This author reviews some of the issues on which legal feminism has worked as well as the current status of the discussion, especially in Italian feminism. This is the case of family relationships, procreation and abortion, violence against women and security policies, prostitution, work in the labour market, the limits to citizenship and the confluence of feminism and the claims of cultural identities. With the assumption that legal feminism does not mean only “studies on women” but involves a crucial perspective (...) to discuss any subject, the author also reviews the relationship between feminism, law and gender. (shrink)

Congenital amusia in its most common form is a disorder characterized by a musical pitch processing deficit. Although pitch is involved in conveying emotion in music, the implications for pitch deficits on musical emotion judgements is still under debate. Relatedly, both limited and spared musical emotion recognition was reported in amusia in conditions where emotion cues were not determined by musical mode or dissonance. Additionally, assumed links between musical abilities and visuo-spatial attention processes need further investigation in (...) congenital amusics. Hence, we here test to what extent musical emotions can influence attentional performance. Fifteen congenital amusic adults and fifteen healthy controls matched for age and education were assessed in three attentional conditions: executive control, alerting, and orienting while music expressing either joy, tenderness, sadness, or tension was presented. Visual target detection was in the normal range for both accuracy and response times in the amusic relative to the control participants. Moreover, in both groups, music exposure produced facilitating effects on selective attention that appeared to be driven by the arousal dimension of musical emotional content, with faster correct target detection during joyful compared to sad music. These findings corroborate the idea that pitch processing deficits related to congenital amusia do not impede other cognitive domains, particularly visual attention. Furthermore, our study uncovers an intact influence of music and its emotional content on the attentional abilities of amusic individuals. The results highlight the domain-selectivity of the pitch disorder in congenital amusia, which largely spares the development of visual attention and affective systems. (shrink)

The last decade has witnessed a dramatic revival of interest in Hellenistic philosophy. No longer can one complain that scholars pitch their tents on Aristotelian turf and refuse to move beyond it. Indeed, the burgeoning literature on Hellenistic philosophy might now raise doubts about whether an author breaks any new ground. Sorabji's latest book analyzes many of the same texts and issues explored in Martha Nussbaum's The Therapy of Desire ; and he, too, argues that ancient philosophical therapy can (...) be useful to ordinary people in our own overstressed, post-industrial age. Emotions and Peace of Mind nonetheless has its own fascinating story to tell. Roughly the first two thirds of the book, devoted to the Stoics and their pagan critics, set the stage for an account of how early Christians revised Stoic teachings. Central to the tale is an aspect of Stoicism probably unfamiliar to most readers: the theory of “pre-passions” or “first movements”. According to Sorabji, the distinction between these involuntary movements and genuine emotions was muddied by Origen and other Christian thinkers, who reshaped the Stoic theory of how to avoid agitation into a theory of how to avoid temptation. The first movements so important to Seneca's thought became in the fourth-century hermit Evagrius the eight bad thoughts that monks must work especially hard to vanquish. With some modest transformations, these eight bad thoughts ultimately emerged as the seven deadly sins of Dante's Purgatorio. (shrink)

Don't Stoics notoriously reject emotion altogether? Isn't it precisely their utter lack of feeling, flat affect, and freakish insensibility which make Stoics seem so inhuman and unattractive? In this excellent book Margaret Graver deftly demonstrates that attentive study of the Stoics' theory of emotion squashes such misconceptions. Graver follows her earlier work on Cicero on emotions with a lucidly written (though at times less than maximally engaging), compellingly argued, and carefully researched investigation which should remain an indispensable resource for (...) study of the Stoics on emotions for years to come. As it is pitched for readers well versed in ancient Greek literature with a fair degree of philosophical training, scholars and graduate students in Classical philosophy will benefit the most from this work. It contains an introduction, nine chapters, an appendix on the status of confidence in Stoic classifications, endnotes, a good bibliography, an index locorum, and a general index. In what follows I will summarize each of its main parts and raise a couple of points to consider. (shrink)

