This chapter contains sections titled: Intellectualism: Is Knowledge the Path to Virtue? Contemporary Philosophy of Emotion: How Should We Define Emotion? Emotional Contagion and Mirroring Processes Why Do Definitions Matter? References.

By briefly sketching some important ancient accounts of the connections between psychology and moral education, I hope to illuminate the significance of the contemporary debate on the nature of emotion and to reveal its stakes. I begin the essay with a brief discussion of intellectualism in Socrates and the Stoics, and Plato's and Posidonius's respective attacks against it. Next, I examine the two current leading philosophical accounts of emotion: the cognitive theory and the noncognitive theory. I (...) maintain that the noncognitive theory better explains human behavior and experience and has more empirical support than the cognitive theory. In the third section of the essay I argue that recent empirical research on emotional contagion and mirroring processes provides important new evidence for the noncognitive theory. In the final section, I draw some preliminary conclusions about moral education and the acquisition of virtue. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Theories of Emotion: Expressing, Feeling, Acting by Pia CAMPEGGIANISabrina B. LittleCAMPEGGIANI, Pia. Theories of Emotion: Expressing, Feeling, Acting. New York: Bloomsbury Publishing, 2023. xiv + 199 pp. Cloth, $80.89; paper, $21.60In Theories of Emotion, Pia Campeggiani provides a philosophical introduction to the emotions. The book is multidisciplinary and empirically informed. It is organized around three “groundbreaking intuitions” of emotion theory—(1) expression, (2) subjectivity, and (3) action. Each (...) section corresponds to a different thinker—Charles Darwin, William James, and John Dewey, respectively—and each section concludes with a discussion of relevant debates. This book is outstanding. It is clearly written, well organized, and impressive in its scope. In what follows, I outline key ideas and raise questions generated by each section, then conclude with general reflections on the text.Campeggiani begins with the “scandal” of emotion research: There is no agreement about what an emotion is. In part, this lack of consensus is due to the imprecise ways we employ concepts like feelings, emotions, affect, and passions in ordinary discourse. In part, it is due to empirical difficulties. For example, Campeggiani describes how implicit assumptions and a forced-choice format compromised an experiment about expression universality.Additionally, Campeggiani points out that the category “emotions” has an internal structure that lacks clear-cut boundaries. There are paradigmatic examples of emotions, such as fear and anger, but there are also ambiguous phenomena, such as respect and modesty, which we may or may not recognize as such. Throughout the text, Campeggiani introduces and evaluates numerous accounts of emotions, drawing our attention to the strengths, limitations, and empirical adequacy of each.Part 1 begins with Charles Darwin’s contributions to emotion theory—an emphasis on the biological origins of emotions and a focus on expression. This section examines emotions in connection to adaptive fitness, exploring phenomena such as blushing when we are ashamed and the biological bases of emotions. A highlight of this section is an exploration of the social or communicative character of the emotions, which Darwin described as “only a secondary effect” of expression. Campeggiani examines emotional contagion and imitation, as well as the [End Page 141] phenomenon of feeling more pain when we express pain on our faces. There is also a rich discussion about constructionism as an alternative to basic emotions theory.Part 2 opens with William James on subjective experience. Campeggiani describes the limitations of James’s position—of understanding emotions to be reducible to feelings. For starters, this position is not empirically well supported. Campeggiani cites Walter Cannon’s observation that “many of the autonomic changes that are symptomatic of a given emotion can also occur in its absence.” Additionally, James fails to “properly flesh out the link between emotions and evaluations.” Campeggiani then describes the cognitive turn in emotion theory that emerged in response to the lack of attention paid to evaluation. Cognitive accounts of emotion deemphasize the bodily dimensions of emotional experiences in favor of the intentional properties, or “aboutness,” of emotions. Emotions see things as things.From my vantage, this was the best part of the book. Campeggiani highlights Damasio’s point that decision-making depends on having a “correct affective perception of the values at stake in a given situation.” For instance, feeling outsized or misdirected fear may undermine our decision-making. Campeggiani also introduces debates about whether emotions are appraisals, and whether emotions entail judgments or make judgments more likely. In the introduction, she mentions that “decision-making processes are always and inevitably underpinned by emotions, for good and for ill.” We see what she means in this section. Emotions participate in reason, impede reason, and have cognitive content themselves.That emotions involve or participate in our judgments raises two kinds of concerns—epistemic and normative. The epistemic worry is that inaccurate appraisals may undermine our understanding of the world. This is especially worrisome for the class of emotions Campeggiani calls “recalcitrant,” or closed off to other mental states, and for the emotions she says are “heavily influenced by our needs and goals.” Emotions are imperfectly truth-tracking, as was made clear earlier, in part 1, regarding their adaptive nature. The normative worry is that certain emotional... (shrink)

Appraisal and constructivist theories of emotion both emphasize that emotions are not modular phenomena, but are constructed from more basic psychological parts. In the scientific debate, differences between the two approaches are sometimes overplayed, by classifying appraisal theories as “natural kinds” models, and sometimes underplayed, by basically merging them into constructivist accounts. The aim of this contribution is to illustrate some similarities and some differences between contemporary appraisal and constructivist approaches, and to highlight the fact that appraisal theory (...) has indeed already confronted the idea of construction in the elicitation of emotion. In doing so, I want to argue that, while there is a distinction between appraisal and constructivist camps, it is not as stark as one might think, even though the names of the “ingredients” of emotions may differ. (shrink)

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

During the 1890s William James and Carl Georg Lange's works on emotion were discussed in psychological journals under the heading of the “James–Lange theory” of emotion. Yet Lange's work is much less known because it was linked with James' theory and because later neurophysiological research demonstrated that Lange's proposed mechanism for processing emotion could not be correct. However, a reappraisal of his work is warranted for several reasons: For his attempt to ground the emotions in physiology at a (...) time when psychologists advocated a purely spiritual conception of emotions, for his insights in biological psychiatry, for postulating a neuroanatomical centre for processing emotion. Finally, in the light of contemporary research, because Lange deconstructed the emotions into combinations of components, which makes his work a precursor to component and appraisal theories of emotion. (shrink)

