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)

Emotion theory includes attempts to reduce or assimilate emotions to states such as bodily feelings, beliefs-desire combinations, and evaluative judgements. Resistance to such approaches is motivated by the claim that emotions possess a sui generis phenomenology. Uriah Kriegel defends a new form of emotion reductivism which avoids positing irreducible emotional phenomenology by specifying emotions’ phenomenal character in terms of a combination of other phenomenologies. This article argues Kriegel’s approach, and similar proposals, are unsuccessful, since typical emotional experiences are constituted (...) by sui generis feelings towards value. (shrink)

We commonly appeal to emotions to explain human behaviour: we seek comfort out of grief, we threaten someone in anger and we hide in fear. According to the standard Humean analysis, intentional action is always explained with reference to a belief-desire pair. According to recent consensus, however, emotions have independent motivating force apart from beliefs and desires, and supplant them when explaining emotional action. In this paper I provide a systematic framework for thinking about the motivational structure of (...) emotion and show how it is consistent with the Humean analysis. On this picture, emotions are not reducible to beliefs and desires, instead their primary motivational force comes from their role as modulators of desires—they control the strength of our occurrent desires. Emotions therefore motivate actions through the belief-desire system instead of overriding it. (shrink)

Many so-called “cognitivist” theories of the emotions account for the meaningfulness of emotions in terms of beliefs or judgments that are associated or identified with these emotions. In recent years, a number of analytic philosophers have argued against these theories by pointing out that the objects of emotions are sometimes meaningfully experienced before one can take a reflective stance toward them. Peter Goldie defends this point of view in his book The Emotions: A Philosophical Exploration. Goldie argues that emotions are (...) meaningful in a way that is different from the meaningfulness of beliefs. He describes this meaningfulness in terms of “feeling towards,” which he identifies as a unique type of intentionality characteristic of emotions. The independence of feeling-towards from acts like believing is most clearly brought out by cases in which there is not enough time to form a belief but in which a person experiencing feelings towards an object responds emotionally in a way that is meaningful to them. Employing a similar type of argument, the phenomenologist Max Scheler argues that certain types of acts of feeling are phenomenologically prior to presentative acts of perception, representation, or imagination. Scheler supports his claim about the phenomenological priority of such acts of feeling by referring to cases in which the presented contents of an object are hidden or obscured but where the object of feeling, value, remains adequately given. I endeavor to show how Scheler draws support for his position from these cases and the great significance of his interpretation of these cases for his philosophical outlook as a whole. I close by considering some questions about his interpretation and use of these cases. (shrink)

On Hume’s account of motivation, beliefs and desires are very different kinds of propositional attitudes. Beliefs are cognitive attitudes, desires emotive ones. An agent’s belief in a proposition captures the weight he or she assigns to this proposition in his or her cognitive representation of the world. An agent’s desire for a proposition captures the degree to which he or she prefers its truth, motivating him or her to act accordingly. Although beliefs and desires are sometimes entangled, they (...) play very different roles in rational agency. In two classic papers (Lewis 1988, 1996), David Lewis discusses several challenges to this Humean picture, but ultimately rejects them. We think that his discussion of a central anti-Humean alternative – the desire-as-belief thesis – is in need of refinnement. On this thesis, the desire for proposition p is given by the belief that p is desirable. Lewis claims that ‘[e]xcept in trivial cases, [this thesis] collapses into contradiction’(Lewis 1996, p. 308). The problem, he argues, is that the thesis is inconsistent with the purportedly plausible requirement that one’s desire for a proposition should not change upon learning that the proposition is true; call this the invariance requirement. In this paper, we revisit Lewis’s argument. We show that, if one carefully distinguishes between non-evaluative and evaluative propositions, the desire-asbelief thesis can be rendered consistent with the invariance requirement. Lewis’s conclusion holds only under certain conditions: the desire-as-belief thesis conflicts with the invariance requirement if and only if there are certain correlations between non-evaluative and evaluative propositions. But when there are such correlations, we suggest, the invariance requirement loses its plausibility. Thus Lewis’s argument against the desire-as-belief thesis appears to be valid only in cases in which it is unsound. (shrink)

This paper summarizes a theory of emotions as metarepresentational states of mind (for more detail, see Reisenzein, 1998). The basic idea of the theory is that at least a core set of human emotions including surprise are nonconceptual products of hardwired, metarepresentational mechanisms whose main function is to subserve the monitoring and updating of the two basic forms of propositional representations, beliefs and desires.

The traditional accounts of pain’s intrinsic badness assume a false view of what pains are. Insofar as they are normatively significant, pains are not just painful sensations. A pain is a composite of a painful sensation and a set of beliefs, desires, emotions, and other mental states. A pain’s intrinsic properties can include inter alia depression, anxiety, fear, desires, feelings of helplessness, and the pain’s meaning. This undermines the traditional accounts of pain’s intrinsic badness. Pain is intrinsically bad in two (...) distinct and historically unnoticed ways. First, most writers hold that pain’s intrinsic badness lies either in its unpleasantness or in its being disliked. Given my wider conception of pain, I believe it is both. Pain’s first intrinsic evil lies in a conjunction of all the traditional candidates for its source. Pain’s second intrinsic evil lies in the way it necessarily undermines the self-control necessary for intrinsic goods like autonomy. (shrink)