Audio features such as inharmonicity, noisiness, and spectral roll-off have been identified as correlates of “noisy” sounds. However, such features are likely involved in the experience of multiple semantic timbre categories of varied meaning and valence. This paper examines the relationships of stimulus properties and audio features with the semantic timbre categories raspy/grainy/rough, harsh/noisy, and airy/breathy. Participants rated a random subset of 52 stimuli from a set of 156 approximately 2-s orchestral instrument sounds representing varied instrument families, registers, and both (...) traditional and extended playing techniques. Stimuli were rated on the three semantic categories of interest, as well as on perceived playing exertion and emotional valence. Correlational analyses demonstrated a strong negative relationship between positive valence and perceived physical exertion. Exploratory linear mixed models revealed significant effects of extended technique and pitch register on valence, the perception of physical exertion, raspy/grainy/rough, and harsh/noisy. Instrument family was significantly related to ratings of airy/breathy. With an updated version of the Timbre Toolbox, we used 44 summary audio features, extracted from the stimuli using spectral and harmonic representations, as input for various models built to predict mean semantic ratings for each sound on the three semantic categories, on perceived exertion, and on valence. Random Forest models predicting semantic ratings from audio features outperformed Partial Least-Squares Regression models, consistent with previous results suggesting that non-linear methods are advantageous in timbre semantic predictions using audio features. Relative Variable Importance measures from the models among the three semantic categories demonstrate that although these related semantic categories are associated in part with overlapping features, they can be differentiated through individual patterns of audio feature relationships. (shrink)

Fundamental frequency, perceived as pitch, is the first and arguably most salient auditory component humans are exposed to since the beginning of life. It carries multiple linguistic and paralinguistic functions in speech and communication. The mappings between these functions and ƒ0 features vary within a language and differ cross-linguistically. For instance, a rising pitch can be perceived as a question in English but a lexical tone in Mandarin. Such variations mean that infants must learn the specific mappings based (...) on their respective linguistic and social environments. To date, canonical theoretical frameworks and most empirical studies do not view or consider the multi-functionality of ƒ0, but typically focus on individual functions. More importantly, despite the eventual mastery of ƒ0 in communication, it is unclear how infants learn to decompose and recognize these overlapping functions carried by ƒ0. In this paper, we review the symbioses and synergies of the lexical, intonational, and emotional functions that can be carried by ƒ0 and are being acquired throughout infancy. On the basis of our review, we put forward the Learnability Hypothesis that infants decompose and acquire multiple ƒ0 functions through native/environmental experiences. Under this hypothesis, we propose representative cases such as the synergy scenario, where infants use visual cues to disambiguate and decompose the different ƒ0 functions. Further, viable ways to test the scenarios derived from this hypothesis are suggested across auditory and visual modalities. Discovering how infants learn to master the diverse functions carried by ƒ0 can increase our understanding of linguistic systems, auditory processing and communication functions. (shrink)

It is a familiar feature of our affective psychology that our moods ‘crystalize’ into emotions, and that our emotions ‘diffuse’ into moods. Providing a detailed philosophical account of these affective shifts, as I will call them, is the central aim of this paper. Drawing on contemporary philosophy of emotion and mood, alongside distinctive ideas from the phenomenologically-inspired writer Robert Musil, a broadly ‘intentional’ and ‘evaluativist’ account will be defended. I argue that we do best to understand important features (...) of these affective shifts – which I document across this paper – in terms of intentional and evaluative aspects of the respective states of moods and emotion. At same the time, the account is pitched at the phenomenological level, as dealing with affective shifts primarily in terms of moods and emotions as experiential states, with respect to which it feels-like-something to be undergoing the relevant affective experience. The paper also applies the intentional-evaluative model of affective shifts to anxiety in more detail, developing the idea that certain patterns of affective shift, particularly those that allow for a kind of ‘emotional release’, can contribute to a subject’s well-being. (shrink)

Conveying emotions in spoken poetry may be based on a poem’s semantic content and/or on emotional prosody, i.e. on acoustic features above single speech sounds. However, hypotheses of more direct sound–emotion relations in poetry, such as those based on the frequency of occurrence of certain phonemes, have not withstood empirical (re)testing. Therefore, we investigated sound–emotion associations based on prosodic features as a potential alternative route for the, at least partially, non-semantic expression and perception of emotions in poetry. We (...) first conducted a pre-study designed to validate relevant parameters of joy- and sadness-supporting prosody in the recitation, i.e. acoustic production, of poetry. The parameters obtained thereof guided the experimental modification of recordings of German joyful and sad poems such that for each poem, three prosodic variants were constructed: one with a joy-supporting prosody, one with a sadness-supporting prosody, and a neutral variant. In the subsequent experiment, native German speakers and participants with no command of German rated the joyfulness and sadness of these three variants. This design allowed us to investigate the role of emotional prosody, operationalized in terms of sound-emotion parameters, both in combination with and dissociated from semantic access to the emotional content of the poems. The findings from our pre-study showed that the emotional content of poems (based on pre-classifications into joyful and sad) indeed predicted the prosodic features pitch and articulation rate. The subsequent perception experiment revealed that cues provided by joyful and sad prosody specifically affect non-German-speaking listeners’ emotion ratings of the poems. Thus, the present investigation lends support to the hypothesis of prosody-based iconic relations between perceived emotion and sound qualia. At the same time, our findings also highlight that semantic access substantially decreases the role of cross-language sound–emotion associations and indicate that non-German-speaking participants may also use phonetic and prosodic cues other than the ones that were targeted and manipulated here. (shrink)