During the 1890s William James and Carl Georg Lange's works on emotion were discussed in psychological journals under the heading of the “James–Lange theory” of emotion. Yet Lange's work is much less known because it was linked with James' theory and because later neurophysiological research demonstrated that Lange's proposed mechanism for processing emotion could not be correct. However, a reappraisal of his work is warranted for several reasons: For his attempt to ground the emotions in physiology at a (...) time when psychologists advocated a purely spiritual conception of emotions, for his insights in biological psychiatry, for postulating a neuroanatomical centre for processing emotion. Finally, in the light of contemporary research, because Lange deconstructed the emotions into combinations of components, which makes his work a precursor to component and appraisal theories of emotion. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:DEAD MAN WALKING: ON THE CINEMATIC TREATMENT OF LICENSED PUBLIC KILLING Edmund Arens University ofLucerne I regret that so many people do not understand, but I know that they have not watched the state imitate the violence they so abhor. (Sister Helen Prejean) ~T\eadMan Walking, thehighlyacclaimed second film directed by Tim -Z-^Robbins, seems appropriate for discussion in the symposium's context oíFilm andModernity: Violence, Sacrifice andReligion. This film on the (...) one hand thematizes different forms ofviolence and victimization; on the other hand it presents divergent forms ofreligion. And it does so in a way which not only demonstrates the interplay of violence and religion but also opens up the chance of transcending various kinds of sacrificial structures inhabiting that interplay. We can approach DeadMan Walking in five steps. After some general remarks about this film as a work of art, I will briefly review the story line. In the part called Themes and Topics, I will outline some of the predominant topics addressed in this movie. The fourth step is devoted to the interrelation of Violence, Victimization and Redemption. Finally, the religious or theological question comes into view under the heading of Proximity and Testimony, an aspect which at the same time has a definite link to law and the legal system. I. DeadMan Walking as a Work of Art According to Susan Sontag, film "currently is the most vivid, the most stimulating, and the most important of all genres of art" (Sontag 13). But Edmund Arens15 whether a particular film really can be considered as a work of art depends on a number of presuppositions, a few of which I shall mention here. Without going too deeply into the debate on the nature and purpose of aesthetic production, there are at least some requirements which point to a work ofart. Roughly speaking, it is defined by putting matter and form into a certain relation, by creating or producing a certain structure, by adopting a certain style and by organizing the material by means ofgenres (all ofwhich relates to the classical notion of poesis). Secondly, a work of art deals with perception in a double way: while it implies a certain perception ofreality, it also invites the audience to participate in this perception and thus to deepen, alter, or correct the perception that they experienced (something which relates to aisthesis). Thirdly, art aims at having certain emotional effects on the public that are either purifying or edifying (something which since Aristotle has been discussed as katharsis). Ifthese three dimensions (cf. Jauss; Siller) are always involved in works ofart, we can ask how in DeadMan Walking the interplay ofpoesis, aisthesis, and katharsis is at work. Under certain conditions a film is a creative work ofart. In this case, the motion picture, whether documentary or fictitious, includes an aesthetic creation of an imagined reality. It does not simply mirror reality but always reconstructs or reshapes it. In fictional film narrative, everyday reality is disrupted and rearranged by means of a variety of formal and material techniques. The treatment of reality necessarily involves the question of representation. What Paul Ricoeur considered as decisive for narrative fiction, applies to narrative fiction films as well: they make use of "calculated dissonance" which disrupts everyday reality and thereby points to a "redescription ofreality" (Ricoeur 1975; 1976; 1986). We shall see later on how this process, attributed especially to certain metaphors, works in the case ofDeadMan Walking. Besides the topic ofrepresentation, any kind of art raises the question of perception. Art implies a certain perception and at the same time it offers or invites—in the case of visual art—the audience to perceive reality in a different or deeper manner. In amovie the audience, whether by a manipulative "aesthetics of overwhelming"1 or by an aesthetics of disclosing, is moved emotionally and imaginatively, the aim being to direct their attention to the secret ofthe things shown and thus to direct or redirect their view ofreality. From the point of view of a pragmatic theory of action (cf. Arens 1994; 1997b) which additionally takes up Ricoeur's most important insights, I would 'The term has been coined by Heiner Müller; quoted from Kirsner... (shrink)

The recent discovery of so-called “mirror-neurons” in monkeys and a corresponding mirroring “system” in humans has provoked wide endorsement of the claim that humans understand a variety of observed actions, somatic sensations, and emotions via a kind of direct representation of those actions, sensations, and emotions. Philosophical efforts to assess the import of such “mirrored understanding” have typically focused on how that understanding might be brought to bear on theories of mindreading, and usually in cases of action. (...) By contrast, this paper assesses mirrored understanding in cases of emotion and its import for theories of empathy and especially empathy in ethical contexts. In particular, this paper argues that the mirrored understanding claim is ambiguous and ultimately misleading when applied to emotion, partly because mirroring proponents fail to appreciate the way in which empathy might serve a distinct normative function in our judgments of what other people feel. The paper thus concludes with a call to revise the mirrored understanding claim, whether in neuroscience, psychology, or philosophy. (shrink)

According to the dual-process account of moral judgment, deontological and utilitarian judgments stem from two different cognitive systems. Deontological judgments are effortless, intuitive and emotion-driven, whereas utilitarian judgments are effortful, reasoned and dispassionate. The most notable evidence for dual-process theory comes from neuroimaging studies by Joshua Greene and colleagues. Greene has suggested that these empirical findings undermine deontology and support utilitarianism. It has been pointed out, however, that the most promising interpretation of his argument does not make use of (...) the empirical findings. In this paper, I engage with recent attempts by Greene to vindicate the moral significance of dual-process theory and the supporting neuroscientific findings. I consider their potential moral significance with regard to three aspects of Greene’s case against deontology: the argument from morally irrelevant factors, the functionalist argument and the argument from confabulation. I conclude that Greene fails to demonstrate how neuroscience and dual-process theory in general can advance moral theorizing. (shrink)

Like lynching and other mass hysterias, xenophobia exemplifies a contagious, collective wave of energy and hedonic quality that can point toward a troubling unpredictability at the core of political and social systems. While earlier studies of mass hysteria and popular discourse assume that cooler heads (aka rational individuals with their logic) could and should regain control over those emotions that are deemed irrational, and that boundaries are assumed healthy only when intact, affect studies pose individuals as nodes of biosocial networks (...) larger than themselves. Thus rather than suggesting that the individual can only prevent societal harm by gaining command and patrolling the borders of an autonomous self, we embrace the notion that affects can exert a positive and transformative force on a social reality that is resistant to top-down policy intervention and any straightforward moral or logical plea. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 71-75 [Access article in PDF] Response to Kingsley Price's "How Can Music Seem to be Emotional" Marguerite Nering Calgary, Canada Kingsley Price argues that music, since it is not personal, cannot be emotional but can only seem emotional. In an earlier draft of this paper he described it more fully: "Music is not a person, cannot possibly harbor an (...) inward life, and cannot possibly be emotional." He then sets out to discover how music, since for him it is not emotional, can seem to be so. Through a step-by-step process of philosophical inquiry, he first looks within perception and not finding an answer there, searches without, mainly focusing on meaning and Susanne Langer's theory of emotion and music. His search is unrewarded, leaving him to conclude that the answer to his question remains an incomprehensible mystery.His logic at first seems impervious to dispute. Had he not strictly limited his meaning of music and emotion-particularly emotion-it may have simplified responding to his query. For him, "music" refers to instrumental music that is heard or perceived. "Emotion" means conscious feelings we find ourselves in when undergoing emotion.The major question one must ask is whether his basic premise is accurate. Is he correct in stating that music unequivocally is not emotional but only seems so? [End Page 71] Is he correct in stating that music does not harbor an inward life? After all, he is talking about instrumental music that is perceived. While one cannot deny that notated music on paper is not emotional, does this hold for instrumental music being performed and transmitted? The source is a live human, someone who has an inward life, or at least did have at the time of production. The receptor is alive and has an inward life. The human source is sending living music imbued with emotion and energy. The airwaves transport these vibrations. Can we really say that the living or live music reaching the receiver's ears is not carrying real emotion?Returning to Price's analysis, we find he looks first at perception itself, in this case sense perception, and determines that it has two major constituents: awareness and the object of awareness. He argues that awareness cannot seem to exist; it must exist. It is always simple; therefore, there can be no characteristic that makes it seeming and not real. I question whether the latter conclusion necessarily follows, that is, that reality is a consequence of simplicity, but I must agree that awareness by virtue of its existence must be real.Music heard is the object of awareness. He states that the distinction between seeming and reality does apply to some things-for example, to Macbeth seeing a dagger that really is not there-but declares that this cannot apply to music heard, for it actually exists. Does this mean that one cannot hear music that really is not there? The illusion should work for hearing if it works for vision. Back to his argument, because music heard exists, he reasons that one cannot say that the seeming emotionality in music can be traced to the character of the music that bears it. I wonder then how this would apply to a person playing music with real emotion for his or her own enjoyment? In this case the human receptor of music is also the human source of the music. They are one and the same, and this person of course has an inward personal life. Does this music only seem emotional or is it really emotional? It would make sense that it is really emotional.He then looks at whether the seemingness of emotionality can be traced to emotionality itself and deduces that it cannot. Emotions are real. If we feel joy, it is real joy we are feeling and not seeming joy. One cannot debate this. Again, however, I am not convinced of the seemingness of the emotionality of music. Because music comes from a living person, it is an extension... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 71-75 [Access article in PDF] Response to Kingsley Price's "How Can Music Seem to be Emotional" Marguerite Nering Calgary, Canada Kingsley Price argues that music, since it is not personal, cannot be emotional but can only seem emotional. In an earlier draft of this paper he described it more fully: "Music is not a person, cannot possibly harbor an (...) inward life, and cannot possibly be emotional." He then sets out to discover how music, since for him it is not emotional, can seem to be so. Through a step-by-step process of philosophical inquiry, he first looks within perception and not finding an answer there, searches without, mainly focusing on meaning and Susanne Langer's theory of emotion and music. His search is unrewarded, leaving him to conclude that the answer to his question remains an incomprehensible mystery.His logic at first seems impervious to dispute. Had he not strictly limited his meaning of music and emotion-particularly emotion-it may have simplified responding to his query. For him, "music" refers to instrumental music that is heard or perceived. "Emotion" means conscious feelings we find ourselves in when undergoing emotion.The major question one must ask is whether his basic premise is accurate. Is he correct in stating that music unequivocally is not emotional but only seems so? [End Page 71] Is he correct in stating that music does not harbor an inward life? After all, he is talking about instrumental music that is perceived. While one cannot deny that notated music on paper is not emotional, does this hold for instrumental music being performed and transmitted? The source is a live human, someone who has an inward life, or at least did have at the time of production. The receptor is alive and has an inward life. The human source is sending living music imbued with emotion and energy. The airwaves transport these vibrations. Can we really say that the living or live music reaching the receiver's ears is not carrying real emotion?Returning to Price's analysis, we find he looks first at perception itself, in this case sense perception, and determines that it has two major constituents: awareness and the object of awareness. He argues that awareness cannot seem to exist; it must exist. It is always simple; therefore, there can be no characteristic that makes it seeming and not real. I question whether the latter conclusion necessarily follows, that is, that reality is a consequence of simplicity, but I must agree that awareness by virtue of its existence must be real.Music heard is the object of awareness. He states that the distinction between seeming and reality does apply to some things-for example, to Macbeth seeing a dagger that really is not there-but declares that this cannot apply to music heard, for it actually exists. Does this mean that one cannot hear music that really is not there? The illusion should work for hearing if it works for vision. Back to his argument, because music heard exists, he reasons that one cannot say that the seeming emotionality in music can be traced to the character of the music that bears it. I wonder then how this would apply to a person playing music with real emotion for his or her own enjoyment? In this case the human receptor of music is also the human source of the music. They are one and the same, and this person of course has an inward personal life. Does this music only seem emotional or is it really emotional? It would make sense that it is really emotional.He then looks at whether the seemingness of emotionality can be traced to emotionality itself and deduces that it cannot. Emotions are real. If we feel joy, it is real joy we are feeling and not seeming joy. One cannot debate this. Again, however, I am not convinced of the seemingness of the emotionality of music. Because music comes from a living person, it is an extension... (shrink)

