, we argue that knowledge of emotions essentially depends on introspecting the phenomenology of emotional experiences, and that introspection of emotional experiences is a process by stages, where the most fundamental stage is a non-classificatory introspective state, i.e., one that does not depend on the subject’s classifying the introspected emotion as an instance of any experience type. We call such a non-classificatory kind of introspection primitive introspection. Our main goal is to show that, although not sufficient, primitive (...) introspection is a necessary ground to acquire knowledge of emotions. Our main argument is phenomenological: by examining a variety of examples, we suggest that an accurate analysis of the introspective process through which one comes to know, or refines one’s knowledge of, one’s current emotion requires that one primitively introspects it. (shrink)

We often assess emotions as appropriate or inappropriate depending on certain evaluative aspects of the world. Often using the term ‘fittingness’ as equivalent to ‘appropriateness’, many philosophers of emotion take fittingness assessments of emotions to be a broadly representational matter. On this sort of view, an emotion is fitting or appropriate just in case there is a kind of representational match between the emotion and the object, a matching analogous to truth for belief. This view provides an account (...) of the relationship between emotion and value that many have found plausible. In this paper, I argue that the fittingness of emotions should not be understood in representational terms. Rather, as is common in the literature on fittingness, we should interpret the notion in normative terms. After providing four arguments against the representational interpretation, and for a normative interpretation, of emotional fittingness, I discuss two ways to develop the normative picture of emotional fittingness. I also clarify the relevant issues that will have to be tackled by philosophers of emotion in the future, issues which cannot be tackled without attending to action theory and the philosophy of normativity. (shrink)

In this article, I argue that the principle of benevolence occupies a unique place in moral theory where duty and emotion both have equal importance, and moral philosophers generally are divided into two camps regarding the role of emotion in morality. Kant clarifies his position while introducing the deontic notion of benevolence. He only regards the moral value in which the duty of benevolence has been performed with ‘good will’. Some defenders of Kant’s ethics are Herman, McMurray, Meyers, and Tannenbaum (...) who argue that acting purely based on duty is far more superior to acting from emotions. On the other hand, several contemporary theorists such as Bernard Williams, Blum, Oakley, Stocker, Stohr, Foot, Korsgaard, Hursthouse, and Sherman refute Kant’s views towards emotion in the domain of morality. Following this Kantian and Non-Kantian debate, this article aims to explore the role of emotion and rationality in the moral context of benevolence. (shrink)

Heidegger tries to explain our emotional life applying three schemes: causal explanation, mental internalisation of emotions and metaphorical expression. None of the three schemes explains emotion though. Either because the causal nexus does not always occur or because objects and people in the external world are carriers of emotional agents or because language is already on a metaphorical level. Moreover, how is it possible that there are presently emotions constituting our life without our being aware of their existence? (...) From the analysis of boredom in its three varieties (“bored by X”, “get oneself bored”, and “it is boring”) we will get to the depth where emotions lie, trying to rouse them and to keep them awake. Although it surfaces with the force and energy of the present, every emotion has its past and future constitution. How can we understand the future of a present emotion along with its past? (shrink)

Evaluative theories of emotions purport to shed light on the nature of emotions by appealing to values. Three kinds of evaluative theories of emotions dominate the recent literature: the judgment theory equates emotions with value judgments; the perceptual theory equates emotions with perceptions of values, and the attitudinal theory equates emotions with evaluative attitudes. This paper defends a fourth kind of evaluative theory of emotions, mostly neglected so far: the reactive theory. Reactive theories (...) claim that emotions are attitudes which arise in reaction to perceptions of value. (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)

Emotions have often been considered a threat to morality and rationality; in the Romantic tradition, passions were placed at the center of both human individuality and moral life. This ambivalence has led to an ambiguity between the terms of emotions for vices and virtues. Epicureans and Stoics have argued that emotions are irrational. The Stoics believed that virtue is nothing but knowledge, and emotions are essentially irrational beliefs. Skeptics believed that beliefs were responsible for pain, recommending (...) rejection of opinions of any kind. These schools emphasized the general value of "ataraxia", the absence of mental disturbance, the philosophy being regarded as therapy for the cleansing of the emotions in the soul. DOI: 10.13140/RG.2.2.27533.77282. (shrink)