In this paper I will show that you can distinguish two main types of argumentation in respect to feeling and emotions in the philosophy of religion of William James, which point to two different kind of criticism of religion. Especially in his early works, James argues that you may lawfully adopt religious beliefs on the basis of passional grounds. This argumentation points to a type of criticism of religion, which denies that beliefs based on such emotional grounds may be justified. (...) In his famous study The Varieties of Religious Experience, James defines religious experience as an experience of inner conversion, where the individual gets in touch with a higher self. The philosophical interpretation of religious experience points not at least to a type of criticism of religion in the tradition of Ludwig Feuerbach, which is known as the theory of projection. (shrink)

Putting together Kant's theory of emotion is complicated by two facts: (1) Kant has no term which is an obvious equivalent of "emotion" as used in contemporary English; (2) theorists disagree about what emotions are. These obstacles notwithstanding, my dissertation aims to provide the foundation for a reconstruction of Kant's theory of emotion that is both historically accurate and responsive to contemporary philosophical concerns. In contrast to available approaches which rest on contested assumptions about emotions, I start from the generally (...) accepted and reasonable premise that what we call "emotions" refers in Kant to a set of mental states, some of which he associates with the feeling of pleasure and displeasure ("feelings"), others with the faculty of desire ("desires"). I then proceed to examine the nature of these two kinds of mental states and their proper treatment. I argue that Kantian feelings are representations of objects' relation to the subject, that have a felt quality, and dispose their subject to certain behaviors. While feelings can only motivate action by causing desires and have no temporal direction, desires - except for certain wishes - are future-directed, which allows them to motivate actions immediately (but they need not bring action about). Equipped with this account of feelings and desires, I proceed to examine the kind of treatment Kant prescribes for them, and argue that feelings (except affects) should be cultivated, that is, acquired and improved so that they could be used to pursue rational ends, while inclinations, i.e., habitual sensuous desires, should generally be disciplined, that is, constrained by rules. The resultant picture is compelling because it rests on minimal assumptions about emotions and successfully incorporates the phenomenological, evaluative, and dispositional functions traditionally associated with emotions. (shrink)

Academic misconduct is a prominent issue at postsecondary institutions. This issue includes the act of plagiarism, which has received considerable attention on campuses. There is a growing body of research examining why students engage in plagiarism, and what they know about plagiarism, but little of this research is guided by a theoretical framework. Although all students may be tempted to plagiarize, students in teacher education programs represent a unique population because they are concerned with developing their own academic performance alongside (...) the skills necessary to manage situations of academic misconduct as future teachers. Therefore, our first aim was to examine preservice teachers’ beliefs about plagiarism. Then, following the principles of Attribution Theory, our second aim was to investigate how beliefs of controllability related to acts of plagiarism impacted participants views on responsibility, emotions, help giving, and reporting. We used a within-person repeated measures design with three levels of controllability manipulated through hypothetical scenarios of plagiarism to collect data from 201 preservice teachers. Overall, preservice teachers had strong beliefs about plagiarism. Moreover, when scenarios included students who engaged in plagiarism that was controllable, participants were more likely to view the student as responsible, feel anger towards them, support punishment, and recommend reporting the student, than when the act of plagiarism was not seen as controllable. We provide recommendations for instructors and administrators for supporting students and highlight limitations and directions for future research. (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)

In the Sociology of Emotion and Affect Studies, affects are usually regarded as an aspect of human beings alone, or of impersonal or collective atmospheres. However, feelings and emotions are only specific cases of affectivity that require subjective inner selves, while the concept of ‘atmospheres’ fails to explain the singularity of each individual case. This article develops a theory of social affect that does not reduce affect to either personal feelings or collective emotions. First, I use a Spinozist understanding of (...) the ‘body’ to conceptualize the receptivity and mutual constitution of bodies, to show how affects do not ‘belong’ to anybody; they are not solely attributable either to the human or to any kind of body alone, but emerge in situations of the encounter and interaction. Next I build upon Jean-Marie Guyau’s concept of transmissions to show how we can theorize affect as an emerging transmission between and among bodies. Finally, I demonstrate how we now have a complete conceptual frame for theorizing affect in relation to all bodies in any given social scene, the grand composition of which I call affectif. (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)

In recent years, an array of critical emotion theorists have emerged who call for change with respect to how emotion theory is done, how emotions are understood, and how we do emotion. In this chapter, I draw on the work that some of these authors have produced to analyze how emotional marginalization of trans and disabled identities is experienced, considering in particular how this emotional marginalization results from the long history of pathologization of trans and disabled people. The past and (...) current pathologization of trans and disabled people is produced through normative assumptions, values, and beliefs that uphold systems of normalcy, including assumptions, values, and beliefs about how we feel and express emotions. In order to examine these issues, I identify three different stages at which emotional marginalization may take place: emotion experience, emotional display, and emotion recognition. In other words, emotional marginalization of trans and disabled people can occur at any of these stages. The central concern of my chapter is thus to show how emotional marginalization, at each of these stages, affects trans and disabled people. (shrink)

Here I explore a new line of evidence for belief–credence dualism, the thesis that beliefs and credences are distinct and equally fundamental types of mental states. Despite considerable recent disagreement over this thesis, little attention has been paid in philosophy to differences in how our mindreading systems represent the beliefs and credences of others. Fascinatingly, the systems we rely on to accurately and efficiently track others’ mental states appear to function like belief–credence dualists: Credence is tracked like an (...) emotional state, composed of both representational and affective content, whereas belief is tracked like a bare representational state with no affective component. I argue on a preliminary basis that, in this particular case, the mechanics of mentalizing likely pick out a genuine affective dimension to credence that is absent for belief, further strengthening the converging case for belief–credence dualism. (shrink)