Numerous studies suggest that both emotion knowledge and language abilities are powerfully related to young children’s theory of mind. Nonetheless, the magnitude and direction of the associations between language, emotion knowledge, and theory-of-mind performance in the first years of life are still debated. Hence, the aim of this study was to assess the direct effects of emotion knowledge and language on theory-of-mind scores in 2- and 3-year-old children. A sample of 139 children, aged between 24 and 47 (...) months (M = 35.5 months; SD = 6.73), were directly administered measures of emotion knowledge, theory of mind, and language. We conducted structural equation modeling (SEM) to evaluate the effects of these variables within a single comprehensive framework, while also controlling for any effects of age and gender. The proposed structural equation model provided an excellent fit for the data, indicating that both children’s emotion knowledge and their language ability had direct positive effects on theory of mind scores. In addition, age was found to wield statistically significant effects on all the variables under study, whereas gender was not significantly associated with any of them. These findings suggest the importance of fostering young children’s emotion knowledge and language with a view to enhancing their comprehension of mental states. (shrink)

The following article addresses the political dimension of identity in its complex interrelations with memory on one hand and normativity on the other. Identity, as Amartya Sen has shown, is neither an essence nor a function of religious belonging, as determinists and reductionists have assumed, but the result of an active process of choice. Autonomous choice, however, does not take place outside of time and space, far from external resistance and contradictions, but is rooted in situations, emotions, corporeality and all (...) sorts of qualitative dimensions. Identity, that is, is neither passivity nor unbound freedom. It is “invention”, as Said has suggested: an unstable compromise of past, present and future that is the work of imagination. By drawing on categories from Arendt and Taylor, the interplay of memory, imagination and identity is explored from the point of view of contemporary social theory and its challenges, and the notion of “memory politics” is brought to bear on controversial issues such as the cohabitation of secular and religious worldviews in a multicultural society. (shrink)

Emotions are characteristic activities/states in hylemorphic structure of the Aristotelian soul. Emotional activities/states are physiological processes/states as well, as it is particularly clear in anger. It raises the question about the origin of their intentionality. Sometimes sheer bodily processes can lead to emotions, which implies that intentionality in emotions might also originate in bodily processes. But Aristotle does not generalize this point in saying that all emotions are due to bodily processes. Moreover, since they are (...) complex phenomena, involving opinion, representation, desire, pleasure and pain, their intentional nature must also be a certain amalgamate of the intentionality of the ingredients. It involves that the relevant kinds of pleasure and pain are also intentional states. On the other hand, besides establishing certain general similarities Aristotle does not seem to have worked out a unifi ed theory of emotions. To mention but one well-known example, most of the emotions he discusses in detail are based on representation, whereas hatred is supported by a general statement. (shrink)

Drawing on a ritual approach to microsociology, I explain how and why aesthetic and moral practices inform each other and evolve as they do. I continue to develop a theory of aesthetic engagement, specifying how it generates the emotional sensibilities that inform moral practices. Examining aesthetic engagement and emotional sensibilities focuses our theoretical attention on our capacity to find our moral bearings, even in unfamiliar or challenging conditions. To develop this perspective, I draw on Bargheer’s Moral Entanglements (...) and a volume on bird watching’s therapeutic value, Bird Therapy. These two works provide insight into the micro-emotional dynamics through which nature-based practices generate aesthetic power. I conclude by discussing the implications of aesthetic and moral practices for theorizing cognition and culture. In particular, I argue that an aesthetic practice approach to perceiving and knowing about the world does not fit neatly into the dual processing frameworks currently popular in Cultural Sociology. (shrink)

Online brand communities could benefit firms in many usages, ranging from collecting consumers’ suggestions or advice to interacting with community members directly and transparently. Creating a positive emotional atmosphere is essential for such communities’ healthy development as its boosts the continuous involvement of each member. However, the dynamic cross-influences and evolution of emotions in OBCs have not been fully explored, which was the research gap this paper tried to fill. Based on emotional contagion theory, this study (...) identifies three sources of textual sentiment through machine learning methods in OBCs: member’s posts, other members’ feedback, and the focal firm’s official feedback. This study further tested the dynamic emotional contagion process among these sources on valence and volatility, namely how they affected each other. Data was collected from the MIUI forum, a large forum launched by Xiaomi corporate on August 1, 2011, which contained 17,622 posts and 99,426 feedback. Results showed that: in the emotional contagion process, there existed differences in the influence of emotional valence and volatility from different sources; all emotional interactions were temporary and mostly lasted no more than three days; the most significant contributor of each sources’ emotion was itself, which could be explained by lagged effect; the valence of focal firm’s emotion was the second contributor of the valence of member’s emotion and other members’ emotion. Three sources of emotion in OBCs and emotional valence/volatility should be considered when firms try to guide the emotional changes in such communities. Furthermore, firms could proactively influence members’ emotions by carefully designing the feedback to members’ posts. Besides, since all interactions are temporary, firms need to engage in online communities frequently, like consistently offering feedback. (shrink)

Emotional contagion is a phenomenon that has attracted much interest in recent times. However, the main approach on offer, the mimicry theory, fails to properly account for its many facets. In particular, we focus on two shortcomings: the elicitation of emotional contagion is not context-independent, and there can be cases of emotional contagion without motor mimicry. We contend that a general theory of emotion elicitation is better suited to account for these features, (...) because of its multi-level appraisal component. From this standpoint, emotional contagion is viewed as a particular kind of emotional response that involves the same components and processes of emotional responses in general. (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)