In recent years, the opioid crisis in the United States has sparked significant discussion on doctor–patient interactions concerning chronic pain treatments, but little to no attention has been given to investigating the vocal aspects of patient talk. This exploratory sociolinguistic study intends to fill this knowledge gap by employing prosodic discourse analysis to examine context-specific linguistic features used by the interlocutors of two distinct medical interactions. We found that patients employed both low pitch and creak as linguistic resources when (...) describing chronic pain, narrating symptoms and requesting opioids. The situational use of both features informs us about the linguistic ways in which patients frame fraught issues like chronic pain in light of the current opioid crisis. This study expands the breadth of phonetic analysis within the domain of discourse analysis, serving to illuminate discussions surrounding the illocutionary role of the lower vocal tract in expressing emotions. (shrink)

This chapter contains sections titled: Emotional Trauma The Therapeutic Power of the Blues Three ‘Clinical’ Illustrations ‐ The Role of Lyrics Musical Characteristics of the Blues Concluding Remarks Notes.

This review identifies at least six different kinds of fellow-feeling in Adam Smith’s Theory of Moral Sentiments. The six kinds are (i) the mirroring of emotions; (ii) altruism; (iii) judgment of pitch of emotions/actions; (iv) judgment of merit of emotions/actions; (v) friendship-and-love; and (vi) aspiration that leads to admiration. Smith does not list them side-by-side. This side-by-side listing promises to help thinkers to see how to assemble them to construct a coherent and systematic framework on how (...) to amalgamate three moments of behavior: the emotional, the rational, and the moral. (shrink)

Among human and non-human animals, the ability to respond rapidly to biologically significant events in the environment is essential for survival and development. Research has confirmed that human adult listeners respond emotionally to environmental sounds by relying on the same acoustic cues that signal emotionality in speech prosody and music. However, it is unknown whether young children also respond emotionally to environmental sounds. Here, we report that changes in pitch, rate (i.e. playback speed), and intensity (i.e. amplitude) of environmental (...) sounds trigger emotional responses in 3- to 6-year-old American and Chinese children, including four sound types: sounds of human actions, animal calls, machinery, and natural phenomena such as wind and waves. Children’s responses did not differ across the four types of sounds used but developed with age – a finding observed in both American and Chinese children. Thus, the ability to respond emotionally to non-linguistic, non-music environmental sounds is evident at three years of age – an age when the ability to decode emotional prosody in language and music emerges. We argue that general mechanisms that support emotional prosody decoding are engaged by all sounds, as reflected in emotional responses to non-linguistic acoustic input such as music and environmental sounds. (shrink)

With the development of deep neural networks, automatic music composition has made great progress. Although emotional music can evoke listeners' different auditory perceptions, only few research studies have focused on generating emotional music. This paper presents EmotionBox -a music-element-driven emotional music generator based on music psychology that is capable of composing music given a specific emotion, while this model does not require a music dataset labeled with emotions as previous methods. In this work, pitch histogram and note density (...) are extracted as features that represent mode and tempo, respectively, to control music emotions. The specific emotions are mapped from these features through Russell's psychology model. The subjective listening tests show that the Emotionbox has a competitive performance in generating different emotional music and significantly better performance in generating music with low arousal emotions, especially peaceful emotion, compared with the emotion-label-based method. (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)

A Defence of the Perceptual Account of Emotion Against the Alleged Problem of Ambivalent Emotion: Expanding on Tappolet Tappolet (2005) has defended the perceptual account of emotion against a problem which some have raised against it, stemming from the phenomenon of ambivalent emotions. According to Tappolet, we can explain cases of ambivalent emotions unproblematically. To persuade us of this, she draws our attention to circumstances in which it seems entirely appropriate to have conflicting emotions with respect to (...) the same situation. On her perceptual account of emotions, in such situations our emotions disclose two values, e.g., danger and attractiveness, at the same time. My aim here is to defend Tappolet by expanding on the considerations she adduces. In order to do this, I utilize Prinz's notion of "valence". Using this terminology, I shall show that the undeniable co-instantiation of emotions that are our intuitions classifies as "contrary", for example, fear and attraction does not actually constitute a contradiction. (shrink)

