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)

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)

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)

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)

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)

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)

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)

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)

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- (...) class='Hi'>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)

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)

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)

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)

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.

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)

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)

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)

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)

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)

According to componential theories of emotional experience, emotional experiences are phenomenally complex in that they consist of experiential parts, which may include cognitive appraisals, bodily feelings, and action tendencies. These componential theories face the problem of emotional unity: Despite their complexity, emotional experiences also seem to be phenomenologically unified. Componential theories have to give an account of this unity. We argue that existing accounts of emotional unity fail and that instead emotional unity is an instance of experienced (...) causal‐temporal unity. We propose that felt emotional unity arises from our experience of the temporal‐causal order of the world. (shrink)

According to the quasi-perceptualist account of philosophical intuitions, they are intellectual appearances that are psychologically and epistemically analogous to perceptual appearances. Moral intuitions share the key characteristics of other intuitions, but can also have a distinctive phenomenology and motivational role. This paper develops the Humean claim that the shared and distinctive features of substantive moral intuitions are best explained by their being constituted by moral emotions. This is supported by an independently plausible non-Humean, quasi-perceptualist theory of emotion, according to (...) which the phenomenal feel of emotions is crucial for their intentional content. (shrink)

In their cognitive theory of emotion, Schachter and Singer proposed that feelings are separable from what they are about. As a test, they induced feelings of arousal by injecting epinephrine and then molded them into different emotions. They illuminated how feelings in one moment lead into the next to form a stream of conscious experience. We examine the construction of emotion in a similar spirit. We use the sensory integration process to understand how the brain combines disparate sources of (...) information to construct both perceptual and emotional models of the world even as the world continues to change. We emphasize two processes: affect segmentation and affect integration. (shrink)

Can we feel emotions about abstract objects, assuming that abstract objects exist? I argue that at least some emotions can have abstract objects as their intentional objects and discuss why this conclusion is not just trivially true. Through critical engagement with the work of Dacher Keltner and Jonathan Haidt, I devote special attention to awe, an emotion that is particularly well suited to show that some emotions can be about either concrete or abstract objects. In responding to (...) a possible objection, according to which we can only feel emotions about things that we take to matter to our flourishing, and thus cannot feel emotions about causally inefficacious abstract objects, I explore how abstract objects can be relevant to human flourishing and discuss someemotions other than awe that can be about abstract objects. I finish by explaining somereasons why my conclusion matters, including the fact that it presents a challenge to perceptual theories of emotion and causal theories of intentionality. (shrink)

In Sketch for a Theory of the Emotions, Sartre highlights how emotions can transform our perspective on the world in ways that might make our situations more bearable when we cannot see an easy or happy way out. The point of this chapter is to spell out and discuss Sartre’s theory of emotion as presented in the Sketch with two aims in mind. The first is to show that although emotions have the power to transform our perspectives (...) on the world in ways described by Sartre, Sartre is mistaken to think emotions comprise the cognitive transformations in question. The second aim is to show why on one plausible way of thinking about the relationship holding between emotions and the cognitive transformations they help to bring about, emotions turn out to be the very sort of things that Sartre claims at the outset they are not, namely types of bodily feelings or sensations, a view of emotion that can be accredited to William James. (shrink)

Nussbaum’s theory of the emotions draws heavily on the Stoic account. In her theory, emotions are a kind of value judgment or thought. This is in stark contrast to the well-known proposal from William James, who took emotions to be bodily feelings. There are various motivations for taking emotions as judgments. One main reason is that emotions are intentional mental states. They are always about something, directed at particular objects or state of affairs. For example, (...) fear seems to involve the anticipation of danger. To grief for the passing of a loved one involves the thought that someone dear to us is now gone. In Upheavals of Thought and also in her Hochelaga Lecture, Nussbaum analyzed compassion as a set of judgments, including for example the judgment that someone is experiencing serious suffering, and that the person in question does not deserve the suffering. (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)

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

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)