Both scholars and practitioners acknowledge that the major factors explaining behavior are cognition, emotion, and context. However, existing theories tend to only focus on a combination of two. Furthermore, not all models are rooted in a specific theory of mind. Finally, there is no consistent definition of ‘mind.’ To address these issues, we review the major models explaining behavior. We then describe the Theory of Analysis of Demand, an interactionist model of functioning of mind that thoroughly addresses the (...) conjoint interplay of cognition, emotion, and context. A key concept of the TAD is emotional symbolization, the process of relating one’s experiences of the external context with an inevitable emotional reaction. By considering an intersection among cognition, emotion, and context, TAD fills the gap in the existing literature and expands our understanding of behavior. Moreover, we describe the TAD intervention methodology, Individual-Setting of intervention-Orga... (shrink)

This article focuses on the relationship between emotions and passions, on the one hand, and values, needs and rights, on the other. This relationship is indeed central to the social dimension of international politics. In this perspective, the article examines how emotions and passions can be at the same time effects and causes of the extent to which actors feel that their needs and rights are fulfilled or not. In the process, the article also explores the negative and positive features (...) of emotions and passions, and their impact on the nature and dynamics of change in international affairs. Beyond this general approach to emotions and passions in connection with the social dimension of international politics and the questions of values, needs, and rights of actors and change, it concludes with the idea that there is also a contextual dimension to the generic argument developed in the article. This will have to be factored in for future research on case studies. (shrink)

The study of emotional concepts stands at a very interesting intersection between the theoretical debate about the nature of emotions and the debate about the nature of processing concrete concepts and abstract concepts. On the one hand, it is debated whether it is possible to differentiate basic emotions from secondary emotions and, on the other hand, whether emotional concepts differ from abstract concepts. In this regard, the prototypical perceptual aspects are considered an important factor both for (...) the differentiation between concrete and abstract concepts and for the differentiation between basic and secondary emotions (facial expressions). Thus, the objective has been to determine if (a) the presence or absence of a prototypical perceptual referent, and (b) the type of concept (referring to emotion and not referring to emotion), produce differences between concepts of basic emotions, secondary emotions and concepts not related to emotions, concrete and abstract, in the tasks of qualification of concreteness, imageability and availability of context and the task of the list of properties, that have been used in previous studies. A total of 86 university students from the suburbs of La Serena - Coquimbo (Chile), all native Spanish speakers, participated in the study. The results show that in the perception of concreteness and in the total of enumerated properties, emotional concepts presented similar results to abstract concepts not related to emotion and there was no difference between basic and secondary emotion concepts. In imageability and context availability, emotional concepts were perceived as different from and more concrete than abstract concepts. In addition, the cause-effect type attributes allowed to clearly differentiate emotional concepts from those not related to emotion and to differentiate between basic and secondary emotion concepts. These types of attributes appear almost exclusively in emotional concepts and are more frequent in basic emotions. These results are partially consistent with the predictions of Neurocultural and Conceptual Act theories about emotions. (shrink)

Emotional labor generally exists in organization members. Emotional labor will not only affect employees’ interpersonal relationships, but also affect employees’ mental health. Affected by many factors such as the economic environment, they often need to bear multiple pressures. The degree of stress is positively correlated with the depth of the development of the times and people’s education. As mental health research has become the frontier and hot spot in the field of psychology, the role of mental health (...) in the process of employee creativity has been paid more and more attention. Therefore, this paper proposes a study on the causes of employees’ psychological stress based on emotional feature clustering. Based on the clustering of emotional characteristics, this paper analyzes the causes of employees’ mental health stress from an economic perspective. For teams with low level of team openness, with the improvement of team heterogeneity, team task performance shows a slight upward trend. It is clear from the experiment that when the number of experiments reaches 100, the task performance of high atmosphere level is 12.14, while the task performance of low atmosphere level is only 9.89. Therefore, the atmosphere of team employees is very important to team task performance. Through the cluster analysis of employees’ mental health characteristics, it not only increases employees’ spare time life, but also reduces employees’ daily contradictions. It eases the work pressure of employees, and becomes a platform for employees to improve their awareness and a promoter of harmonious employee relations. (shrink)

Inhibition, an executive function, is critical for achieving goals that require suppressing unwanted behaviours, thoughts, or distractions. One hypothesis of the emotion and goal compatibility theory is that emotions of sadness and fear enhance inhibitory control. Across Experiments 1–4, we tested this hypothesis by inducing a happy, sad, fearful, and neutral emotional state prior to completing an inhibition task that indexed a specific facet of inhibition (oculomotor, resisting interference, behavioural, and cognitive). In Experiment 4, we included an anger (...) induction to examine whether valence or motivational-orientation best-predicted performance. We found support that fear and sadness enhanced inhibition except when inhibition required resisting interference. We argue that sadness and fear enhance inhibitory control aiding the detection and analysis of problems (i.e. sadness) or threats (i.e. fear) within one’s environment. In sum, this work highlights the importance of identifying how negative emotions can be beneficial for and interact with specific executive functions influencing down-stream processing including attention, cognition, and memory. (shrink)

Rene Descartes and William James had "body first" theories of the passions or emotions, according to which sensory stimulation causes a bodily response that then causes an emotion. Both held that this bodily response also causes an initial behavioral response (such as flight from a bear) without any cognitive intervention such as an "appraisal" of the object or situation. From here they differ. Descartes proposed that the initial processes that produce fear and running are entirely mechanical. Even human (...) beings initially run from the bear as a result of physiological processes alone, without mental contribution. These physiological processes also cause a mental passion, which is a cognitive representation of the situation (as regards novelty, benefit, or harm), and which motivates the will to continue the behavior already in progress. According to James, emotions are caused by instinctive bodily responses that are triggered by noncognitive but nonetheless conscious perceptual states. Emotions are bare feelings of internal physiological stirrings that accompany an instinctual response that has evolved through Darwinian natural selection. Jamesian emotions initially have no motivational or cognitive content, which they subsequently acquire through learning. The methodological legitimacy of comparing these positions across the centuries is defended, and the two theories are compared to recent theories. (shrink)

While Merleau-Ponty’sPhenomenology of Perceptionrelies on the descriptive register of the body proper, his Sorbonne lectures on child psychology investigate the genesis of the experience of a body as one’s own. I demonstrate the uniqueness of Merleau-Ponty’s account of the narcissistic affect and sociality involved in this developmental process, distinguishing his account vis-à-vis Wallon’s and Lacan’s studies of the mirror stage. I conclude that in Merleau-Ponty’s account, (1) the experience of the body proper is not singular, but encompasses a range of (...) phenomenological variation; and (2) the genesis of the body proper is not confined to the mirror stage. The production of bodily boundaries is an ongoing process identified not only with its advent in childhood, but also with adult emotional life. The boundaries between inner and outer domains of perception are not merely discovered, but must be negotiated and cultivated in the intercorporeal affective dramas of adult life. (shrink)

The novel coronavirus disease has become a global pandemic, causing substantial anxiety. One potential factor in the spread of anxiety in response to a pandemic threat is emotion contagion, the finding that emotional experiences can be socially spread through conscious and unconscious pathways. Some individuals are more susceptible to social contagion effects and may be more likely to experience anxiety and other mental health symptoms in response to a pandemic threat. Therefore, we studied the relationship between emotion (...) contagion and mental health symptoms during the COVID-19 pandemic. We administered the Emotion Contagion Scale along with a measure of anxiety in response to COVID-19 and secondary outcome measures of depression, anxiety, stress, and obsessive-compulsive disorder symptoms. These measures were completed by a large student sample in the United States. Data were collected in the months of April and May of 2020 when the fear of COVID-19 was widespread. Results revealed that greater susceptibility to emotion contagion was associated with greater concern about the spread of COVID-19, more depression, anxiety, stress, and OCD symptoms. Consumption of media about COVID-19 also predicted anxiety about COVID-19, though results were not moderated by emotion contagion. However, emotion contagion did moderate the relationship between COVID-19-related media consumption and elevated OCD symptoms. Although limited by a cross-sectional design that precludes causal inferences, the present results highlight the need for study of how illness fears may be transmitted socially during a pandemic. (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)