This article proposes that the propagation of vibrations could serve as a better model for understanding the transmission of affect than the flow, circulation or movement of bodies by which it is most often theorized. The vibrations (or idiomatically ‘vibes’) among the sound system audience (or ‘crowd’) on a night out on the dancehall scene in Kingston, Jamaica, provide an example. Counting the repeating frequencies of these vibrations in a methodology inspired by Lefebvre’s rhythmanalysis results in a Frequency Spectrogram. This (...) ranges from the sociocultural frequencies of nightly, weekly and seasonal cycles and circulations of musical style and fashion, to the material frequencies of the amplitudes and timbres of sound itself, with reggae’s signature low-pitched bass-line, to the corporeal frequencies of the flesh and blood of the dancehall ‘crowd’, pulsating with heartbeats and kinetic dance rhythms. The vibration model then addresses the intensities of affect in terms of auditory amplitudes, as with sonic dominance; feelings as frequencies; and the distinctive meaning of affect as timbre. This aims to encourage the radical impulse of the idea of affect to abandon the traditional envelope of the autonomous, self-consistent, rational individual. The meaning of affect is thus located in the ratio, proportions and patterning of vibrations, that is, outside the discourse of emotions or representation of feelings. (shrink)

This authoritative volume provides a comprehensive road map of the important and rapidly growing field of emotion regulation.

He pays suitable attention to a serious ally and antagonist to the task of philosophy as he understands it, namely, Jacques Derrida - yet Derrida has mounted a full-scale attack on "voice" and other concepts that Cavell has held open for much of a lifetime.

This is the first comprehensive book-length introduction to the philosophy of Western music that fully integrates consideration of popular music and hybrid musical forms, especially song. Its author, Andrew Kania, begins by asking whether Bob Dylan should even have been eligible for the Nobel Prize in Literature, given that he is a musician. This motivates a discussion of music as an artistic medium, and what philosophy has to contribute to our thinking about music. Chapters 2-5 investigate the most commonly defended (...) sources of musical value: its emotional power, its form, and specifically musical features (such as pitch, rhythm, and harmony). In chapters 6-9, Kania explores issues arising from different musical practices, particularly work-performance (with a focus on classical music), improvisation (with a focus on jazz), and recording (with a focus on rock and pop). Chapter 10 examines the intersection of music and morality. The book ends with a consideration of what, ultimately, music is. (shrink)

This paper presents a new line of inquiry into when and how music as a semiotic system was born. Ten principal expressive aspects of music retain specific structural patterns to signify a certain affective state, which distinguishes the tonal organization of music from the phonetic and prosodic organization of natural languages. Therefore, the question of music’s origin can be answered by establishing the point in human history, at which expressive aspects might have been abstracted from the instinct-driven primate calls and (...) used to express human psycho-emotional states. Etic analysis of acoustic parameters is the prime means of cross-comparison of the typical patterns of expression of the same basic emotions in human music versus animal vocal communication. A new method of such analysis is proposed here. Formation of such expressive aspects as meter, tempo, melodic intervals, and articulation can be explained by the influence of bipedal locomotion, breathing cycle, and heartbeat, long before Homo sapiens. However, two aspects, rhythm and melodic contour, most crucial for music as we know it, lack proxies in the Paleolithic lifestyle. The available ethnographic and developmental data leads one to believe that rhythmic and directional patterns of melody became involved in conveying emotion-related information as a result of frequent switching from one call-type to another within the limited repertory of calls adopted for ongoing caretaking of human youngsters and domestic animals. The efficacy of rhythm and pitch contour in affective communication must have been discovered spontaneously in new important cultural activities. The most likely scenario for music to have become fully semiotically functional is the formation of cross-specific communication between humans and domesticated animals during the Neolithic demographic explosion. The model of such communication can be found in the surviving tradition of Scandinavian pastoral music. This article discusses the most likely ways in which such music evolved. (shrink)

Emotional experiences are often described in metaphoric language. A major question in linguistics and cognitive science is whether such metaphoric linguistic expressions reflect a deeper principle of cognition. Are abstract concepts structured by the embodied, sensorimotor domains that we use to describe them? This review presents the argument for conceptual metaphors of affect and summarizes recent findings from empirical studies. These findings show that, consistent with the conceptual metaphor account, the associations between affect and physical domains such as spatial position, (...) musical pitch, brightness, and size which are captured in linguistic metaphors also influence performance on attention, memory and judgment tasks. Despite this evidence, a number of concerns with metaphor as an account of affect representation are considered. (shrink)