I argue that while the feeling of bodily responses is not necessary to emotion, these feelings contribute significant meaningful content to everyday emotional experience. Emotional bodily feelings represent a ‘state of self’, analysed as a sense of one's body affording certain patterns of interaction with the environment. Recognising that there are two sources of intentional content in everyday emotional experience allows us to reconcile the diverging intuitions that people have about emotional states, and to understand better the long-standing debate between (...) bodily feeling-based and appraisal-based theories of emotion. (shrink)

In this chapter, we start by spelling out three important features that distinguish expressives—utterances that express emotions and other affects—from descriptives, including those that describe emotions (Section 1). Drawing on recent insights from the philosophy of emotion and value (2), we show how these three features derive from the nature of affects, concentrating on emotions (3). We then spell out how theories of non-natural meaning and communication in the philosophy of language allow claims that expressives (...) inherit their meaning from specificities of emotions—namely, from being felt, evaluative attitudes toward propositional or non-propositional contents (4). (shrink)

Dysphoria is a complex phenomenon which must be defi ned in the framework of different forms of affections. It belongs to the broader field of emotions, which are characterized by some essential features: i.e. movement, passiveness, tran-sitoriness, and reference to the others. All these four essential features of emotion are specifi cally altered in depression, whose phenomenology is presented in a clinical case. In discussing dysphoria, a first distinction is made between par-ticular and global affections. The fi rst type (...) encompasses emotions and feelings, while the second one includes humor, mood and temper. Dysphoria belongs to one of these global affective states: the humor, which has to do with the spatial dimension of existence. In dysphoria the patient experiences the world as oppressive and invasive of his/her intimacy; the others are lived as persons demanding answers or actions he/she is not able to fulfill. Finally, the phenomenology of dysphoria is analyzed through the four essential features described above and examples are given. (shrink)

This paper offers a Nietzschean theory of emotion as expressed by following thesis: paradigmatic emotional experiences exhibit a distinctive kind of affective intentionality, specified in terms of felt valenced attitudes towards the (apparent) evaluative properties of their objects. Emotional experiences, on this Nietzschean view, are therefore fundamentally feelings towards value. This interpretation explains how Nietzschean affects can have evaluative intentional content without being constituted by cognitive states, as these feelings towards value are neither reducible to, nor to be thought along (...) the lines of, judgements, perceptions, or other mental states. (shrink)

European Journal of Philosophy, Volume 30, Issue 1, Page 307-325, March 2022.

Evaluative judgments imply positive or negative regard. But there are different ways in which something can be positive or negative. How do we tell them apart? According to Evaluative Sentimentalism, different evaluations (e.g., dangerousness vs. offensiveness) are grounded on different emotions (e.g., fear vs. anger). If this is the case, evaluation differentiation requires emotional awareness. Here, we test this hypothesis by looking at alexithymia, a deficit in emotional awareness consisting of problems identifying, describing, and thinking about emotions. The (...) results of Study 1 suggest that high alexithymia is not only related to problems distinguishing emotions, but also to problems distinguishing evaluations. Study 2 replicated this latter effect after controlling for individual differences in attentional impulsiveness and reflective reasoning, and found that reasoning makes an independent contribution to evaluation differentiation. These results suggest that emotional sensibilities play an irreducible role in evaluative judgment while affording a role for reasoning. (shrink)

Phenomenology, perhaps more than any other single movement in philosophy, has been key in bringing emotions to the foreground of philosophical consideration. This is in large part due to the ways in which emotions, according to phenomenological analyses, are revealing of basic structures of human existence. Indeed, it is partly and, according to some phenomenologists, even primarily through our emotions that the world is disclosed to us, that we become present to and make sense of ourselves, (...) and that we relate to and engage with others. A phenomenological study of emotions is thus meant not only to help us to understand ourselves, but also to allow us to see and to make sense of the meaningfulness of our worldly and social existence.Within the last few decades, the emotions have re-emerged more generally as a topic of great philosophical interest and importance. Philosophers, along with psychologists, cognitive scientists, and neuroscientists have engaged in inter- and intra-disciplina .. (shrink)