Intimate relationships between emotion and action have long been acknowledged, yet contemporary theories and experimental research within affective and movement neuroscience have not been linked into a coherent framework bridging these two fields. Accumulating psychological and neuroimaging evidence has, however, brought new insights regarding how emotions affect the preparation, execution, and control of voluntary movement. Here we review main approaches and findings on such emotion–action interactions. To assimilate key emotion concepts of action tendencies and motive states with fundamental constructs (...) of the motor system, we underscore the need for integrating an information-processing approach of motor control into affective neuroscience. This should provide a rich foundation to bridge the two fields, allowing further refinement and empirical testing of emotion theories and better understanding of affective influences in movement disorders. (shrink)

Understanding and improving how organizations work and are managed is the object of management research and practice, and this topic is of longstanding interest in the academia and in society at large. More recently, the contribution that the study of the brain could make to, notably, our understanding of decisions, emotional reactions, and behaviors has led to the emergence of the field of “organizational neuroscience”. Within the field of management, organizational neuroscience seeks to explore linkages between neuroscience research, theories, (...) and methods and management research. Its primary goal is to incorporate findings on the cognitive processes underlying the thoughts, behaviors and attitudes of organizational actors in order to better inform management theories, and to assist in understanding, predicting and improving these behaviors in the workplace. As a result, we have seen in the last decade a flurry of research projects and publications in organizational neuroscience, as well as novel or rejuvenated innovations around neuromarketing, neuroleadership, and cognitive enhancement in the work place, to name a few. However, research and practical applications in organizational neuroscience pose profound ethical challenges about, for example, organizational responsibility in the responsible use of scientific innovation. Drawing on recent debates in the field, and in response to upcoming ethical challenges of organization neuroscience, this book introduces “organizational neuroethics” as an emerging interdisciplinary field that addresses the ethics of organizational neuroscience research and applications, as well as the neuroscience of organizational ethics. The first part focuses on the ethics of organizational neuroscience and several chapters tackle the ethics of neuromarketing or neuroleadership and discuss the ethical issues associated with neuroenhancement practice in the workplace. The second part of the book addresses cutting-edge topics in the neuroscience of organizational ethics. Written by international experts in the fields of management, neuroscience, ethics, and social science, this book will be of prime interest to practitioners, researchers and students in the various fields concerned with improving management research and practices, as well as organizational ethics. (shrink)

The problem of mental existence is a multidimensional subject that is related to many issues with its ontological and epistemological aspects. Both philosophers and theologians have addressed this problem from different perspectives and have discussed it among themselves. These discussions have produced some evidence and criticisms about mental existence in terms of acceptance and rejection. In these discussions, which are also associated with different issues, the use of information about maʿdūm, particularly as evidence of mental existence, also helped pinpoint the (...) source of the knowledge about maʿdūm. The fact that maʿdūm is the subject of knowledge is often a matter of consensus among theologians if some exceptions are disregarded. Particularly due to the extension of the subject of kalām to the known, it is a matter accepted by the scholars that maʿdūm can be known, whether it is mumkin (possible) or mumtani‘ (impossible). Therefore, the issue of where the information about it is located has emerged as an extension of the discussions on mental existence. In this context, in terms of epistemological theories they adopted, both theologians and philosophers have questioned the epistemological and ontological location of the knowledge of such concepts as ma'dūm, which hardly exist in the objective world but can be reasoned out or judged or imagined, and they have tried to determine the source of this knowledge. As a result of this effort, they have recognized that the source of knowledge about maʿdūm can be explained in two ways: the mind and outside world. In response to theologians, who claimed that the place of knowledge about maʿdūm is the mind, it has been claimed that the place of this knowledge is not the mind but the outside world. No consensus has been reached among those who claimed that the information was outside; some claimed that this information was in Plato's ideas, while others claimed that it was in the active mind. On the other hand, there has been no disagreement among those who considered the source of knowledge about maʿdūm as the mind. Based on this perspective, the present study tried to identify the source and place of information about maʿdūm, with a particular reference to the later kalām period, based on the evidence put forward to prove mental existence and the criticisms against such evidence. As a part of these discussions, the disputing parties were specified and the criticisms of the opponents towards each other were also included. This is because the nature of these criticisms is critical as such criticisms are capable of revealing the opinions of those who have opposing views about the source of knowledge of maʿdūm. The scope of the present study was limited to al-Rāzī and some later theologians as it was Fakhr al-Dīn al-Rāzī, who brought mental existence up for discussion as a specific point of debate. Therefore, in the present study, the famous theological texts that are highly representative of mental existence in the late kalām period and prominent commentaries written on these basic texts were preferred. (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)

It is argued that one answer to the question of the rationality of emotion hinges on the different roles in action selection played by emotions when one is aware of them versus when one is not aware of them . When unaware of one’s emotions, they are: not able to enter into one’s deliberations about what to do, and more likely to be automatically acted out. This is a problem for rationality because emotional action urges are often “false positives”. (...) In contrast, awareness of emotions crucially allows emotional responses to be inhibited: such inhibition is necessary for truly rational action selection. Furthermore, awareness enables Reflective Revision—the modification of one’s theories and action plans as a result of awareness of inconsistencies between theories and data, and action plans and goals. (shrink)

It is unreasonable to assume that our pre-scientific emotion vocabulary embodies all and only those distinctions required for a scientific psychology of emotion. The psychoevolutionary approach to emotion yields an alternative classification of certain emotion phenomena. The new categories are based on a set of evolved adaptive responses, or affect-programs, which are found in all cultures. The triggering of these responses involves a modular system of stimulus appraisal, whose evoluations may conflict with those of higher-level cognitive processes. Whilst the (...) structure of the adaptive responses is innate, the contents of the system which triggers them are largely learnt. The circuits subserving the adaptive responses are probably located in the limbic system. This theory of emotion is directly applicable only to a small sub-domain of the traditional realm of emotion. It can be used, however, to explain the grouping of various other phenomena under the heading of emotion, and to explain various characteristic failings of the pre-scientific conception of emotion. (shrink)

Although considered often outdated or useless, Plato’s views on affectivity in general and on emotions in particular offer a great deal of observations recurring in subsequent theories of emotions. Without putting forward a claim about the character of these similarities – either influential or purely anticipating or simply coincidental – some examples are provided to illustrate them. If examples referred to are relevant to the current discussion, then Plato’s views are wrongly taken as valid only for historical research, or worse, (...) neglected completely. They should rather be considered helpful in disentangling aporias inherent to the debate over affectivity. A paper discusses the issue of taxonomy of feelings as well as the place of affectivity within mental states in Plato's work. (shrink)

Classical Confucian thought is full of discussion of human emotions, reflecting a preoccupation with the inner life-how one ought to feel 'on the inside', as it were. Yet alongside these passages are others that seem, by contrast, to be concerned with matters external to one's emotions and psychology: how one ought to dress, speak, walk, and talk. Yet passages such as these, which draw attention to details of individual expression and comportment, are not at all tangential when it comes to (...) understanding the Confucian perspective on emotions. On the contrary, I argue that they reveal a sophisticated view of emotional life, one that illuminates how our outer appearance and comportment profoundly shape both how we feel and how others around us feel. Looking at emotions in this fashion-both inside and out-gives us not only a deeper appreciation of early Confucian thought but also can serve as a resource for us to reevaluate the way we understand emotions today. {Translated into Korean by Yonghwan Chung}. (shrink)

Influential theories on affect and emotion propose a fundamental differentiation between emotion and cognition, and research paradigms designed to test them focus on differences rather than similarities between affective and cognitive processes. This research orientation is increasingly challenged by the widespread and successful use of cognitive research paradigms in the study of affect and emotion—a challenge with far-reaching implications. Where and on what basis should theorists draw the line between cognition and emotion, and when is it useful to do (...) so? Should researchers build more global, integrative models of cognition and emotion, or should they rely on local, content-specific models that draw attention to a differentiation between affective and cognitive processes? This special issue compiles different viewpoints on fundamental issues in the relationship between affect and cognition. (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)