The most well-known and controversial solution to the paradox of fiction is Kendall Walton’s, according to whom pity of (say) Anna Karenina is not genuine pity. Walton’s opponents argue that we can resolve the paradox of fiction while preserving the intuition that our response to Anna is ordinary, run-of-the-mill pity; and they claim that retaining this intuition explains more than Walton’s approach. In my view, the arguments of Walton’s opponents depend on idiosyncratic features of examples involving purely fictional characters like (...) Anna Karenina. What is really at issue is the fact that we respond emotionally to fiction in ways that are not explained by our beliefs, but instead by what we imagine. That this is the crux of the paradox of fiction becomes clear only when we consider fictions about real persons and events. And I contend that once we turn our attention to these cases, Walton’s theory proves significantly more explanatory than the opposition. (shrink)

We live at a time when many aspects of our educational culture are declared to be in crisis. Increasingly, the STEM movement dominates initiatives at the same time that there is less agreement about what constitutes a Humanities or liberal arts education. Relatively broad consensus indicates that it should make students somehow “better”. Within the field of pre-college normative ethics surveys, a survey of textbooks shows that most agree on what a course like this should look like. In evaluating the (...) effects of an ethics curriculum, however, most show diffidence to claim moral transformation in their students. At least part of this problem seems to stem from mainstream philosophy’s longtime bias against and misunderstanding of emotions. A closer look at emotions and how they might be educated offers a very different picture how a successful ethics curriculum could look. A typical ethics curriculum of any level presumes that a course neutral in regards to which, if any, of the normative ethical theories covered is true. However, any such course begins with a host of implied values that might not necessarily be shared with the students. If it’s the case, as contemporary moral psychology suggests that at the very least, our rational minds inform our behavior and moral judgments far less than we might have thought, then a course in normative ethics needs to engage emotions far more effectively. Martha Nussbaum’s recent work Political Emotions suggests some important ways that desirable emotions like civic love and undesirable emotions like disgust might relate to a curriculum. With the right approach, perhaps we can begin to claim that a moral philosophy course might make someone more moral. (shrink)

Desire theories of well-being claim that how well someone’s life goes for them is entirely determined by the fulfilment and frustration of their desires. This thesis considers the viability of theories of this sort. It examines a series of objections that threaten to undermine these views. These objections claim that desire theories of well-being are incorrect because they have implausible implications. I consider four main objections over the course of this thesis. The first claims that these theories are (...) incorrect because they implausibly entail that self-sacrifice does not exist. The second claims that these theories are incorrect because they implausibly entail that severe depression does not diminish the well-being of those afflicted by this condition. The third claims that these theories are incorrect because they have implausible implications about the relative importance of fleeting desires, long-standing desires, and fluctuations in desire strength to well-being. The fourth claims that these theories are incorrect because they fail to capture the intuition that desire fulfilments which leave us disappointed and bereft of feelings of satisfaction do not improve well-being. In each of these cases, I find that desire theories of well-being have sufficient resources to refute these objections. The primary finding of this thesis is that many of the arguments against desire theories of well-being are unsuccessful. A secondary set of findings concern observations about the structure of human psychology. (shrink)

For many years emotion theory has been characterized by a dichotomy between the head and the body. In the golden years of cognitivism, during the nineteen-sixties and seventies, emotion theory focused on the cognitive antecedents of emotion, the so-called “appraisal processes.” Bodily events were seen largely as byproducts of cognition, and as too unspecific to contribute to the variety of emotion experience. Cognition was conceptualized as an abstract, intellectual, “heady” process separate from bodily events. Although current emotion theory has moved (...) beyond this disembodied stance by conceiving of emotions as involving both cognitive processes (perception, attention, and evaluation) and bodily events (arousal, behavior, and facial expressions), the legacy of cognitivism persists in the tendency to treat cognitive and bodily events as separate constituents of emotion. Thus the cognitive aspects of emotion are supposedly distinct and separate from the bodily ones. This separation indicates that cognitivism’s disembodied conception of cognition continues to shape the way emotion theorists conceptualize emotion. (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)

Contemporary accounts on fictional emotions, i.e., emotions experienced towards objects we know to be fictional, are mainly concerned with explaining their rationality or lack thereof. In this context dominated by an interest in the role of belief, questions regarding their phenomenal quality have received far less attention: it is often assumed that they feel “similar” to emotions that target real objects. Against this background, this paper focuses on the possible specificities of fictional emotions’ qualitative feel. It starts by presenting (...) what I call the “phenomenological question” about the qualitative feel of fictional emotions (section 1) and by showing that this is irreducible to questions about their cognitive, intentional, evaluative, and embodied nature (section 2). Drawing on some insights from early phenomenologists, the next two sections elaborate criteria to distinguish between real and sham emotions on the one side (section 3) and between genuine and non-genuine emotions on the other (section 4). Finally, I apply this orthogonal distinction to the particular case of fictional emotions (section 5). The paper argues that fictional emotions are neither sham emotions nor quasi-emotions, but full-fledged emotional experiences, despite them displaying the distinctive phenomenology of emotions experienced as non-genuine. In the particular case of fictional emotions, they are non-genuine because our psychology is in fact in a state dominated by aesthetic enjoyment. (shrink)