In perceptual experience we are directed towards objects in a way which establishes a real relation between a mental act and its target. In reading works of fiction we enjoy experiences which manifest certain internal similarities to such relational acts, but which lack objects. The substitution theory of art attempts to provide a reason why we seek out such experiences and the artifacts which they generate. Briefly, we seek out works of art because we enjoy the physiology and the phenomenology (...) of, for example, the experience of love or mountain climbing, and works of art serve as props for the promotion of substitutes for the corresponding genuine feelings. Art arose, or came to be separated out from other, related phenomena, through the discovery that the experience of substitute emotions can be pleasurable. (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)

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)

In this paper, I propose a novel approach to investigating the nature of well-being and a new theory about wellbeing. The approach is integrative and naturalistic. It holds that a theory of well-being should account for two different classes of evidence—our commonsense judgments about well-being and the science of well-being (i.e., positive psychology). The network theory holds that a person is in the state of well-being if she instantiates a homeostatically clustered network of feelings, emotions, attitudes, behaviors, traits, and (...) interactions with the world that tends to have a relatively high number of states that feel good, that lead to states that feel good, or that are valued by the agent or her culture. (shrink)

Philosophers tended to identify happiness with either subjective psychological states or conditions (feelings, emotions or a set of judgments), or with the objective conditions of a life—how well the life is going for the person living it. Each approach captures different but important features of our intuitions, making it difficult to accept either a purely subjective or objective view. This has led some philosophers to suggest that these are not competing accounts of one thing, ‘happiness,’ but accounts of several (...) different things. Others propose that happiness is a matter of possessing both the relevant subjective and objective properties. I think this latter view is right, but that we need to better understand why or how these two elements are important and how they might be linked. In this paper I argue that an affect theory of happiness is best able to reconcile both the subjective and objective strands of our intuitions about happiness. (shrink)

How does it feel to be a worm? No doubt, it feels Kafkaesque. The metamorphosis (1915) is a story of an ordinary man, Gregor Samsa, who wakes up one morning as an ungeheures Ungeziefer or ‘giant vermin’. Is this only a bodily change, or has his mind been transformed as well? And how do the people around him cope with this transformation? In this paper, I am going to examine these issues by using tools from Franz Brentano’s (1838–1917) and Anton (...) Marty’s (1847–1914) philosophy of mind and language. Rumour has it that Kafka’s stories were not only products of his own troubled soul, but were also profoundly influenced by the work of these two philosophers. In my paper, I will cover the following issues: the influence of Franz Brentano on Anton Marty and a fortiori on Franz Kafka (1883–1924), who was Marty’s student in Prague (and in this way, saying something about the School of Brentano); Brentano’s and Marty’s theory of correct and incorrect emotions, and its traces in Kafka’s The metamorphosis; Marty’s philosophy of language and communication as reflected in Kafka’s writings; and Brentano’s reism in comparison to Kafka’s nominalism, on the basis of Roberto Calasso’s interpretation of Kafka. (shrink)

Kant’s theory of friendship is crucial in defending his ethics against the longstanding charge of emotional detachment. But his theory of friendship is vulnerable to this charge too: the Kantian sage can appear to reject sympathetic suffering when she cannot help a suffering friend. I argue that Kant is committed to the view that both sages and ordinary people must suffer in sympathy with friends even when they cannot help, because sympathy is necessary to fulfill the imperfect duty to adopt (...) others’ merely permissible ends, and we ought to take friends’ MPEs as our own. MPEs are individuated in terms of concepts which include marks of the first person, and no marks of law other than permissibility. To adopt ends of others individuated in terms of such concepts rather than merely promote them as means to different ends, those concepts must engage with one’s feelings in a way that requires sympathy. (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)

Written with a general audience in mind, On Romantic Love offers a new theory of love as a partially unconscious, sometimes rational and always controllable emotion, while explaining some of the neuroscience underlying our wildest passions.