The philosophy of hope centers on two interlocking sets of questions. The first concerns the nature of hope. Specific questions here include how to analyze hope, how hope motivates us, and whether there is only one type of hope. The second set concerns the value of hope. Key questions here include whether and when it is good to hope and whether there is a virtue of hope. Philosophers of hope tend to proceed from the first set of questions to (...) the second. This is a natural approach, for one might expect that you must develop a basic understanding of what hope is before you can determine its value. The structure of this chapter thus follows this approach. But readers should not be misled: there is in fact a good deal of feedback between the two sets of questions. A theory of hope is more plausible to the extent that it fits well with plausible ideas about the value of hope. So the movement from hope’s nature to its value is one of emphasis rather than a strict, step-wise process. (shrink)

The essay operates an itemisation of the three main streams in the history of emotions: the history of individual emotions, the study of the role that emotions have in historical processes, and the reflection on the influence of emotions on history writing. The second part of the article is devoted to the methodological and theoretical status of the study of past emotions. It highlights how many studies in the history of emotions remain heavily conditioned (...) by an idea of culture typical of Western philosophy of history. (shrink)

The widely accepted two-dimensional circumplex model of emotions posits that most instances of human emotional experience can be understood within the two general dimensions of valence and activation. Currently, this model is facing some criticism, because complex emotions in particular are hard to define within only these two general dimensions. The present theory-driven study introduces an innovative analytical approach working in a way other than the conventional, two-dimensional paradigm. The main goal was to map and project semantic emotion (...) space in terms of mutual positions of various emotion prototypical categories. Participants (N = 187; 54.5% females) judged 16 discrete emotions in terms of valence, intensity, controllability and utility. The results revealed that these four dimensional input measures were uncorrelated. This implies that valence, intensity, controllability and utility represented clearly different qualities of discrete emotions in the judgments of the participants. Based on this data, we constructed a 3D hypercube-projection and compared it with various two-dimensional projections. This contrasting enabled us to detect several sources of bias when working with the traditional, two-dimensional analytical approach. Contrasting two-dimensional and three-dimensional projections revealed that the 2D models provided biased insights about how emotions are conceptually related to one another along multiple dimensions. The results of the present study point out the reductionist nature of the two-dimensional paradigm in the psychological theory of emotions and challenge the widely accepted circumplex model. (shrink)

According to the old feeling theory of emotion, an emotion is just a feeling: a conscious experience with a characteristic phenomenal character. This theory is widely dismissed in contemporary discussions of emotion as hopelessly naïve. In particular, it is thought to suffer from two fatal drawbacks: its inability to account for the cognitive dimension of emotion (which is thought to go beyond the phenomenal dimension), and its inability to accommodate unconscious emotions (which, of course, lack any phenomenal character). In (...) this paper, I argue that the old feeling theory is in reality only a pair of modifications removed from a highly plausible account of the nature of emotion that retains the essential connection between emotion and feeling. These modifications are, moreover, motivated by recent developments in work on phenomenal consciousness. The first development is the rising recognition of a phenomenal character proper to cognition—so-called cognitive phenomenology. The second is the gathering momentum behind various ‘connection principles’ that specify some connection that a given state must bear to phenomenally conscious states in order to qualify as mental. These developments make it possible to formulate a new feeling theory of emotion, which would overcome the two fatal drawbacks of the old feeling theory. According to the new feeling theory, an emotion is a mental state that bears the right connection to conscious experiences with the right phenomenal character (involving, among other elements, a cognitive phenomenology). (shrink)

According to cognitivism about emotion, emotions are reducible to some non-emotional states. In one version, they are reducible entirely to cognitive states, such as beliefs or judgments; in another, they are reducible to combinations of cognitive and conative states, such as desire or intention. Cognitivism is plausibly regarded as the orthodoxy in the philosophy of emotion since the 1980s. In a recent paper, however, Montague develops a powerful argument against cognitivism. Here I argue that the argument nonetheless fails.

