Challenging and rewarding in equal measure, _Phenomenology of Perception_ is Merleau-Ponty's most famous work. Impressive in both scope and imagination, it uses the example of perception to return the _body_ to the forefront of philosophy for the first time since Plato. Drawing on case studies such as brain-damaged patients from the First World War, Merleau-Ponty brilliantly shows how the body plays a crucial role not only in perception but in speech, sexuality and our relation to others. Perhaps above all, Merleau-Ponty's (...) insights about the embodied mind are a bold and refreshing challenge to the new era of virtual reality and artificial intelligence, as scientists and psychologists discover the centrality of the body to mind and intelligence. (shrink)

Memoirs and autobiographical accounts of mental illness have been widely utilized in phenomenological psychopathology and, in particular, in the investigation of depression (Fuchs 2013; Ratcliffe 2010; Ratcliffe 2015), mania (Binswanger 1960; Bowden 2013), schizophrenia (Binswanger 1957; Parnas and Henriksen 2016; Sass 1994), anorexia nervosa (Bowden 2012; Legrand 2010), and borderline personality disorder (Stanghellini and Rosfort 2013). In this article I will provide a critical illustration of the different ways in which self- narratives have been employed in this context and I (...) will advance some suggestions as to how the use of life stories could further enhance the phenomenological understanding of mental illness and the therapeutic process. (shrink)

Narrative thinking -- Narrative thinking about one's past -- Grief : a case study -- Narrative thinking about one's future -- Self-forgiveness : a case study -- The narrative sense of self -- Narrative, truth, life, and fiction.

Sue Campbell reinstates the personal as an important dimension in analytic philosophy of mind. She argues that the category of feelings has a unique role in psychological explanation: the expression of feelings is the attempt to communicate personal significance. To develop a model for affective meaning, the author moves attention away from the classic emotions to feelings that are more personal, inchoate, and idiosyncratic.

First published in 1945, Maurice Merleau-Ponty’s monumental _Phénoménologie de la perception _signalled the arrival of a major new philosophical and intellectual voice in post-war Europe. Breaking with the prevailing picture of existentialism and phenomenology at the time, it has become one of the landmark works of twentieth-century thought. This new translation, the first for over fifty years, makes this classic work of philosophy available to a new generation of readers. _Phenomenology of Perception _stands in the great phenomenological tradition of Husserl, (...) Heidegger, and Sartre. Yet Merleau-Ponty’s contribution is decisive, as he brings this tradition and other philosophical predecessors, particularly Descartes and Kant, to confront a neglected dimension of our experience: the lived body and the phenomenal world. Charting a bold course between the reductionism of science on the one hand and "intellectualism" on the other, Merleau-Ponty argues that we should regard the body not as a mere biological or physical unit, but as the body which structures one’s situation and experience within the world. Merleau-Ponty enriches his classic work with engaging studies of famous cases in the history of psychology and neurology as well as phenomena that continue to draw our attention, such as phantom limb syndrome, synaesthesia, and hallucination. This new translation includes many helpful features such as the reintroduction of Merleau-Ponty’s discursive Table of Contents as subtitles into the body of the text, a comprehensive Translator’s Introduction to its main themes, essential notes explaining key terms of translation, an extensive Index, and an important updating of Merleau-Ponty’s references to now available English translations. Also included is a new foreword by Taylor Carman and an introduction to Merleau-Ponty_ _by Claude Lefort. Translated by Donald A. Landes. (shrink)

A story does more than recount events; it recounts events in a way that renders them intelligible, thus conveying not just information but also understanding. We might therefore be tempted to describe narrative as a genre of explanation. When the police invite a suspect to “tell his story,” they are asking him to explain the blood on his shirt or his absence from home on the night of the murder; and whether he is judged to have a “good story” will (...) depend on its adequacy as an explanation. Can we account for the explanatory force of narrative with the models of explanation available in the philosophy of science? Or does narrative convey a different kind of understanding, which requires a different model and perhaps even a term other than ‘explanation’? (shrink)

Everyone loves a good story. But does everyone live a good story? It has frequently been asserted by philosophers, psychologists and others interested in understanding the distinctive nature of human existence that our lives do, or should, take a narrative form. Over the last few decades there has been a steady and growing focus on this narrative approach within philosophical discussions of personal identity, resulting in a wide range of narrative identity theories. While the narrative approach has shown great promise (...) as a tool for addressing longstanding and intractable problems of personal identity, it has also given rise to much suspicion. Opponents of this approach charge it with overstating or distorting the structure of actual lives. (shrink)

Grief is not a kind of feeling, or a kind of judgement, or a kind of perception, or any kind of mental state or event the identity of which can be adequately captured at a moment in time. Instead, grief is a kind of process; more specifically, it is a complex pattern of activity and passivity, inner and outer, which unfolds over time, and the unfolding pattern over time is explanatorily prior to what is the case at any particular time. (...) The pattern of a particular grieving is best understood and explained through a narrative account, and not merely through a causal account, for narrative accounts in such cases have powerful explanatory, revelatory, and expressive powers which causal accounts lack. Although I will not argue for it here, I believe that this view of grief can be generalised to other kinds of emotion. If this is so, then many philosophical accounts of emotion are at fault in identifying emotion with a kind of mental state or event. (shrink)

It is my view that one essential difference between persons and other creatures is to be found in the structure of a person's will. Besides wanting and choosing and being moved to do this or that, men may also want to have certain desires and motives. They are capable of wanting to be different, in their preferences and purposes, from what they are. Many animals appear to have the capacity for what I shall call "first-order desires" or "desires of the (...) first order," which are simply desires to do or not to do one thing or another. No animal other than man, however, appears to have the capacity for reflective self-evaluation that is manifested in the formation of second-order desires. (shrink)

In this urbane and witty book, Ronald de Sousa disputes the widespread notion that reason and emotion are natural antagonists.