Can we experience emotion without the feeling of accelerated heartbeats, perspiration, or other changes in the body? In his paper “What is an emotion”, William James famously claimed that “if we fancy some strong emotion and then try to abstract from our consciousness of it all the feelings of its bodily symptoms, we find we have nothing left behind” (1884, p. 193). Thus, bodily changes are essential to emotion. This is known as the Subtraction Argument. The Subtraction Argument is (...) still used to support Embodied theories of emotion. Proponents of Disembodied theories, however, have different intuitions regarding the role of bodily changes in the experience of emotion. In order to advance this debate, I conducted a series of studies testing people’s intuitions regarding the Subtraction Argument. Results show that, against James’ claims, most people consider that their hypothetical (Study 1) and actual (Study 2) emotions persist in the absence of bodily feelings. Furthermore, Study 1 found that participants’ responses were not related to individual differences in reflection or interoceptive awareness. These results pose a problem for Embodied theories of emotion and challenge extant explanations for the persistence of emotional experience in cases of impaired interoception. (shrink)

In philosophical discussions of emotion, feeling theories identify emotions with bodily events while cognitive theories insist that any coherent conception of emotion begins with acts of mind. The purpose of this paper is to argue the extent to which this debate is motivated by Cartesian considerations that unduly problematize the relationship between mind and body, and to suggest that in Wittgenstein we find resources for a view of emotions that overcomes this Cartesian problematic. My strategy (...) is to show the important intuitions captured by each theory, intuitions the accommodation of which is necessary for any satisfactory theory of emotion, and then to suggest that Wittgenstein enables this accommodation without the stalemate characteristic of the present debate. (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)

I argue, contra traditional interpretations of James's emotion theory like Antonio Damasio and alternative interpretations like Phoebe Ellsworth and Lisa Barrett, that James is best classified as a functionalist regarding emotion categories. In arguing for this point, I will make four textual claims: (1) James was an important precursor to Basic Emotion Theory (BET) and his theory is best identified as a flavor of BET; (2) James's theory individuates emotion categories by their evolutionary, functional roles; (3) The only necessary condition (...) on something being an emotion is that it is a bodily feeling; and, (4) Contrary to Barrett and Ellsworth, James was loath to offer a definitive list of basic emotions not because he loathed taxonomy but rather because he thought psychology was not yet a natural science with well-defined theoretical categories. I close by arguing that a proper understanding of James's emotion theory defangs some critiques of BET and of Neo-Jamesian theory. (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)

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)

In introducing the reactive attitudes “of people directly involved in transactions with each other,” P. F. Strawson lists “gratitude, resentment, forgiveness, love, and hurt feelings.” To show how our interpersonal emotional practices of responsibility could not be undermined by determinism’s truth, Strawson focused exclusively on resentment, specifically on its nature and actual excusing and exempting conditions. So have many other philosophers theorizing about responsibility in Strawson’s wake. This method and focus has generated a host of quality of will theories (...) of responsibility. What I show in this paper is that if Strawson—and his followers—had focused on hurt feelings instead of resentment, not only would quality of will theories of responsibility be disfavored, but none of our other theories of responsibility could adequately account for them. I conclude by exploring what a conundrum this poses for our methods and starting points in theorizing about responsibility. (shrink)

This paper accomplishes two goals. First, I present a distinct interpretation of the inception of the phenomenology of feelings. I show that Husserl’s first substantial discussion of intentional and non-intentional feelings is not from his 1901 Logical Investigations, but rather his 1893 manuscript, “Notes towards a Theory of Attention and Interest”. Husserl there describes intentional feelings as active and non-intentional feelings as passive. Second, I show that Husserl presents a somewhat unique account of feelings in “Notes”, which is partly different (...) from his later theories of feelings found in Lectures on Ethics and Value Theory and Studies Concerning the Structures of Consciousness. In contrast to those mature writings, in “Notes”, Husserl describes intentional feelings while avoiding cognitivism and he analyses non-intentional feelings without employing the content-apprehension schema. On this basis, I argue that “Notes” is an important untapped resource for constructing original phenomenologies of feelings. (shrink)