It is widely assumed that emotions are evaluative. Moreover, many authors suppose that emotions are important or valuable as evaluations. According to the currently dominant version of cognitivism, emotions are evaluative insofar as they make us aware of value properties of their intentional objects. In attributing to emotions an epistemic role, this view conceives of them as epistemically valuable. In this paper, I argue that proponents of this account mischaracterize the evaluative character of emotions and, (...) a fortiori, their value. Moreover, I propose an alternative view of emotional evaluation, according to which emotions are practically rather than epistemically important. As I argue, emotions are ways of acknowledging their intentional objects as (dis)valuable. As such, they do not apprehend values but make them count. I elaborate this idea by drawing an analogy with legal and political sanctions. The resulting view has it that emotions are practically important in that they affirm the cares and concerns which serve as standards of emotional evaluation. (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.

When we see or hear a spontaneous emotional expression, we usually immediately, effortlessly, and often correctly interpret it to mean happiness, sadness, or some other emotion as well as what this emotion is about. How do we do that? In this article, I evaluate how useful the concepts of natural meaning and probabilistic meaning are when it comes to explaining how we and other animals interpret emotional signs displayed without communicative intentions. I argue that Grice’s notion of natural meaning, because (...) it is a factive relation, is too restrictive for this purpose. I then present the notion of probabilistic meaning. The latter seems adequate for analyzing our ability to interpret non-communicative emotional signs, but it faces several difficulties when it comes to analyzing how we and other animals interpret emotional _signals_, i.e. signs that have the function to communicate emotional information. I present three of these difficulties. En passant, I suggest that a teleosemantic notion may be better suited for these challenges. (shrink)

In this paper I trace a theoretical path along Meinong’s works, by means of which the notion of aesthetic object as well as the changes this notion undergoes along Meinong’s output will be highlighted. Focusing especially on "Über emotionale Präsentation", I examine, on the one hand, the cognitive function of emotions, on the other hand, the objects apprehended by aesthetic emotions, i.e. aesthetic objects. These are ideal objects of higher order, which have, even though not primarily, the capacity (...) to attract aesthetic experiences to themselves. Hence, they are connected to emotions, being what is presented by them. These results are achieved on the basis of a fundamental analogy between the domain of value and the aesthetic domain. Finally, the notion of an absolute beauty is discussed. (shrink)

Tracing the leading role of emotions in the evolution of the mind, a philosopher and a psychologist pair up to reveal how thought and culture owe less to our faculty for reason than to our capacity to feel. Many accounts of the human mind concentrate on the brain’s computational power. Yet, in evolutionary terms, rational cognition emerged only the day before yesterday. For nearly 200 million years before humans developed a capacity to reason, the emotional centers of the brain (...) were hard at work. If we want to properly understand the evolution of the mind, we must explore this more primal capability that we share with other animals: the power to feel. Emotions saturate every thought and perception with the weight of feelings. The Emotional Mind reveals that many of the distinctive behaviors and social structures of our species are best discerned through the lens of emotions. Even the roots of so much that makes us uniquely human—art, mythology, religion—can be traced to feelings of caring, longing, fear, loneliness, awe, rage, lust, playfulness, and more. From prehistoric cave art to the songs of Hank Williams, Stephen T. Asma and Rami Gabriel explore how the evolution of the emotional mind stimulated our species’ cultural expression in all its rich variety. Bringing together insights and data from philosophy, biology, anthropology, neuroscience, and psychology, The Emotional Mind offers a new paradigm for understanding what it is that makes us so unique. (shrink)

Phenomenological approaches to affectivity have long recognized the vital role that emotions occupy in our lives. In this paper, I engage with Jean-Paul Sartre's well-known and highly influential theory of the emotions as it is advanced in his Sketch for a Theory of the Emotions. I examine whether Sartre's account offers two inconsistent explications of the nature of emotions. I argue that despite appearances there is a reading of Sartre's theory that is free of inconsistencies. Ultimately, (...) I highlight a novel reading of Sartre's account of the emotions: one that is both phenomenologically accurate and supported by textual evidence. (shrink)