Expressions of emotion pose a serious challenge to the view that we perceive other people’s emotions directly. If we must perceive expressions in order to perceive emotions, then it is only ever the expressions that we are directly aware of, not emotions themselves. This paper develops a new response to this challenge by drawing an analogy between expressions of emotion and perceptual media. It is through illumination and sound, the paradigmatic examples of perceptual media, that we can (...) see and hear objects around us. Instead of screening these objects from view, however, they enable our perception while being transparent to us. With reference to perceptual constancy and transparency, I show how expressions show up in our experience of emotions in a surprisingly similar way. Given this, we can understand expressions as the media _through_ which we perceive emotions and overcome the above challenge to an otherwise attractive view. (shrink)

Appeals to emotion—pity, fear, popular sentiment, and _ad hominem_ attacks—are commonly used in argumentation. Instead of dismissing these appeals as fallacious wherever they occur, as many do, Walton urges that each use be judged on its merits. He distinguished three main categories of evaluation. First, is it reasonable, even if not conclusive, as an argument? Second, is it weak and therefore open to critical questioning for argument? And third, is it fallacious? The third category is a strong charge that incurs (...) a critical burden to back it up by citing evidence from the given text and context of dialogue. Walton uses fifty-six case studies to demonstrate that the problem of emotional fallacies is much subtler than has been previously believed. Ranging over commercial advertisements, political debates, union-management negotiations, and ethical disputes, the case studies reveal that these four types of appeals, while based on presumptive reasoning that are tentative and subject to default, are not always or necessarily fallacious types of argumentation. (shrink)

Most researchers of emotions agree that although cognitive evaluations such as beliefs, thoughts, etc. are essential for emotion, bodily feelings and their behavioral expressions are also required. Yet, only a few explain how all these diverse aspects of emotion are related to form the unity or oneness of emotion. The most prevalent account of unity is the causal view, which, however, has been shown to be inadequate because it sees the relations between the different parts of emotion as external (...) and contingent. I argue that an adequate account of unity would require internal or conceptual relations between the aspects of emotion, and I suggest that such an account can be found in Aristotle's metaphysics and theory of emotion, and specifically, in his form and matter distinction. After I show that emotions are intentional pleasures and pains or distresses, I argue that the characteristic intentional pleasure and pain of an emotion, along with its other intentional elements , are the form of the emotion, whereas the bodily feelings are its matter. Form and matter constitute a conceptual unity, which cannot be accounted for in conglomeration accounts that see emotions as mixtures of different parts related only through efficient causation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Book Reviews,Shapes oS Philosophical History. By Frank E. Manuel. (Stanford: Stanford University Press, 1965.Pp. 166.$1.95.) Based upon his seven Camp Lectures of 1962 at Stanford, Professor Manuel has issued this taut and recondite volume describing the forms philosophical history has taken in the West. He has performed a difficult task well, giving much scholarly substance to his theme that two archetypal shapes of speculative history-writing have dominated Western thought, (...) one an Augustinian teleological.unitary-procursus view, the other a Polybian, cyclical, Ixionlike, Stoic model. The first is broadly defined as "movement either to a fixed end, or to an indefinite end that defines itself in the course of the progression, history as novelty-creating and always variant"; the second as "circularity, eternal recurrence, return to the beginning of things, sheer reiteration or similar recapitulation." Comte and modem progressists are at the end of the first line, Nietzsehe and Spengler and other cylicists at the end of the second. However, broadly again, amalgamations of the two types are possible, syncretistic variants have often taken shape, and, Protean-hke, both lend themselves to almost infinite interpretive patterns. These typologies are psychological more than logical polarities, both emotional and intellectual alternatives, so they often stand for and serve contradictory purposes. Yet historians tend to betray their preference for one of these opposed conceptions, according to Manuel, as they "select an identity for historic man." Deliberately refraining from taking sides on the issue (thus implicitly casting some doubt on his contention that historians and others "inevitably betray their preference for one of these opposing conceptions"), Manuel addresses himself to the task of illuminating the polarity, exhibiting the multiplicity of its forms through time and focusing upon crucial moments of the debate in the West. Of these exhibits--early Christians vs. pagans, Augustine vs. Joachim, the virtual triumph of cyclicism in the Renaissance (albeit with a split developed between negative and positive, pessimist and optimist cyclicists), the ambivalence of the eighteenth-century Germans on the issue (particularly Kant and Herder), the triumphant optimism of the French perfectibilists, the vacillation of the German academists--Manuel's examination of the French and German writers stands out, although the range of his knowledge and first-hand inspection of archival sources from Augustine's time to Toynbee's demonstrates an admirable scholarship. Of the eighteenth-century Germans, Manuel well illustrates their ambivalent and paradoxical side. Herder, for example, nominally an opponent, debating against "abderite" cyclical theory and apparently concluding in favor of it; Goethe wondering whether the world "will become one great hospital in which we behave toward one another like benign male nurses" if Herder's more optimistic notions triumph; old Kant in his special language rejecting all then current models of world history (moral terrorism, abderitism and eudaemonism ) and opting for what Manuel calls a "mechanism... akin to the cunning of reason" to institute a just civil constitution and estabhsh perpetual peace, yet not really persuaded that his sanguine view of moral progress would prevail. As for the later Germans in and out of the Academy (particularly Hegel, Fichte, Schelling, HSlderlin and Hamann) while youthful enthusiasts of progress (everyone knows the story of the young Hegel and his friends planting the tree of liberty saluting the French revolution), their conceptions of history became more and more Platonic, more and more nostalgic and parochial. On the other hand Manuel's account of the eighteenth and nineteenth-century French relates their boundless energy and dedication to progressist conceptions, a development he holds as quite isolated and isolable from the German movement. Without doubt the French had the most imagination and the most confidence in developing philosophical history to an almost dizzying optimistic pitch. Manuel demonstrates a line from Voltaire through Turgot, Condorcet, Saint-Simon, Fourier and the Saint-Simonians to Auguste Comte, each building on the others in time, each theorizing "man's steady conquest of the external world, beginning in a period when he was still the member of a feeble and isolated band, and culminating in his present high estate." "The Golden Age of the human species is not behind us, it is before [171] 172 HISTORY OF PHILOSOPHY us," Saint-Simon... (shrink)