This essay defends a strong version of the Humean theory of motivation on which desire is necessary both for motivation and for reasoning that changes our desires. Those who hold that moral judgments are beliefs with intrinsic motivational force need to oppose this view, and many of them have proposed counterexamples to it. Using a novel account of desire, this essay handles the proposed counterexamples in a way that shows the superiority of the Humean theory. The essay addresses (...) the classic objection that the Humean theory cannot explain the feeling of obligation, Stephen Darwall's example of motivationally potent reasoning that is not based on preexisting desires, Thomas Scanlon's criticism that the Humean theory fails to account for the structure and phenomenology of deliberation, and the phenomenon of akrasia as discussed by John Searle. In each case a Humean account explains the data at least as thoroughly as opposing views can, while fitting within a simpler total account of how we deliberate and act. (shrink)

This article aims to theoretically analyse so-called character friendship from the perspective of emotions. From this angle, our research enables us to distinguish different types of emotions, and we propose a conceptual model of the hierarchy of the emotions of character friendship and their influence on social behaviour. With this model in hand, the article discusses whether other-oriented emotions fully explain the emotional underpinnings of character friendship. We find other-oriented emotions to be ambiguous because they may or may not be (...) selfless. Thus we question whether these emotions can adequately explain the bonding content of character friendship. We conclude that there is a higher affective tier related to moral emotions and moral behaviour, which we have labelled the ‘bonding feeling’. This feeling is described with reference to its historical precedents (Rof Carballo’s ‘affective warp’), thus explaining its particularity. (shrink)

Jenefer Robinson believes that feelings can play an important role in the critical evaluation of artworks. In this paper, I want to put some pressure on two important notions in her theory: emotional understanding and affective empathy. I will do this by focusing on the nature of self-conscious emotions. My strategy will be, firstly, to demonstrate the difficulty that Robinson’s two step theory of emotions has in accommodating higher cognitive emotional responses to art. Secondly, I will discuss how the tight (...) connection to the ‘self’ involved in self-conscious emotions makes it difficult to take the emotional perspective of another person as empathy requires. From here, I suggest that Peter Goldie’s feeling-towards and his critique of perspective-shifting may give a better understanding of the role of emotions in the appreciation of art, particularly in the case of reflective emotions. This issue will be explored through a discussion of the expression of autobiographical nostalgia in the work of the avant-garde filmmaker Jonas Mekas. (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)

We must rethink the status of Hume’s science of emotions. Contemporary philosophers typically dismiss Hume’s account on the grounds that he mistakenly identifies emotions with feelings. But the traditional objections to Hume’s feeling theory are not as strong as commonly thought. Hume makes several important contributions, moreover, to our understanding of the operations of the emotions. His claims about the causal antecedents of the indirect passions receive support from studies in appraisal theory, for example, and his suggestions concerning the social (...) dimensions of self-conscious emotions can help guide future research in this field. His dual-component hypothesis concerning the processing of emotions, furthermore, suggests a compromise solution to a recalcitrant debate in cognitive science. Finally, Hume’s proposals concerning the motivational influences of pride, and the conventional nature of emotional display rules, are vindicated by recent work in social psychology. (shrink)

Philosophers of mind and epistemologists are increasingly making room in their theories for epistemic emotions (E-emotions) and, drawing on metacognition research in psychology, epistemic – or noetic or metacognitive – feelings (E-feelings). Since philoso- phers have only recently begun to draw on empirical research on E-feelings, in particular, we begin by providing a general characterization of E-feelings (section 1) and reviewing some highlights of relevant research (section 2). We then turn to philosophical work on E-feelings and E-emotions, situating the contributions (...) to the focus section (two articles devoted to E-feelings and two devoted to E-emotions) with respect to both the existing literature and each other (section 3). We conclude by brie y describing some promising avenues for further philosophical research on E-feelings and E-emotions (section 4). (shrink)

In this paper I maintain that Spinoza systematizes independently credible accounts of belief-formation, affect, and desire into an intriguing general theory of how the mind works. His account also explains disparate downstream psychological phenomena, including: (1) emotional responses to fiction; (2) belief perseverance; (3) the reduction of cognitive dissonance; (4) epistemic conservativism that opens us up to confirmation bias, identity protection, and intolerance. Given the promise of Spinoza’s program, I conclude with a plea for further philosophical engagement.

Alex Gregory (2017a; 2017b; 2018; 2021) provides an ingenious, systematic defence of the view that desires are a species of belief about normative reasons. This view explains how desires make actions rationally intelligible. Its main rival, which is attractive for the same reason, says that desires involve a quasi-perceptual appearance of value. Gregory (2017a; 2018; 2021) has argued that his view provides the superior explanation of how desires are sensitive to evidence. Here, I show that the quasi-perceptual view fairs (...) better in this regard. Negatively, I argue that Gregory’s view overestimates the evidence-sensitivity of desires and implies that we are systematically mistaken in having different attitudes about desires and beliefs. Positively, I argue that quasi-perceptual appearances of value are brought into the scope of rational control through their dependence on prior representational states. I also provide a novel explanation of why some kinds of desires are resistant to rational control. I propose that desires are produced through exercises of an affective capacity to discriminate value. Variations in the way this capacity is exercised, and its links to prior representational states, can produce systematic insensitivity to evidence in certain kinds of desires. This paper advances the debate around desire on two fronts: first, it performs the neglected task of showing how the quasi-perceptual view can simultaneously explain both the sensitivity and insensitivity to evidence exhibited by desires and, second, it shows how the explanation offered is superior to one of its closest rivals, the view that desires are a species of normative belief. (shrink)

