First published in 1991, _In Praise of Cognitive Emotions_ comprises fourteen of Scheffler's most recent essays - all of which challenge contemporary notions of education and rationality. While defending the ideal of rationality, he insists that rationality not be identified with a mental faculty or a mechanism of inference but taken rather as the capactity to grasp principles and purposes and to evaluate them in the light of relevant reasons. Examining a broad range of issues - from computers in school (...) to math education, from metaphor to morality - these essays are unified by Scheffler's conviction of the primacy of critical thought in education. Scheffler is especially concerned to promote a broad interpretation of rationality to counteract the narrowing of vision accompanying the technological revolution now sweeping education. Addressing three specific areas of curriculum, the work offers a critique of computer applications to education, develops a notion of strategic rationality in understanding mathematical reasoning, and, contrary to prevalent notions of moral education, connects reason with care, thus emphasizing the intimate connection between emotion and reason and challenging the dominant perception of the two as oppositional. (shrink)

Examining a broad range of issues - from computers in school to math education, from metaphor to morality - these essays are unified by Scheffler's conviction ...

Volume 34, Issue 8, December 2020, Page 1608-1620.

First published in 1991, In Praise of Cognitive Emotions comprises fourteen of Scheffler's most recent essays âe" all of which challenge contemporary notions of education and rationality. While defending the ideal of rationality, he insists that rationality not be identified with a mental faculty or a mechanism of inference but taken rather as the capactity to grasp principles and purposes and to evaluate them in the light of relevant reasons. Examining a broad range of issues âe" from computers in (...) school to math education, from metaphor to morality âe" these essays are unified by Scheffler's conviction of the primacy of critical thought in education. Scheffler is especially concerned to promote a broad interpretation of rationality to counteract the narrowing of vision accompanying the technological revolution now sweeping education. Addressing three specific areas of curriculum, the work offers a critique of computer applications to education, develops a notion of strategic rationality in understanding mathematical reasoning, and, contrary to prevalent notions of moral education, connects reason with care, thus emphasizing the intimate connection between emotion and reason and challenging the dominant perception of the two as oppositional. (shrink)

Recent philosophical work on responsibility for emotion has tended to focus on what responsibility we can have for our own emotions. Folk psychology suggests we can also be responsible for others’ emotions, and they for ours, and that this can be reason for praise or blame. However, many branches of applied psychology, and some schools of philosophy, deny there can be interpersonal responsibility for emotion. I shall be arguing here against this view, and for an account on which (...) we can, albeit in varying degrees and on some rather diverse grounds, be responsible for each others’ emotions. (shrink)

Building on appraisal theory of emotions and theories on moral emotions, we contend that ethical leadership triggers other-praising moral emotions directed at the supervisor and leads to feedback-seeking behavior. We further predict that the affective processes of ethical leadership have implications for workplace behaviors, namely organizational citizenship behavior directed at the supervisor and employee voice. We develop a new measure of supervisor-directed, other-praising moral emotions and test the validity of the measure. Then, (...) we test and find support for the proposed hypotheses using a sample of 231 full-time employees in China with a time-lagged survey design and structural equation modeling. Theoretical and practical implications for ethical leadership and moral emotions are discussed. (shrink)

Are strangers sincere in their moral praise and criticism? Here we apply signaling theory to argue ceteris paribus moral criticism is more likely sincere than praise; the former tends to be a higher-fidelity signal (in Western societies). To offer an example: emotions are often self-validating as a signal because they're hard to fake. This epistemic insight matters: moral praise and criticism influence moral reputations, and affect whether others will cooperate with us. Though much of this applies to generic praise (...) and criticism too, moral philosophers should value sincere moral praise and moral criticism for several reasons: it (i) offers insight into how others actually view us as moral agents; (ii) offers feedback to help us improve our moral characters; and (iii) encourages some behaviors, and discourages others. And so as moral agents, we should care whether moral praise and moral criticism is sincere. (shrink)

Aesthetics is a normative domain. We evaluate artworks as better or worse, good or bad, great or grim. I will refer to a positive appraisal of an artwork as an aesthetic appreciation of that work, and I refer to a negative appraisal as aesthetic depreciation. (I will often drop the word “aesthetic.”) There has been considerable amount of work on what makes an artwork worthy of appreciation, and less, it seems, on the nature of appreciation itself. These two topics are (...) related, of course, because they nature of appreciation may bear on what things are worthy of that response, or at least on what things are likely to elicit it. So I will have some things to say about the latter. But I want to focus in this discussion on appreciation itself. When we praise a work of art, when we say it has aesthetic value, what does our praise consist in? This is a question about aesthetic psychology. I am interested in what kind of mental state appreciation is. What kind of state are we expressing when we say a work of art is “good”? This question has parallels in other areas of value theory. In ethics, most notably, there has been much attention lavished on the question of what people express when they refer to an action as “morally good.” One popular class of theories, associated with the British moralists and their followers, posits a link between moral valuation and emotion. To call an act morally good is to express an emotion toward that act. I think this approach to morality is right on target (Prinz, 2007). Here I want to argue that an emotional account of aesthetic valuation is equally promising. There are important differences between the two domains, but both have an affective foundation. I suspect that valuing of all kinds involves the emotions. Here I will inquire into the role of emotions in aesthetic valuing. I will not claim that artworks express emotions or even that they necessarily evoke emotions.. (shrink)