It is unreasonable to assume that our pre-scientific emotion vocabulary embodies all and only those distinctions required for a scientific psychology of emotion. The psychoevolutionary approach to emotion yields an alternative classification of certain emotion phenomena. The new categories are based on a set of evolved adaptive responses, or affect-programs, which are found in all cultures. The triggering of these responses involves a modular system of stimulus appraisal, whose evoluations may conflict with those of higher-level cognitive processes. Whilst the (...) structure of the adaptive responses is innate, the contents of the system which triggers them are largely learnt. The circuits subserving the adaptive responses are probably located in the limbic system. This theory of emotion is directly applicable only to a small sub-domain of the traditional realm of emotion. It can be used, however, to explain the grouping of various other phenomena under the heading of emotion, and to explain various characteristic failings of the pre-scientific conception of emotion. (shrink)

During the COVID-19, online teaching has become a popular way of teaching in the world. Previous research on English language teachers’ emotional labor has not focused on the changes brought about by online teaching. Unlike the traditional physical teaching space, the emotional labor of English teachers teaching online changes with the daily use of online technological conditions. Therefore, this paper aims to investigate the factors influencing teachers’ emotional labor in online teaching and the emotional labor (...) dilemmas. We took interviews with a group of English teachers in China (T1, T2, … T20) and found that their online teaching emotions were influenced by three main factors: the degree of adaptation to online teaching technology, the invisibility of the online teaching space, and the peripheral environment of the space in which the teachers were located. In addition, this study observed the online classrooms of the interviewees and found that the first two influences are at a priority level for Chinese English teachers, while whether the third factor can bring positive or negative emotions is often influenced by the nature of the emotions brought by the first two factors. In order to find a balance between norms and emotions, English teachers are often accompanied by emotional labor in their work. However, they face many dilemmas of choice and behavior during the emotional labor of teaching online: emotional rule dilemma, emotional expression dilemma and professional identity dilemma. The emergence of these dilemmas is directly related to the influencing factors. In conclusion, this article uses normative and emotional labor theories to explore how norms affect Chinese English teachers’ emotions when teaching online as a response to the question of why emotions need to be labored. Ultimately, this study offers some useful suggestions for language teachers’ emotional labor dilemmas. (shrink)

PurposesThis paper aims to discuss the relationship between college students’ sports participation, school bullying, emotional intelligence and self-esteem. At the same time, it explores the intrinsic mechanisms of school bullying, in order to provide a reference for reducing bullying phenomenon among college students, and pave the way for college students to lead happy, healthy and confident lives.MethodsA total of 1,317 students from four universities in Southwest China were selected as subjects for this survey. They were selected by stratified random (...) sampling, and the data needed was obtained using a structured questionnaire. The data was subsequently processed with statistical software SPSS19.0 and AMOS21.0.Results Sports participation has a significant and positive correlation with emotional intelligence and self-esteem, likewise, it has a significant negative correlation with school bullying. Emotional intelligence has a marked positive correlation with self-esteem, at the same time it has a significant negative correlation with school bullying. In addition, self-esteem is strongly negative correlated with school bullying. Sports participation has a direct effect on school bullying. Emotional intelligence and self-esteem also play a significant mediating role between sports participation and school bullying, and the chain mediating force of emotional intelligence—self-esteem also reaches a significant level.ConclusionSports participation affects school bullying among college students not only directly but also indirectly, such as through emotional intelligence, the mediating role of self-esteem, and the chain mediating role of emotional intelligence to self-esteem. Apart from sports participation, emotional intelligence is another key factor that affects college students’ school bullying. Therefore, while attaching great importance to college students’ sport participation, schools should also provide courses aimed at developing students’ emotional intelligence. (shrink)

Many appraisal theories claim that appraisal causes emotion. Critics have rejected this claim because they believe (a) it is incompatible with the claim that appraisal is a part of emotion, (b) it is not empirically supported, (c) it is circular and hence nonempirical, and (d) there are alternative causes. I reply that (a) the causal claim is incompatible with the part claim on some but not all interpretations of the causal claim and the part claim, (b) the lack of empirical (...) support can be remedied, (c) there may even be ways to cope with the circularity problem, and (d) it is unclear to what extent the alternative causes differ from appraisal. (shrink)

As part of the debate between theory‐theorists and simulation‐theorists in the philosophy of mind, there is the question of how we think about the emotions of other people. It is the aim of this paper to distinguish and clarify some of the ways in which we do this. In particular five notions are discussed: understanding and explaining others’ emotions, emotional contagion, empathy, in‐his‐shoes imagining, and sympathy. I argue that understanding and explanation cannot be achieved by any (...) of the other four notions. So far as concerns prediction of other people’s emotional responses, I argue that simulationists have tended to concentrate on empathy and in‐his‐ shoes imagining to explain how this is done, and that more prominence should be given to other means of prediction through imagination which do not involve imagining events from the other’s point of view; roughly, imagining how she would feel need not involve imagining feeling how she would feel. But prediction in these other ways, like understanding and explanation, are achieved without losing sight of the fact that the other person has a point of view, and in this respect I argue that this approach is essentially distinct from the approach of the theory‐theorist of a functionalist persuasion. (shrink)

In this book, experts from the fields of law and philosophy explore the works of Aristotle to illuminate the much-debated and fascinating relationship between emotions and justice. Emotions matter in connection with democracy and equity – they are relevant to the judicial enforcement of rights, legal argumentation, and decision-making processes in legislative bodies and courts. The decisive role that emotions, feelings and passions play in these processes cannot be ignored – not even by those who believe that emotions (...) have no legitimate place in the public sphere. A growing body of literature on these topics recognizes the seminal insights contributed by Aristotle. This book offers a comprehensive analysis of his thinking in this context, as well as proposals for inspiring dialogues between his works and those written by a selection of modern and contemporary thinkers. As such, the book offers a valuable resource for students of law, philosophy, rhetoric, politics, ethics and history, but also for readers interested in the ongoing debate about legal positivism and the relevance of emotions for legal and political life in today’s world. (shrink)

The aging of attentional and emotional functions has been extensively studied but relatively independently. Therefore, the relationships between aging and the interactions of attentional and emotional processes remain elusive. This study aimed to determine how age affected the interactions between attentional and emotional processes during adulthood. One-hundred forty adults aged 18–79 performed the emotional variant of the Attention Network Test, which probed alerting, orienting, and executive control in the presence and absence of threatening faces. (...) During this task, contexts with varying levels of task preparatory processes were created to modulate the effect of threatening faces on attention, and functional near-infrared spectroscopy (fNIRS) was used to examine the neural underpinnings of the behavioural effects. The behavioural results showed that aging was associated with a significant decline in alerting efficiency, and there was a statistical trend for age-related deficits in executive control. Despite these age differences, age did not significantly moderate the interactions among attentional networks or between attention and emotion. Additionally, the fNIRS results showed that decreased frontal cortex functioning might underlie the age-related decline in executive control. Therefore, while aging has varying effects on different attentional networks, the interactions of attentional and emotional processes remain relatively unaffected by age. (shrink)

The third and fourth books of Cicero's _Tusculan Disputations_ deal with the nature and management of human emotion: first grief, then the emotions in general. In lively and accessible style, Cicero presents the insights of Greek philosophers on the subject, reporting the views of Epicureans and Peripatetics and giving a detailed account of the Stoic position, which he himself favors for its close reasoning and moral earnestness. Both the specialist and the general reader will be fascinated by the Stoics' analysis (...) of the causes of grief, their classification of emotions by genus and species, their lists of oddly named character flaws, and by the philosophical debate that develops over the utility of anger in politics and war. Margaret Graver's elegant and idiomatic translation makes Cicero's work accessible not just to classicists but to anyone interested in ancient philosophy and psychotherapy or in the philosophy of emotion. The accompanying commentary explains the philosophical concepts discussed in the text and supplies many helpful parallels from Greek sources. (shrink)