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)

The predominant view in developmental psychology is that young children are able to reason with the concept of desire prior to being able to reason with the concept of belief. We propose an explanation of this phenomenon that focuses on the cognitive tasks that competence with the belief and desire concepts enable young children to perform. We show that cognitive tasks that are typically considered fundamental to our competence with the belief and desire concepts (...) can be performed with the concept of desire in the absence of competence with the concept of belief, whereas the reverse is considerably less feasible. (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)

Abstract A Note to Cogito Les Jones Blackburn College Previous submissions include -Intention, interpretation and literary theory, a first lookWittgenstein and St Augustine A DiscussionAreas of Interest – History of Western Philosophy, Miscellaneous Philosophy, European A Note on Cogito Descartes' brilliance in driving out doubt, and proving the existence of himself as a thinking entity, is well documented. Sartre's critique (or maybe extension) is both apposite and grounded and takes these enquiries on to another level. Let's take a look. 'I (...) think' somehow, for all its power, lacks something. What? Consider what one does when thinking (difficult, but we can try). Implicit in the word 'think', in fact the very essence of the word 'think', is that activity is going on, and if such activity is going on then it must be going on about something, an object, an emotion, a problem,or maybe some dreamlike state, but common to all these is that something is going on. Is that really so? Well, if that wasn't so we would be able to think in a pure state, wouldn't we? But what does a pure state of 'thinking' mean? It can't mean that there isnothing there, because if there were nothing there then no thinking would be taking place. Can it mean that we are thinking of nothing? Well no, because if we are thinking of nothing then we are thinking of something, we are contemplating the notion, or the nature, of nothing. In fact, one can argue that if we talk of something, inthis case nothing or nothingness, then in our head we have some notion of what that is, i.e. something exists in the mind for it to come out of our mouths. Thinking is a recognition of something outside the individual, for the very act of direction, which isan indispensable part of thinking, recognises, must recognise, that there are things to address outside the individual. Something else to bear in mind. According to Sartre human beings are condemned to freedom. Why condemned? Human beings did not choose to be born, but the act ofbeing born also imparts the freedom of which Sartre speaks. Freedom is something which we parrot off as being a sine qua non for the human condition. I believe that's true, but freedom in this sense isn't without its consequences for the individual humanbeing, for individual human beings handle freedom differently. To some it enables them to fly, to others it imparts immense pressures, anguish, heartbreak, unhappiness can all be associated with such freedom. Each individual is responsible for his destiny, for his direction. If someone says that God impelled him, that individual chose his or her God, and chose to obey his or her God. This believer has to sift through the multitude of things that his or her God desire of him or her. All this is fine, so long as we acknowledge what is going on here. Belief in God is, by definition, a belief. Belief, following Wittgenstein, is a language game with its rules and its boundaries. The essential feature of religion as language game are its boundaries, which can be summed up in the word belief. OK, belief has its practises which are its constituent parts, but belief is the boundary between religion and other language games, as the proof constituents are different. Our world is determined by the language used to describe everything that goes on within it. The boundaries of our world are set by the language we use. This might be better put as language gives access to ever expending boundaries. Ever expanding boundaries are only possible by ever expanding thought, and ever expanding thought is only possible by ever expanding directions to our thought brought about through language. It is a fact taken that to be conscious is to think. How could this be otherwise? Consciousness without thought just does not make sense. Imagine a state of consciousness without directional thought. What would it be like? It would be something never experienced, completely out of our understanding. Why? Because understanding itself is a directional thought process. If we say we are going outside our understanding then that is a world of void, and a world of void does not exist. Can such a world be contemplated in our thinking? Well, yes, but then it requires thinking, and thinking requires direction, and such direction requires language. Why does direction require language? Because there is no other way for human beings to articulate a directional thought. Could one point at an image without language? Well, one could have an image in mind, but the essence of saying something about it, of descriptive power, brings us back to the essence, to the power of language to direct. So what of this language of which we speak? Wittgenstein's private language argument points us towards the notion that language itself constantly develops and redevelops through human interaction. Descarte's cogito implies that thinking rules out doubt of one's own existence. But such thinking, to be valid, to make sense, to direct, must develop in a language that has developed, has been verified, by a plurality, by a plurality whose essence is social. Correct use of language symbols, i.e. words, requires that we verify and reverify the accuracy of such symbols. How do we do that? We do that in constant usage, in constant interaction, with other human beings. An individual using a private language could not be understood by others, his symbol system has not been verified by others, his meanings may not be your meanings. It follows from what we have said above that language is constructed, and is continually constructed, in a social context. Given our previous thoughts regarding verification this could not be otherwise. Language has a normative form. All language users are required, by their very use of the language, to verify the use of terms, grammar etc etc. As Wittgenstein cites (appropriately) games as a model, let us take a look. If I play e.g. Ludo, I am governed by the rules. It is not just that I may play dishonestly, for if I were to play at all that very dishonesty, to count as Ludo, would have to be rule governed. The rules of Ludo are Ludo, they are the essence and the constitution of it. Wittgenstein, particularly in his later writings, interweaves many concepts, and connects them in different and sometimes rather elusive ways. Wittgenstein sees concepts like emotions, sentiments and experiences in these interweaving maps. Of course these can be regarded as psychological concepts ** Language can be considered in another but related way, as embodying the elements of a cultural heritage. Language was seen as embodying the notion of higher culture in the arts, architecture etc. Over recent decades this has tended to shift to consider less tangible benefits, such things as oral traditions, cultural values and cultural identity. So language enables us to explore, through the achievements of past generations, cultural mores that may have laid unchallenged for many years. Many of these values and mores may be seen as independent of the language by which they are transmitted, but still this monumental accomplishment of mankind i.e. language, enables man to explore, to modify, to codify, to extend the boundaries of human experience. There are therefore massive implications for our Note on Cogito of Wittgenstein's work. Following Wittgenstein emotions and other psychological concepts can be termed depth grammar, and are distinguished by the fact that the third person of the present is recognised by observation, the first person is not. Taking Wittgenstein's well known pain example the sentence 'He is in pain' is a third person statement of an observational nature. The sentence 'I am in pain' is not derived from observation but from experience, it is an expression of that experience, it's essence is the experience. The asymmetry consists in the fact that predicting psychological attributes of others is warranted by what they do and say. By contrast, the use of such statements in the first person present tense does not rest on one's observation of one's own behaviour. (Hacker 2010:287) p 9 According to Wittgenstein 'I am in pain' is more like a cry of pain, an expression of pain, than a report of some pain. Of course this appertains for other similar statements. 'I feel good' etc. (shrink)