Peter Goldie opens the path to a deeper understanding of our emotional lives through a lucid philosophical exploration of this surprisingly neglected topic. Drawing on philosophy, literature and science, Goldie considers the roles of culture and evolution in the development of our emotional capabilities. He examines the links between emotion, mood, and character, and places the emotions in the context of consciousness, thought, feeling, and imagination. He explains how it is that we are able to make sense of our own (...) and other people's emotions, and how we can explain the very human things which emotions lead us to do. He argues that it is only from the personal point of view that thoughts, reasons, feelings, and actions come into view. This fascinating book gives an accessible but penetrating exploration of an important but mysterious subject. Any reader interested in emotion and its role in understanding our lives will find much to think about here. (shrink)

Paul Ricoeur has been hailed as one of the most important thinkers of the century. Oneself as Another, the clearest account of his "philosophical ethics," substantiates this position and lays the groundwork for a metaphysics of morals.

A story does more than recount events; it recounts events in a way that renders them intelligible, thus conveying not just information but also understanding. We might therefore be tempted to describe narrative as a genre of explanation. When the police invite a suspect to “tell his story,” they are asking him to explain the blood on his shirt or his absence from home on the night of the murder; and whether he is judged to have a “good story” will (...) depend on its adequacy as an explanation. Can we account for the explanatory force of narrative with the models of explanation available in the philosophy of science? Or does narrative convey a different kind of understanding, which requires a different model and perhaps even a term other than ‘explanation’? (shrink)

How should we understand the emotional rationality? This first part will explore two models of cognition and analogy strategies, test their intuition about the emotional desire. I distinguish between subjective and objective desire, then presents with a feeling from the "paradigm of drama" export semantics, here our emotional repertoire is acquired all the learned, and our emotions in the form of an object is fixed. It is pretty well in line with the general principles of rationality, especially the lowest reasonable (...) principles. Turned to the second part of this side of reasonable. I will inquire how emotional beliefs, desires, and behaviors contribute to the rationality. I will present a very general biological hypothesis: emotions by controlling highlights the characteristics of perception and reasoning, so that we remove the difficulties due in particular to lead to paralysis; they are being simulated by a simplified perception of information, thus limiting our practice and cognitive choice. How are we to understand emotional or axiological rationality? I pursue analogies with both the cognitive and the strategic models, testing them against intuitions about emotional desires. We distinguish two different classes of desires, the subjective and the objective, and propose that emotions have a semantics that derives from "paradigmatic scenarios", in terms of which our emotional repertoire is learned and the formal objects of our emotions fixed. This fits in well with emerging facts about how our emotional capacities develop, and it can also be squared with the general principles of rationality, particularly minimal rationality. In the second part, I return to the perspective of rationality. I ask how emotions contribute to the rationality of beliefs, desires, and behavior. I proffer a very general biological hypothesis: Emotions spare us the paralysis potentially induced by a particular predicament by controlling the salience of features of perception and reasoning; they temporarily mimic the informational encapsulation of perception and so circumscribe our practical and cognitive options. (shrink)

This paper distinguishes various ways in which language can act on our affect or emotion experience. From the commonsensical consideration that sometimes we use language merely to report or describe our feelings, I move on to discuss how language can constitute, clarify, and enhance them, as well as induce novel and oft surprising experiences. I also consider the social impact of putting feelings into words, including the reciprocal influences between emotion experience and the public dissemination of emotion labels and descriptions, (...) and how these influences depend on the power of labelling to make complex feelings visible and thus easily accessible. Finally, I address and reinterpret some psychological findings on the so-called “verbal overshadowing” effect. (shrink)

Persons with borderline personality disorder are often described as affected by extreme emotional fluctuations and by the sudden emergence of uncontrollable and disproportionate emotional reactions. Borderline persons frequently experience their own self as dim and fuzzy, are deprived of a stable sense of identity and unable to be steadily involved in a given life project. We will interpret these typical features as fluctuations between a clearly normative emotion such as anger and the more diffuse and confusing background of bad moods (...) like dysphoria. Our main focus will be on dysphoria. The intentional structure that characterizes much of human emotional experience, we shall argue, is absent in dysphoria. If we imagine emotions as fluxes of intentionality that innervate the body and connect it to the world, dysphoria is empty intentionality, so to speak, devoid of the moderating power of language and representation. Dysphoria exerts a centrifugal force which fragments the borderline person's representations of herself and of others, inducing a painful experience of incoherence and inner emptiness, a feeling of uncertainty and inauthenticity in interpersonal relationships, and an excruciating sense of futility and inanity of life. But it also entails a sense of vitality, although a disorganized, aimless, and explosive one -- a desperate vitality. (shrink)