This article integrates arguments and evidence from my 2019 monograph Heart to Heart: How Your Emotions Affect Other People. The central claim is that emotions operate as processes of relation alignment that produce convergence, complementarity, or conflict between two or more people’s orientations to objects. In some cases, relation alignment involves strategic presentation of emotional information for the purpose of regulating other people’s behaviour. In other cases, emotions consolidate from socially distributed reciprocal adjustments of cues, signals, and emerging actions without (...) any explicit registration or communication of emotional meaning by parties to the exchange. The relation-alignment approach provides a fresh perspective on issues relating to emotion’s interpersonal, intragroup, and organizational functions and clarifies how emotions are regulated for social purposes. (shrink)

Emotion-related words differ across societies and eras. Does this mean that emotions themselves differ in similar ways? Three perspectives on language-emotion relations suggest alternative answers to this question. A referential approach implies that any language's emotion concepts provide a potentially perfectible mapping of the emotional world. Constructionist approaches suggest that linguistic concepts shape culturally different emotion perceptions. By contrast, a pragmatic approach emphasizes the performative functions served by conversational uses of emotion words. From this perspective, emotional language is attuned to (...) culture-specific requirements for aligning relations between people and objects. Thus, emotional utterances may be constituents of socially functional emotions rather than separate commentaries on them. Full understanding of cultural variation requires investigation of naturalistic emotional conversations in different societies. (shrink)

How do facial movements and verbal statements relate to emotional processes? A familiar answer is that the primary phenomenon is an internally located emotion that may then get expressed on the fac...

A recurrent theme in contemporary narratives of grieving is that there is a gap between the griever’s more or less consciously chosen expression of, and acting out of, grief and loss and other people’s seeming lack of acceptance. Starting from the view that the social context of feelings and emotions are constitutive in making an emotional experience what it is, this article explores what is done and experienced in acts of grief. A phenomenological perspective is applied to analyze the conditioning (...) of these experiences, and what the acts of grieving may accomplish in relation to various aspects of the self, indeed selves—that is, in relation to the surviving relative as well as the deceased. (shrink)

One of the themes of this lecture series has to do with the bearing of radical cultural divergencies on the issue of whether or not there is an invariant human nature. Put starkly, the options are between: first, man as a socio-cultural product, which entails that human nature must vary significantly across divergent cultures; second, man as a biological product, which entails (racist theories aside) that human nature is universal and invariant, impervious to cultural influence; and third, man as a (...) mixture or synthesis of these two options. (shrink)

One of the themes of this lecture series has to do with the bearing of radical cultural divergencies on the issue of whether or not there is an invariant human nature. Put starkly, the options are between: first, man as a socio-cultural product, which entails that human nature must vary significantly across divergent cultures; second, man as a biological product, which entails (racist theories aside) that human nature is universal and invariant, impervious to cultural influence; and third, man as a (...) mixture or synthesis of these two options. (shrink)

The capacity of a work of fictional literature to elicit emotional responses is part of what is valuable about it, and having emotional responses is part of appreciating it. These claims are not very controversial; perhaps they are even common sense. But philosophy rushes in where common sense fears to tread, raising questions and looking for explanations.Are the emotions we have in appreciating fictional works of art, what I call art emotions, of the same sort as those which occur in (...) ‘real life’? Which emotions are appropriate to the work, and why: what justifies having one emotion rather than another? And why should we think emotionally responding to fiction is desirable, something which should be respected and encouraged, rather than looked at as a little weird or a waste of time? (shrink)