Is it not surprising that we look with so much pleasure and emotion at works of art that were made thousands of years ago? Works depicting people we do not know, people whose backgrounds are usually a mystery to us, who lived in a very different society and time and who, moreover, have been ‘frozen’ by the artist in a very deliberate pose. It was the Classical Greek philosopher Aristotle who observed in his Poetics that people could apparently be moved (...) even by the imitation of a person or an act. And although we are usually well aware that it is a simulacrum, not a real situation, it nevertheless sometimes seems as if we ourselves are standing there on the stage or in the painting, so intense and emotional is our response, even though we are just spectators. Aristotle concludes from this that we have intellectual capacities which allow us put ourselves in another’s place and consequently to react to simulated situations as though they are actually happening to us, here and now. In this process, he contends, observation, memory, imagination and emotions are crucial elements. In the past it was not customary to invoke human mental faculties to explain our response to works of art. The Ancient Greeks, after all, knew little about the human body or brain and usually referred to the extended world of the gods in their endeavours to comprehend the ‘inner world’ of human beings. In our time the situation is completely different—such an allusion to the brain no longer surprises us. Whether it is about the mystery of the consciousness, the question of free will or accounts of bizarre psychological aberrations or disorders, we have become accustomed to references to parts of the brain, to images of brain scans, to reports about neural networks and the like. However, because there are so many factors that play a part in our appreciation of works of art we need a complex explanation for it, and it is not enough to look only at certain properties of the brain that are determined by evolution. Those properties are shared by every human being, and so are rather useless in explaining people’s different reactions to the same work of art. Evidently the brains of individuals differ so much that they make it possible for people to respond differently to one and the same artwork. This, of course, raises questions concerning the painted emotions that can be seen in this exhibition. Virtually everyone, after all, is fascinated by such paintings and usually recognizes the emotions they represent. The reactions to these painted emotions are also often similar. This is probably why artworks like this are generally highly valued, then and now, here and elsewhere: from the enigmatically smiling Egyptian Queen Nefertiti and the startled Rembrandt to a seemingly despairing African mask. Aristotle observed that in the theatre players imitate actions that are associated with emotions in a number of ways and that these emotions are shared in a particular fashion by the playwright, the actors and the audience. The audience may even be carried away by these emotions to such an extent that they are in a sense purged of them and can subsequently leave the theatre relieved. Are such emotional reactions perhaps related to the fact that emotions are universal and that brains respond similarly to them? Is this why we can so readily identify painted emotions? May we therefore also assume that the properties of the brain determined by evolution help us to explain these emotions? In answering these questions we shall discuss a number of insights into emotions in psychology and brain science and explore some theories about the possible function of emotions and their expression. (shrink)

In this introduction, we give a brief overview of the main concepts of modularity that have been offered in recent literature. After this, we turn to a summary of the papers collected in this volume. Our primary aim is to explain how the modularity of emotion question relates to traditional debates in emotion theory.

Some emotional representations seem to be unreliable. For instance, we are often afraid when there is no danger present. If emotions such as fear are so unreliable, what function do they have in our representational system? This is a problem for representationalist theories of emotion. I will argue that seemingly unreliable emotional representations are reliable after all. While many mental states strike an optimal balance between minimizing inaccurate representations and maximizing accurate representations, some emotional representations only aim at maximizing (...) accuracy. They detect important phenomena such as danger based on little evidence, which will lead to a lot of false alarms. When it matters, however, these emotional representations will detect danger and other important phenomena. Often, one is better scared (and wrong) than sorry. (shrink)

Empirical assessments of Cognitive Behavioral Theory and theoretical considerations raise questions about the fundamental theoretical tenet that psychological disturbances are mediated by consciously accessible cognitive structures. This paper considers this situation in light of emotion theory in philosophy. We argue that the “perceptual theory” of emotions, which underlines the parallels between emotions and sensory perceptions, suggests a conception of cognitive mediation that can accommodate the observed empirical anomalies and one that is consistent with the dual-processing models dominant (...) in cognitive psychology. (shrink)