The SRL vs. ERL theory has shown that the combination of levels of student self-regulation and regulation from the teaching context produces linear effects on achievement emotions and coping strategies. However, a similar effect on stress factors and symptoms of university students has not yet been demonstrated. The aim of this study was to test this prediction. It was hypothesized that the level of student self-regulation (low/medium/high), in interaction with the level of external regulation from teaching (low/medium/high), would also (...) produce a linear effect on stress factors and symptoms of university students. A total of 527 undergraduate students completed validated questionnaires about self-regulation, regulatory teaching, stress factors and symptoms. Using an ex post facto design by selection, ANOVAs and MANOVAs (3 x 3; 5 x 1; 5 x 2) were carried out. The results confirmed that the level of self-regulation and the level of regulatory teaching jointly determined the level of stress factors and symptoms of university students. Once again, a five-level heuristic of possible combinations was configured to jointly determined university students’ level of academic stress. We concluded that the combination of different levels of student regulation levels and regulation from teaching process jointly determines university students’ level of academic stress. The implications for university students’ emotional health, stress prevention and well-being are established. (shrink)

The history of biological systematics documents a continuing tension between classifications in terms of nested hierarchies congruent with branching diagrams (the ‘Tree of Life’) versus reticulated relations. The recognition of conflicting character distribution led to the dissolution of the scala naturae into reticulated systems, which were then transformed into phylogenetic trees by the addition of a vertical axis. The cladistic revolution in systematics resulted in a representation of phylogeny as a strictly bifurcating pattern (cladogram). Due to the ubiquity of character (...) conflict—at the genetic or morphological level, or at any level in between—some characters will necessarily have to be discarded ( qua noise) in favor of others in support of a strictly bifurcating phylogenetic tree. Pattern analysts will seek maximal congruence in the distribution of characters (ultimately of any kind) relative to a branching tree-topology; process explainers will call such tree-topologies into question by reference to incompatible evolutionary processes. Pattern analysts will argue that process explanations must not be brought to bear on pattern reconstruction; process explainers will insist that the reconstructed pattern requires a process explanation to become scientifically relevant, i.e., relevant to evolutionary theory. The core question driving the current debate about the adequacy of the ‘Tree of Life’ metaphor seems to be whether the systematic dichotomization of the living world is an adequate representation of the complex evolutionary history of global biodiversity. In ‘Questioning the Tree of Life’, it seems beneficial to draw at least four conceptual distinctions: pattern reconstruction versus process explanation as different epistemological approaches to the study of phylogeny; open versus closed systems as expressions of different kinds of population (species) structures; phylogenetic trees versus cladograms as representations of evolutionary processes versus patterns of relationships; and genes versus species as expressions of different levels of causal integration and evolutionary transformation. (shrink)