ABSTRACTEmotional events tend to be remembered better than neutral events, but emotional states and stimuli may also interfere with cognitive processes that underlie memory performance. The current study investigated the effects of emotional content on working memory capacity, which involves both short term storage and executive attention control. We tested competing hypotheses in a preregistered experiment. The emotional enhancement hypothesis predicts that emotional stimuli attract attention and additional processing resources relative to neutral stimuli, thereby making it easier to encode and (...) store emotional information in WMC. The emotional impairment hypothesis, by contrast, predicts that emotional stimuli interfere with attention control and the active maintenance of information in working memory. Participants completed a common measure of WMC (the operation span task; Turner, M. L., & Engle, R. W. [1989]. Is working memory capacity task dependent? Journal of Memory and Language, 28,... (shrink)

Now in a thoroughly revised and expanded third edition, this authoritative Handbook reviews current knowledge about all aspects of emotion and its role in human ...

A definition of emotion common to the affective sciences is an urgent desideratum. Lack of such a definition is a constant source of numerous misunderstandings and a series of mostly fruitless debates. There is little hope that there ever will be agreement on a common definition of emotion, given the sacred traditions of the disciplines involved and the egos of the scholars working in these disciplines. Our aim here is more modest. We propose a list of elements for a working (...) definition of emotion and discuss the justification for the inclusion of elements from our respective perspectives (philosophy and psychology). This working partial definition may at least serve as a litmus test to examine theories of emotion, old and new, across disciplinary boundaries. (shrink)

I present an overview of emotion theories, organised around the question of emotion causation. I argue that theories of emotion causation should ideally address the problems of elicitation, intensity, and differentiation. Each of these problems can be divided into a subquestion that asks about the relation between stimuli and emotions (i.e., the functional level of process description, cf. Marr, 1982) and a subquestion that asks about the mechanism and representations that intervene (i.e., the algorithmic level of process description). The (...) overview reveals that theories of emotion causation sometimes differ with regard to the kind of process that they hold responsible for emotion causation. More precisely, they hold different assumptions regarding the conditions under which the process is supposed to operate (optimal versus suboptimal), the format of the representations involved (propositional versus perceptual), and the object or input of the central process (stimulus versus responses/experience). Further, the overview reveals that theories of emotion causation sometimes differ with regard to the level of process description that they focus on. Finally, the overview brings to light several similarities among the theories discussed. (shrink)