The paper is an examination and critique of the philosophy of science fiction horror of seminal American horror, science fiction and fantasy writer H.P. Lovecraft (1890-1937). Lovecraft never directly offers a philosophy of science fiction horror. However, at different points in his essays and letters, he addresses genres he labels “interplanetary fiction”, “horror”, “supernatural horror”, and “weird fiction”, the last being a broad heading covering both supernatural fiction and science fiction. Taken together, a philosophy of science fiction (...) horror emerges. Central to this philosophy is the juxtaposition of the mysterious, unnatural and alien against a realistic background, in order to produce the emotion that Lovecraft calls “cosmic fear”. This background must not only be scientifically accurate, but must accurately portray human psychology, particularly when humans are faced with the weird and alien. It will be argued that Lovecraft’s prescriptions are overly restrictive and would rule out many legitimate works of science fiction horror art. However, he provides useful insights into the genre. (shrink)

This article explores the concept of the "Word of God" from three perspectives: the perspective of classification concepts inherent in natural language with its reasoning thinking (rassudok), and the perspective of mind thinking (razum). At the same time, mind thinking in comparative terms is divided into two fundamentally different parts, limited by particular and general concepts. The former arise from nature through our sense organs, for example, light and darkness, day and night, heavy and light - these are practical mind (...) concepts, the foundations of natural sciences. Whereas the latter are categories of pure mind, such as identity and difference, oppositions - the product of our conceptualizing thinking, providing the foundations of philosophy, understood as a rigorous Divine science. The author analyzes the text of the Torah and concludes that the words of the Almighty: light and darkness, day and night, evening and morning, and others - are accessible to universal understanding as particular comparative concepts of a gradational nature. Furthermore, the Torah presents another, more complex type of particular comparative concepts - concepts of an orthogonal nature, describing all six days of creation as the transition from day and night to evening and morning - "And there was evening and there was morning: the first day." At the same time, it is known that the words of God the almighty express his actions, and not so much in the form of their specific manifestation – they relate to the general principles of the Universe, which require extremely general comparative concepts far from the sensory world. The task of creating a science that reveals the mind and wisdom of the one and invisible God was taken up by the ancient Greek philosophers - lovers of wisdom. Unlike the reasoning thinking of most people, they comprehended the diversity of reality not only from the standpoint of particular comparative concepts - concepts of practical mind, but also from the standpoint of extremely general comparative concepts - categories of pure mind, revealing the universal design of the Creator. By separating from religious and emotional prejudices, the author comprehends forgotten or misunderstood thoughts of famous thinkers of the past, revealing the essence of comparative concepts, and collects them according to their rank into a verifiable cumulative philosophical Matrix - a panlogical paradigm of knowledge. As a result, the author concludes that these insights can be used not only for a correct understanding of biblical texts, particularly the Words of the Almighty, but also to bridge the gap between theology, humanities, and natural sciences, which is determined by the fundamental divergence between reasoning, mind, and wisdom. (shrink)

The study of animal cognition raises profound questions about the minds of animals and philosophy of mind itself. Aristotle argued that humans are the only animal to laugh, but in recent experiments rats have also been shown to laugh. In other experiments, dogs have been shown to respond appropriately to over two hundred words in human language. In this introduction to the philosophy of animal minds Kristin Andrews introduces and assesses the essential topics, problems and debates as they (...) cut across animal cognition and philosophy of mind. She addresses the following key topics: what is cognition, and what is it to have a mind? What questions should we ask to determine whether behaviour has a cognitive basis? the science of animal minds explained: ethology, behaviourist psychology, and cognitive ethology rationality in animals animal consciousness: what does research into pain and the emotions reveal? What can empirical evidence about animal behaviour tell us about philosophical theories of consciousness? does animal cognition involve belief and concepts; do animals have a ‘Language of Thought’? animal communication other minds: do animals attribute ‘mindedness’ to other creatures? moral reasoning and ethical behaviour in animals animal cognition and memory. Extensive use of empirical examples and case studies is made throughout the book. These include Cheney and Seyfarth’s ververt monkey research, Thorndike’s cat puzzle boxes, Jensen’s research into humans and chimpanzees and the ultimatum game, Pankseep and Burgdorf’s research on rat laughter, and Clayton and Emery’s research on memory in scrub-jays. Additional features such as chapter summaries, annotated further reading and a glossary make this an indispensable introduction to those teaching philosophy of mind, animal cognition. It will also be an excellent resource for those in fields such as ethology, biology and psychology. (shrink)