My aim in this paper is to attempt a philosophical reading of M. Karagatsis’ novel Kitrinos Fakelos (1956), focusing my analysis on the passions and the emotions of its fictional characters, aiming at demonstrating their independence as well as the presentation of their psychography in Karagatsis’ novel where the description of the emotions caused by love is a dominant feature. In particular, I will examine the expression of desire, love (erôs) and sympathy in this novel – passions and emotions (...) that play an important role to moral life and human existence in general. I will be approaching these issues from the point of view of moral philosophy, analyzing the passions and the emotions expressed by the fictional characters in Kitrinos Fakelos, and in particular of the fictional character of Manos Tasakos. At the same time, I will attempt to show the philosophical influences that M. Karagatsis has received in his literary work, and especially in his novel Kitrinos Fakelos, by the philosophical thought of Friedrich Nietzsche. In addition, I will try to demonstrate the contrast between the Nietzschean moral model and that of both ancient and contemporary virtue ethical theory, in relation to the traditional interpretation of the work of Nietzsche’s that Karagatsis adopts, along with many of his contemporaries in Greece from the beginning of the 20th century until the 70’s at least. (shrink)

This study attempts to situate Carl Stumpf's theory of emotions with regard to that of his teacher, Franz Brentano, and to the sensualist theory of William James. We will argue that Stumpf's theory can be considered an attempt to reconcile James's sensualism, which emphasizes the role of bodily feelings, with what we will call, for the purposes of this study, Brentano's intentionalism, which conceives of emotions as intentional states. Stumpf claims that James's sensory feelings and Brentano's affective intentional states are (...) two sides of the same coin in that they constitute two essential ingredients of a full-fledged theory of emotions. The question is whether Stumpf's ecumenism avoids the objections that he himself raises against James's and Brentano's theories. The paper is divided into four parts: the first part presents Stumpf's classification of psychical functions; the second part presents his criticism of James's theory of emotions; the third part is a summary of Stumpf's complex debate with Brentano on emotions and sensory feelings; the last part examines Stumpf's attempt to incorporate into his theory of affects the phenomenological and intentional aspects of emotions. I conclude with a note on the unity of consciousness. (shrink)

Sentimentalist aesthetic theories, broadly construed, posit that emotions play a fundamental role in aesthetic experiences. Jesse Prinz has recently proposed a reductionistic version of sentimentalist aesthetics, suggesting that it is the discrete feeling of wonder that makes an experience aesthetic. In this contribution, we draw on Prinz’s proposal in order to outline a novel version of a sentimentalist theory. Contrasting Prinz’s focus on a single emotion, we argue that an aesthetic experience is rudimentarily composed of a plurality of emotions. We (...) acknowledge and discuss significant problems that follow from such a theory, arguing that a pluralist version of sentimentalism is nonetheless the soundest position within sentimentalist aesthetics. (shrink)

Some films scare us; some make us cry; some thrill us. Some of the most interesting films, however, leave us suspended between feelings – both joyous and sad, or angry and serene. This paper attempts to explain how this can happen and why it is important. I look closely at one film that creates and exploits these conflicted responses. I argue that cases of conflict in film illuminate a pair of vexing questions about emotion in film: (1) To what extent (...) are emotional responses rational, or in need of rationalization?; and (2) What relationship is there between emotional response and value (moral, filmic, or otherwise)? Conflict, I argue, can be revealing, and can help us better understand emotional responses to narrative film1 in general. The paper is divided into four sections. First, I sketch a theory of emotional engagement that makes sense of the notion of a “conflicted emotional response” to a film. Second, I turn to a particular case of a film that produces this sort of conflict, Fritz Lang’s M (1931), and show that the conflict engendered by that film is both more significant and less unusual than it may appear. In the final two sections, I argue that there is no need to rationalize or make consistent such mixed emotional responses, and that there is real moral, aesthetic, and cognitive value to be had from such conflict. (shrink)