continent. 2.2 (2012): 155–158 Michel Serres. Biogea . Trans. Randolph Burks. Minneapolis: Univocal Publishing. 2012. 200 pp. | ISBN 9781937561086 | $22.95 Conveying to potential readers the significance of a book puts me at risk of glad handing. It’s not in my interest to laud the undeserving, especially on the pages of this journal. This is not a sales pitch, but rather an affirmation of a necessary work on very troubled terms: human, earth, nature, and the problematic world we made. (...) It is this world that aspirates the silence (so to speak), and therefore the subject which, along with the development of the “made world” exports the excess augmentation of the cosmically missing, this silence of the natural, et cetera. Had we learned from Locke that lesson of “labor,” to consume what we need… but perhaps we need more than what matters? Serres’ Biogea has several functions on this manner, if it is indeed a book to be consumed. First, readers searching for novelistic entertainment have a place to dwell. Biogea deserves a place in your back pocket; biographical generosity and poetic fluidity should satisfy most textual fetishes. For lay philosophers who want to refresh their acumen, Biogea deserves a place on the book shelf, one already reads a sorely needed postmodern tune-up here. Serres’ style is clearly French; he leaves few cheese crumbs on his words, rather preciseness and breathing in the work give way to a sweeping manner that breaks the narrative line of sight. A circular narrative and anachronistic fragmentation of terms allows an abyssal atmosphere to swell, if only to pump into the book the externality of its broader text. Biogea aspires to a higher standard and the book, at times, is thinking this negentropic problem too. Univocal, the publisher, has crafted a book appropriate for the hands to hold and the translations are an achievement of an otherwise difficult writer to translate. Terms are the conditions of a broader text. It is important to note that Serres’ content is as much a thinking of terminal ports. There is a regard for the transportation technology of the written word. For me, this is the mark of genius, a craftiness that tells of a book device that I may trust. Serres is an accomplished thinker and a necessary voice to check the putative trendiness of anti-postmodernist and market-driven theory of endless cultural liquidation. Offering interventions on subjectivity as an open system we are given a chance to affirm the human, not merely to discard it, but to engage its poetic image emotion, the calibratory silent sense of the analogic world; the terms on which we base our efforts. 1 The human is the center of its own negation, constantly mediating it. Something deeper at stake appears in the work then, and it is quite obvious from the onset. Certainly, a book is an intensification of possible text and those who brought this actual book into existence have captured a rarity in regards to the subject matter and artistic accomplishment. I mentioned terms as conditions, so let us understand Biogea as bio-yea, a yes to bios . An affirmation of living and accepting presence for all of its defiance of images, words, and things temporal. Therefore Serres’ existence and its existants plays parts; out of linearity and still like a porous bone pumping blood it manufactures into the fleshy life it becomes. Starting from a man named silence chaos emerges, or the man “Old Taciturn” takes up a journey anticipating a great flood. In other words, a development akin to the one in Genesis. In dealing with this ancestral occupation, fusing Genesis with contemporary philosophical terms, Serres initiates this anachronistic fragmentation under the forming subjectivity of his own autobiography. This mutation in the open system is precisely one of Serres’ terms. There an abyss is at work, stated, but also measured by heels on the ground—the abyss dispatching earthen tensions, that which plays our tunes, that which we abide by and recognize in volcanoes, rivers, oceans, earthquakes and weaponry in the battles of the world. Set in later stages of the book, such tensions are harnessed through scientific principles in an attempt to unify the terms of natural force if only to terminate the world. Thus the elevation of the earth into the world is clearly set forth. Here already, and few pages in, a resonance is set forth under appellations such as the river Garonne, a subjectivity as much as it is inhuman, the river is the inhuman that makes us human. I get the sense that Serres is taking up a challenge issued by Wallace Stevens; namely, that the great poems of heaven and hell have been written, but that only the poem of the earth has resisted composition. 2 On this level we cannot avoid the killing factor of silence, given that our cognition blocks its pure, radical obliteration. Thus a silence of attunement to the earth is in a novel dialectic of the rithmic and rhythm. A technological world, a triumph of termination is set forth. If a text imposes its will given the reader who authorizes it, it is made to convey or convect a presupposition to a reader or its inhabitant(s). Text is therefore both, in-content, contenting, contentedness, and in reading it, a way to navigate self-destruction (dis-content). Here then would one note that the “inhuman” reveals itself, “an aperiodic rhythm of lovers and beloved…the sea as our friend…but as our enemy…maternal vivifying sea.” The sea is an open book, or vaginal birth canal, where the engagement of text comes forth: “…woman sea, open vulva.” One sees like the sea, but only after it, when the uninhabitable truth of inhabiting it switches the polarity of the sailors soul: “I was seeing like the sea” (9-11). In other words, we are invited to embrace the nonsense of the visible. At this point I am taken to Jean-François Lyotard’s work The Inhuman , specifically the first entry on negentropy that would be congruent with Serres’ thematic. 3 The human being exports, deports, or transplants its relation through text, through the system— and this is its sense or relation to silence, to music. Unaware of Serres’ proximity to this work, the concept of gender interrelation as regards a solar catastrophe runs clear. It would be, on this basis, that Serres references his peers, the other texts that, as mentioned above, are discarded in philosophy today. For students of philosophy what we have here is perhaps a gift, a needed project. If silence and death are at work, there is a political valence to deal with, and here, much like the domain of the text and the dominion of the reader, we confront the world of natural, fluid violence. The anti-postmodernist critique is in part based on a weak idea that the loss of ideology, of a world vision, motivates the “correlationist” project. 4 Serres seems to offer another way to view this when he notes that whereas persons “sometimes kill,” it is clearly “the collective” that “always kills” (17). What is the collective today, if not an organizing function we never see yet acts in its favor in the name of truth? One feels a sense of enigma here, if only to link to what Stevens remarked of communism as a “grubby faith,” providing this applies for capitalism as well, namely any ideology of progress overly interested in absolutes. Here we get the sense that the inhuman, silence, this type of killing, always killing, could not be matched by human-made, political dynamos. Or that if it comes to an equilibrium, a catastrophe is never too far from us to read with our heels. We are left to note that the forces of nature presuppose and permeate political systems, the more these systems obtain force, the more the system takes upon itself the proper name of nature that motivates its dissemination, albeit falsely. This note, that in an age of ecocide and technological captivity (sustainability and transparency) political regimes won’t grow our soul-learning ears any larger than our tongues, stands clear to us. The promise of technological desubjectification is here pushed aside. Regarding politics, Serres illustrates this fact: Where did this corpse come from? Who was it? Who killed it? I don’t know. I won’t try to find out. I refuse to get vengeance for it. And I only see Garonne. For our victims, today, are the rivers, too. Their waters have irrigated my life, enchanted my thought, invigorated my body; I’ve known them to be threatening, untamable, as dangerous as the sea when it rages. Yes, murderous. They decided to control their courses; dams, sometimes senseless, destroying sites and valleys, reduced entire populations to servile displacements; programs for the irrigation of thirsty farmland, often beneficial of course, completed their drying up.(22) Serres enters into his idea concerning the captivity of language from the natural into a world system: For thousands of years, we have been licking things with our tongues, covering and daubing them so as to appropriate things for ourselves. If language boils down to a convention, this convention took place between the speakers without consulting the thing named, become as a result the property of those who covered it in this way with their drawn or voiced productions. Malfeasance analyzes these acts of appropriation. Thus every inert object, every living thing as well, sleeps under the covers of signs, a little in the way that, today, a thousand posters shouting messages and ugly riots of color drown, with their filthy flood, the landscapes, or better, exclude them from perception because the meaning, almost nil, of this false language and these base images forms an irresistible source of attraction to our neurons and eyes. This appropriation covers the world’s beauty with ugliness. (38-39) Technological concealment coming to bear, we begin to get a sense of another commentary on the condition of sensing, driving home the necessity of a text dealing with such subject matter to be what its terms insist. Thus toward new openings: The new opening. As low beneath our feet as you like, the Biogea opens us to another space, high enough for us to be able to acquire a wisdom there, that of redeveloping this same place differently from our fathers, this place that’s still politically cut up by old hatreds, beneath the flood of tears and blood that we call history. Without this soft place, spiritually very old, but newly conceived in this way, without the juridical construction of a common good, opposed to our filthy ownership, I don’t see how our planet, hard, will survive. Hardness that depends on a softness, material belonging that depends on this temporary rented location (51). Serres enters into a summit on the content and the structure of his work. Archimedes is brought in with the concept of three volcanoes. Meaning fire, but as well earth, water, air. For it was Archimedes’ war machines that sought to lift the earth, thus bringing in the question of principles of science: “can a principle be invented while controlling its consequences?” (66-7). May the earth be put in a sentence, terminated by terminology, appellations, gone wild? By means of these element-dominating laws, this old physicist began to tear nature away from the ancient myths; by a strange return, today we’re plunging our successes back into the anxieties and terrors from which that ancient physics was born. Yes, our new history of science and technology is plunging, today, as though in a loop, into the fundamental human myths from which Empedocles’ first laws came. A major progression and a regression on the nether side of the origins. Consequently, the contemporary time requires that we try to return to that unity in which the principles of hate and love are at the same time human, living, inert and global. We will never attain a deontology of our knowledge and actions without thinking the subjective, the objective, the collective, and the cognitive all together simultaneously. Here, hate and love are the result of these four components.(71) Working then on the concept of fire-starting mirrors to the atomic annihilation of the Second War, Serres works into the subjectivity in question on the matter of rhythm—say rithmic— precisely at that point: Knowledge is changing today. The all-political is dying; the monarchy of the sciences said to be hard is coming to a close. The science of the things of the world will have to communicate just as much as the things of the world do, which do it much better than humans do, who don’t always want to do it. Let’s celebrate two changes this morning. The first one strikes a new blow to our narcissism. No, knowledge and the world don’t resemble our analytical enjoyments of refined cutting up, of endless debates and of exclusions full of hate. They, on the contrary, form a bloc and a sum, alliance and alloys. Uniting the fields of knowledge among themselves the way the things are connected among themselves, the second newness puts into place sets united by interlacing, webs and simplexes that combine with the things of the world, themselves combined, the combined knowledge that understands them.(130-1) Biogea closes on its opening flood thematic, approaching the initial telos of Genesis. Here the trees are brought into a position with atmosphere, the opaque abyssal reservoir, the tomb of the sun, sea in the polarity of the earthen heaven and hell. The poem of the earth then is silent but deadly, indeed, as funny as that phrase is, mainly a tomb gas. The meaning of the living and the non-meaning of things converge in the muteness of the world; this meaning and non-meaning plunge there and come out, the ultimate eddy. Mundus patet: through a fissure, through an opening, a fault, a cleft come noises, calls as small as these apertures. I’m listening, attentive, I’m translating, I’m advancing in the scaled-down meaning and science. Mundus patet: should the world open greatly, it will launch me into its silence. The totality remains silent. Knowledge expanded in elation. White origin of meaning, fountain of joy. (198) Final Remarks One test of a review is the long term trajectory the referee thinks the book will have. I see Serres’ text lending greatly into the vision of Biogea . In fact, in the vision of the novel inquiries of Stephen Jay Gould’s work there is something to be thought on the level of the individual and the species; namely, that humanity and its uniqueness is in its deferral, its thinking and naming, a thinking surrounded by silence that filters into everything, that pulls us through the world, the kinetic pulse we recognize, and all of that we cleave away in the base philosophical maxim of difference itself. Unique individuals are spatial creatures: we dwell, and we ought to get good at it. Yet this is an imaginative space that, if you are crazy enough to believe it, de-term-ine the conditions of its own terms. That is why we are not merely creating spaces on the acceleration of time, or so this ignoramus thinks, to accidentally transcend. Imagination already has this insatiable silence that we drink up and fail to manifest. Space is timeless. The imagination itself, shared by humans for themselves, their objects, and the species as a whole, is a non-defined space of relation; a whole human trajectory as part of nature, and part of worlds that are the other side of thinking nature, the consequence of it, at least our attempt to do so. Our survival is based on our deliberation, our caution, our natural deconstructive sense toward this silence that is already part of the song, sung, singing of this century without end. Good books will let us inhabit this space and recognize a form of life. Serres’ text moves toward dwelling, as noted, in masterful and accessible ways. The pitched battles are the falling replays of anemic and dead politics. As soon as we realize there is humanity, we may be able to enjoy the end of it, our inhuman capability of listening to silence. NOTES 1. See Michel Serres. The Parasite . Minneapolis: University of Minnesota Press. 2007. 2. Wallace Stevens, “Imagination as Value” [ca. 1945], in Collected Poetry and Prose . New York: The Library of America. 1997. 724-39. 3. Jean-François Lyotard. The Inhuman: Reflections on Time . Trans. Geoffrey Bennington & Rachel Bowlby. Stanford, CA: Stanford University Press. 1992. 4. See the introduction: Quentin Melliassoux. After Finitude: An Essay on the Necessity of Contingency . Trans. Ray Brassier. New York: Continuum. 2008. EDITOR'S NOTE: This review was updated on August 8, 2012. Substantial edits include block quotes from the book under review as well as the inclusion of comments from the author. (shrink)