Cognitive theory (CT) is currently the most widely acknowledged framework used to describe the psychological processes in affective disorders like depression. The purpose of this paper is to assess the philosophical assumptions upon which CT rests. It is argued that CT must be revised due to significant flaws in many of these philosophical assumptions. The paper contains suggestions as to how these problems could be overcome in a manner that would secure philosophical accuracy, while also providing an account that is (...) better suited to explaining some of the cognitive, emotional, and bodily manifestations of affective disorders. (shrink)

Some philosophers hold that the depth of an emotion is a question of how embedded it is among the person’s other mental states. That means, the emotion is inter-connected with other states such that its alteration or removal would lead to widespread changes in the mind. This paper argues that it is necessary to distinguish two different concepts of embeddedness: the inter-connections could either be rational or causal. The difference is non-trivial. This paper argues that the rational approach cannot admit (...) that certain types of recalcitrant emotion are deep without violating requirements of charity in the interpretation of others. Furthermore, it also argues that the causal approach is necessary to explain the depth of even non-recalcitrant emotions. So, if emotional depth is to be conceived as a kind of embeddedness, the relevant concept of embeddedness must be the causal one. (shrink)

This article investigates the emotional undercurrents of Tove Jansson’s Moominvalley in November. I argue that one of the main characters of Jansson’s book is the autumn forest that surrounds the abandoned Moomin house. The decomposing forest is not just an emblem of the inner lives of the guests that gather in the house but is an active character itself: an ambiguous life form that creeps in the house and must be expelled from its living core. I further demonstrate that the (...) emotion of disgust has a crucial role in Jansson’s narrative, and that an adequate analysis of the intentional content of disgust allows us to see what is at issue in the relations between the characters. In my reading, the main insight of Tove Jansson’s last Moomin book is not about loss or sorrow but is about the human capacity to begin anew by composing novel wholes from scraps. (shrink)