Bryne & Hajek (1997) argue that Lewis’s (1988; 1996) objections to identifying desire with belief do not go through if our notion of desire is ‘causalized’ (characterized by causal, rather than evidential, decision theory). I argue that versions of the argument go through on certain assumptions about the formulation of decision theory. There is one version of causal decision theory where the original arguments cannot be formulated—the ‘imaging’ formulation that Joyce (1999) advocates. But I argue this formulation (...) is independently objectionable. If we want to maintain the desire as belief thesis, there’s no shortcut through causalization. (shrink)

Emotional states of consciousness, or what are typically called emotional feelings, are traditionally viewed as being innately programed in subcortical areas of the brain, and are often treated as different from cognitive states of consciousness, such as those related to the perception of external stimuli. We argue that conscious experiences, regardless of their content, arise from one system in the brain. On this view, what differs in emotional and non-emotional states is the kind of inputs that are processed by a (...) general cortical network of cognition, a network essential for conscious experiences. Although subcortical circuits are not directly responsible for conscious feelings, they provide non-conscious inputs that coalesce with other kinds of neural signals in the cognitive assembly of conscious emotional experiences. In building the case for this proposal, we defend a modified version of what is known as the higher-order theory of consciousness. (shrink)

How we evaluate things and what we desire are closely connected. In typical cases, the things we desire are things that we evaluate as good or desirable. According to evaluation theories of desire, this connection is a very tight one: desires are evaluations of their objects as good or as desirable. There are two main varieties of this view. According to Doxastic Evaluativism, to desire that p is to believe or judge that p is good. According (...) to Perceptual Evaluativism, to desire that p is to perceive p as being good (or for p to seem good). The present paper poses a puzzle for such views. The puzzle should be familiar to theorists interested in the normativity and metaphysics of the emotions, but I am unaware of its application to desire. The aim of the present paper is to present the puzzle as it applies to desire, which should be of independent interest, but I also hope that by shining a light on the puzzle in this domain, we might put ourselves in a better position to offer a solution in all cases. At the end of the paper, I gesture towards a promising way ahead that departs from relying on contradictory contents. (shrink)

A traditional Humean view about motivation says that only desires motivate action. This theory meshes with the familiar ‘directions of fit’ metaphor: while beli.

The feeling of being offended, as a moral emotion, plays a key role in issues such as slurs, the offense principle, ethics of humor, etc. However, no adequate theory of offense has been developed in the literature, and it remains unclear what questions such a theory should answer. This paper attempts to fill the gap by performing two tasks. The first task is to clarify and summarize the questions of offense into two kinds, the descriptive questions (e.g., what features differentiate (...) offense from similar moral states like anger?) and the normative questions (e.g., what are the conditions for taking offense to be apt?). The second task is to answer these questions by developing what I call ‘the violated norm theory of offense’. According to this theory, feeling offended entails that the norm one endorses is judged to be violated by the offender. Appealing to the violated norm enables this theory to answer the descriptive questions (e.g., taking offense differs from anger because of features like not requiring victims and the difficulty of animal offense) and the normative questions of offense (e.g., taking offense is apt only if the violated norm is universalizable). (shrink)

Emotions often misfire. We sometimes fear innocuous things, such as spiders or mice, and we do so even if we firmly believe that they are innocuous. This is true of all of us, and not only of phobics, who can be considered to suffer from extreme manifestations of a common tendency. We also feel too little or even sometimes no fear at all with respect to very fearsome things, and we do so even if we believe that they are fearsome. (...) Indeed, instead of shunning fearsome things, we might be attracted to them. Emotions that seem more thought-involving, such as shame, guilt or jealousy, can also misfire. You can be ashamed of your big ears even though we can agree that there is nothing shameful in having big ears, and even though you judge that having big ears does not warrant shame. And of course, it is also possible to experience too little or even no shame at all with respect to something that is really shameful. Many of these cases involve a conflict between one’s emotion and one’s evaluative judgement. Emotions that are thus conflicting with judgement can be called ‘recalcitrant emotions’. The question I am interested in is whether or not recalcitrant emotions amount to emotional illusions, that is, whether or not these cases are sufficiently similar to perceptual illusions to justify the claim that they fall under the same general heading. The answer to this depends on what emotions are. For instance, the view that emotions are evaluative judgments makes it difficult to make room for the claim that emotional errors are perceptual illusions. Fearing an innocuous spider would simply amount to making the error of judging that the spider is fearsome while it is in fact innocuous. This might involve an illusion of some sort, but it certainly does not amount to anything like a perceptual illusion. In this chapter, I argue that recalcitrant emotions are a kind of perceptual illusion.. (shrink)

The paper presents a criticism of the metaphor of Direction of Fit as a criterion for beliefs/desires. It sketches an alternative account of belief/desire distinction based on Bayesian Decision Theory.