Arguments over whether emotions and moods are feelings have demonstrated confusion over the concept of a feeling and, in particular, what it is that feelings can—and cannot—do. I argue that the causal and explanatory roles we assign emotions and moods in our theories are inconsistent with their being feelings. Sidestepping debates over the natures of emotions and moods I frame my arguments primarily in terms of what it is emotions, moods and feelings do. I (...) provide an analysis that clarifies the role feelings can play in our psychology that is consistent with current psychological and neurological data. (shrink)

Based on the dispute between Protagoras and Socrates on the origin of ethics, one can ask the question of whether the principle of ethics is reason orfeeling/emotion, or whether ethics is grounded on reason or feeling/emotion. The development of Kant’s thoughts on ethics shows the tension between reason and feeling/emotion. In Kant’s final critical ethics, he held to a principle of “rational a priori.” On the one hand, this is presented as the rational a priori principle being the (...) binding principle of judgment. On the other hand, it is presented as the doctrine of “rational fact” as the ultimate argument of his ethics. Husserl believed that Kant’s doctrine of a rational a priori totally disregarded the a priori essential laws of feeling. Like Husserl, Scheler criticized Kant’s doctrine of a rational a priori, and therefore developed his own theory of an “emotional a priori”. Both of them focused their critiques on the grounding level of ethics. Scheler, however, did not follow Husserl all the way, but criticized him and reflected on his thoughts. At last, he revealed the primary status of a phenomenological material ethics of value. (shrink)

This book illustrates a new theory of Consciousness attempting to solve the meta-problem of Consciousness and the mind-body problem using Aristotle's soul as the basis of self-hood. It attempts to solve the mind-body problem by illustrating the transition of the Soul as the body into a mind, using emotional experiences turning into experiences of feelings.

In this chapter, we first introduce the idea that emotions are evaluations. Next, we explore two approaches attempting to account for this idea in terms of attitudes that are alleged to become emotional when taking evaluative contents. According to the first approach, emotions are evaluative judgments. According to the second, emotions are perceptual experiences of evaluative properties. We explain why this theory remains unsatisfactory insofar as it shares with the evaluative judgement theory the idea that emotions (...) are evaluations in virtue of their contents. We then outline an alternative � the attitudinal theory of emotions. It parts with current theorizing about the emotions in elucidating the fact that emotions are evaluations not in terms of what they represent, but in terms of the attitude subjects take towards what they represent. We explore what sorts of attitudes emotions are and claim that they are felt bodily attitudes. (shrink)

This text addresses a problem that is not sufficiently dealt with in most of the recent literature on emotion and feeling. The problem is a general underestimation of the extent to which affective intentionality is essentially bodily. Affective intentionality is the sui generis type of world-directedness that most affective states – most clearly the emotions – display. Many theorists of emotion overlook the extent to which intentional feelings are essentially bodily feelings. The important but quite often overlooked fact (...) is that the bodily feelings in question are not the regularly treated, non-intentional bodily sensations (known from Jamesian accounts of emotion), but rather crucial carriers of world-directed intentionality. Consequently, most theories of human emotions and feelings recently advocated are deficient in terms of phenomenological adequacy. This text tries to make up for this deficit and develops a catalogue of five central features of intentional bodily feelings. In addition, Jesse Prinz’s embodied appraisal theory is criticized as an exemplary case of the misconstrual of the bodily nature of affective experience in naturalistic philosophy of mind. (shrink)

Study of the controversy between Franz Brentano and his student Carl Stumpf on emotions and sense-feelings. The issue is whether the pleasure that provides an object such as a work of art is intentional, as it is the case in Brentano's theory in which it is closely related to the class of emotions (love and hate), or merely phenomenal as Stumpf wants it. The paper is divided into two parts : I first examine several aspects of the relationship (...) between Stumpf and Brentano and I evaluate in the second part whether Stumpf's deviations from several theses of Brentano's descriptive psychology, namely on emotions and sense-feelings, challenge his commitment to Brentano's program in philosophy. (shrink)