Philosophy with children often focuses on abstract reasoning skills, but as David Bohm points out the “entire process of mind” consists of our abstract thought as well as our “tacit, concrete process of thought.” Philosophy with children should address the “entire process of mind.” Our tacit, concrete process of thought refers to the process of thought that involves our actions such as the process of thought that goes into riding a bicycle. Bohm contends that we need to develop (...) an awareness or proprioception of thinking as well. When Socrates enters into dialogue with his interlocutors, he shows the limitations of purely abstract thought by leading them to admit that they really “don’t know.” But, of course, they know. We know what bravery is or what love is, even though we can never “explain” these concepts in abstract terms. Life has taught us through experience what these concepts mean and we have developed an understanding of them. We can recognize when a person acts bravely. This is where I see the link between our tacit, concrete process of thought and emotional intelligence. We need emotional intelligence to learn how to be brave, to learn how to love, and be just in the way we act in the world. Knowing what justice is abstractly does not make us act justly. We have to develop awareness of our actions in order to develop the skills necessary to act the part. This is also where emotional intelligence comes in. In the bulletin of the play Romeo and Juliet, director Barry Edelstein wrote the following: “To perform Romeo and Juliet, actors need a series of skills… they must have the emotional and psychological awareness and openness of uncommon depth; they must listen with acuteness, they must possess an imagination of real suppleness and subtlety…” An abstract portrayal would not bring these characters to life. We can surely agree – abstractly – that racism is destructive, but still act racist, without being even slightly aware of it. My contention is that while our abstract sense of racism has evolved, our tacit, concrete knowledge has not, which explains that racism is for the most part still rampant, even though we know abstractly that it is wrong. So how do we educate and develop the awareness of the tacit, concrete knowledge that informs our actions, and develop the emotional intelligence to give a depth of understanding to what we know and believe abstractly. (shrink)

One desideratum for contemporary theories of emotion both in philosophy and affective science is an explanation of the relation between emotions and objects that illicit them. According to one research tradition in emotion theory, the Evaluative Tradition, the explanation is simple: emotions just are evaluative judgments about their objects. Growing research in affective science supports this claim suggesting that emotions constitute (or contribute to) evaluative judgments such as moral judgments about right and wrong. By contrast, recent (...) scholarship in two historical emotion theories, Augustinian and Thomistic, emphasize their sharp distinction between cognitive judgments and affectivity or between reason and emotion. For these historical models, reason, not emotion, is responsible for moral judgment. Are the evaluative and historical models at irreconcilable odds? Should we discard old models that fail to satisfy intuitions about the intricate role of emotions in moral judgment? This paper compares these research programs and suggests a roadmap for collaboration. (shrink)

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)

R. G. Collingwood’s 'The Principles of Art' argues that art is the expression of emotion. This dissertation offers a new interpretation of that philosophy, and argues that this interpretation is both hermeneutically and philosophically plausible. The offered interpretation differs from the received interpretation most significantly in treating the concept of ‘art’ as primarily scalarly rather than binarily realisable (this is introduced in ch. 1), and in understanding Collingwood’s use of the term ‘emotion’ more broadly (introduced in ch. 2). -/- (...) After the exposition of ch. 1, the remainder of that chapter and the subsequent three chapters are each centred around one sort of objection. In ch. 1, I consider the objection that Collingwood’s scalar understanding of ‘art’ is deviant and unhelpful. I respond by first observing that the understanding is not deviant, and second that it is more philosophically and artistically illuminating. In ch. 2, I consider the objection that Collingwood’s understanding of ‘emotion’ is so narrow that it fails to do justice to the fact that art can be philosophically potent. I respond that his understanding of ‘emotion’ is broad enough that this objection fails. In ch. 3, I consider the objection that Collingwood has no theoretical room for the prima facie plausible thought that some emotions are not worth expressing in art. In response, I reinterpret the points that appear to support this contention in a way that makes them both more plausible and more Collingwoodian. Finally, in ch. 4, I consider the objection that Collingwood does not have the theoretical room to do justice to the value of the delight we take in art. I respond by arguing that although he does not have this room to say that this delight is itself an artistic value, it does yet have an important place in his philosophy. (shrink)