One of Jerry Fodor’s many seminal contributions to philosophy of mind was his inner sentence theory of belief and desire. To believe that p is to have a subpersonal inner sentence in one’s “belief-box” that means that p, and to desire that q is to have a subpersonal inner sentence in one’s “desire-box” that means that q. I will distinguish between two accounts of box-inclusion that exhaust the options: liberal and restrictive. I will show that (...) both accounts have the mistaken implication that in certain cases there can be radical but “secret” changes in a subject’s beliefs and desires. I will suggest that the correct moral to draw is that we should instead accept what Eric Schwitzgebel has called a “surface-level” theory of belief and desire. (shrink)

This paper brings together two erstwhile distinct strands of philosophical inquiry: the extended mind hypothesis and the situationist challenge to virtue theory. According to proponents of the extended mind hypothesis, the vehicles of at least some mental states (beliefs, desires, emotions) are not located solely within the confines of the nervous system (central or peripheral) or even the skin of the agent whose states they are. When external props, tools, and other systems are suitably integrated into the functional apparatus of (...) the agent, they are partial bearers of her cognitions, motivations, memories, and so on. According to proponents of the situationist challenge to virtue theory, dispositions located solely within the confines of the nervous system (central or peripheral) or even the skin of the agent to whom they are attributed typically do not meet the normative standards associated with either virtue or vice (moral, epistemic, or otherwise) because they are too susceptible to moderating external variables, such as mood modulators, ambient sensibilia, and social expectation signaling. We here draw on both of these literatures to formulate two novel views – the embedded and extended character hypotheses – according to which the vehicles of not just mental states but longer-lasting, wider-ranging, and normatively-evaluable agentic dispositions are sometimes located partially beyond the confines of the agent’s skin. (shrink)

According to one of the most influential views in the philosophy of self-knowledge each person enjoys some special cognitive access to his or her own current mental states and episodes. This view faces two fundamental tasks. First, it must elucidate the general conceptual structure of apparent asymmetries between beliefs about one’s own mind and beliefs about other minds. Second, it must demarcate the mental territory for which first-person-special-access claims can plausibly be maintained. Traditional candidates include sensations, experiences (of various kinds), (...) thoughts, beliefs, desires, and also affective states such as emotions. I reconstruct five prominent privileged access claims that have traditionally been maintained for emotions and discuss logical relations among them. I then argue that none of these claims stands up to scrutiny. The truth is that we often suffer from affective ignorance, and that third-person ascriptions of emotional states should often be credited with more rather than less authority than corresponding self-ascriptions. I conclude by considering, and rejecting, five potential objections to my argument. (shrink)

How does an audience receive a work of art? Does the experience only affect the viewer or does it have an effect and thus influence his or her actions? It is the cultural philosopher Ernst Cassirer and his successors in philosophy and developmental psychology as well as in neuroscience to this day who postulate that perception in general and perception of art in particular are not neutral in their origins but alive and thus meaningful. They assume that both are based (...) on analogous principles: in the perception of moving forms and spatial forms in the world and rhythms of forms, colors, light and shadow in art. In practice, this means that perception and its felt effects have an effect on the feelings of the viewer and thus help him to inform himself directly and intensively about the world through art. In contrast to this general epistemological aesthetic theory, which philosophers in particular accept, it is to be shown that this assumption must be redefined not with reference to the world, but with reference to art and design. For the latter, the approach will be extended to a semiotic theory. The background is that in contrast to the world, the designed forms and thus the designed intentions of the artist and designer or his client in relation to the chosen theme have an impact on the viewer and thus on culture and its communicative dynamics. (shrink)

Emotions and feelings (i.e. affects) are a central feature of human behavior. Due to complexity and interdisciplinarity of affective phenomena, attempts to define them have often been unsatisfactory. This article provides a simple logical structure, in which affective concepts can be defined. The set of affects defined is similar to the set of emotions covered in the OCC model, but the model presented in this article is fully computationally defined, whereas the OCC model depends on undefined concepts. Following Matthis, affects (...) are seen as unconscious, emotions as preconscious and feelings as conscious. Affects are thus a superclass of emotions and feelings with regards to consciousness. A set of affective states and related affect-specific behaviors and strategies can be defined with unconscious affects only. -/- In addition, affects are defined as processes of change in the body state, that have specific triggers. For example, an affect of hope is defined as a specific body state that is triggered when the agent is becomes informed about a future event, that is positive with regards to the agent’s needs. -/- Affects are differentiated from each other by types of causing events. Affects caused by unexpected positive, neutral and negative events are delight, surprise and fright, respectively. Affects caused by expected positive and negative future events are hope and fear. -/- Affects caused by expected past events are as follows: satisfaction results from a positive expectation being fulfilled, disappointment results from a positive expectation not being fulfilled, fears-confirmed results from a negative expectation being fulfilled, and relief results from a negative expectation not being fulfilled. Pride is targeted towards a self-originated positive event, and shame towards a self-originated negative event. Remorse is targeted towards a self-originated action causing a negative event. Pity is targeted towards a liked agent experiencing a negative event, and happy-for towards a liked agent experiencing a positive event. Resentment is targeted towards a disliked agent experiencing a positive event, and gloating towards a disliked agent experiencing a negative event. An agent is liked/loved if it has produced a net utility greater than zero, and disliked/hated if the net utility is lower than zero. An agent is desired if it is expected to produce a positive net utility in the future, and disliked if the expected net utility is negative. -/- The above model for unconscious affects is easily computationally implementable, and may be used as a starting point in building believable simulation models of human behavior. The models can be used as a starting point in the development of computational psychological, psychiatric, sociological and criminological theories, or in e.g. computer games. -/- [please cite using the arXiv url below.]. (shrink)

I examine three attitudes: belief, faith, and hope. I argue that all three attitudes play the same role in rationalizing action. First, I explain two models of rational action—the decision-theory model and the belief-desire model. Both models entail there are two components of rational action: an epistemic component and a conative component. Then, using this framework, I show how belief, faith, and hope that p can all make it rational to accept, or act as if, p. (...) I conclude by showing how my picture can explain how action-oriented commitments can be rational over time, both in the face of counterevidence and in the face of waning affections. (shrink)