The way we communicate with each other is vital to preserving the cultural ecology, or wellbeing, of a place and time. Do we listen to each other? Do we ask the right questions? Do we speak about each other with respect or disdain? The stories that we convey on screens, or what author Carl Plantinga calls 'screen stories,' are one powerful and pervasive means by which we communicate with each other. Screen Stories: Emotion and the Ethics (...) of Engagement argues that film and media studies needs to move toward an an approach to ethics that is more appropriate for mass consumer culture and the lives of its citizens. Primarily concerned with the relationship between media and viewers, this book considers ethical criticism and the emotional power of screen stories that makes such criticism necessary. The content we consume-- from television shows and movies to advertisements-- can significantly affect our welfare on a personal and societal level, and thus, this content is subject to praise and celebration, or questioning and even condemnation. The types of screen stories that circulate contribute to the cultural ecology of a time and place; through shared attention they influence what individuals think and feel. Plantinga develops a theory of the power of screen stories to affect both individuals and cultures, asserting that we can better respond ethically to such media if we understand the sources of its influence on us. (shrink)

An enduring question in the cultural study of psychological experience concerns how emotion may play a role in shaping moral aspects of children’s lives as they are mentored into socially preferred ways of understanding and responding to the world at hand. This article brings together approaches from psychological and linguistic anthropology to explore how cultural schemas of normativity are communicated, embodied, and enacted as children participate in day-to-day family activities and routines. Illustrative examples emanate from a videotaped corpus of naturalistic (...) interactional data that document the daily lives of 32 ethnically diverse U.S. middle-class families who reside in the Los Angeles, California metropolitan region. The article employs discourse and narrative analysis to examine how children are apprenticed into perceiving, appraising, and reacting to the emotions of self and others as culturally shaped indicators for proper comportment. Data analysis emphasizes how implicit components of caregivers’ interactions with children (i.e., gesture, gaze, facial expression) intertwine with explicit, verbal communication to constitute intricately layered affective messages that shape the evaluative frames through which children interpret, display, and respond to emotions. The article identifies two culturally salient childrearing practices, “pep talks” and “time outs,” that apprentice children into moral accountable relationships with others by encouraging them to manage their emotions in culturally preferred ways. Study findings suggest that parental communications conveying praise and approval—or conversely indexing disapproval—towards children are emotionally resonant motivational practices in this cultural milieu as children are mentored into culturally meaningful emotional management techniques. The article highlights how children actively employ semiotic socio-communicative resources and it closely traces their sense-making processes in tandem with their discursive contributions to the moment-by-moment interaction. It argues that emotion, morality, and interpersonal relations are critical in shaping children’s acquisition of consensually validated ways of perceiving, feeling, and responding to the phenomena they encounter in their day-to-day lives. This perspective aims towards contextualized understandings that render plausible connections between local contexts of everyday action and broader macro-level discourses and master narratives, such as those associated with a neo-liberal emphasis on cultivating citizens who learn to regulate their emotions on behalf of self and others. (shrink)

Jealousy is an emotion that arises in diverse circumstances and is experienced in phenomenologically diverse ways. In part because of this diversity, evaluations of jealous subjects tend to be conflicting and ambiguous. Thus philosophers who are interested in the moral status of jealousy face a challenge: to explain how, despite the diversity of jealous subjects and experiences of jealousy, our moral evaluations of those subjects in light of those experiences might be unified. In this project, I confront and respond to (...) this challenge, which I call the challenge of heterogeneity. -/- In Part I, I refine and expand on existing descriptive accounts of jealousy, defending an account with three necessary but not sufficient conditions. On my view, if one is jealous: -/- A. One desires that oneself stand in some relation to a specific, non-replicable good. B. One has in mind a (possibly imagined) rival and regards the rival’s having the good as logically or causally inconsistent with the satisfaction of this desire C. One has in mind some (possibly imagined) set of circumstances in which this desire would be satisfied. -/- In discussing this view I emphasize the role that relationships play in giving rise to jealousy, since its connections to relationships make jealousy descriptively and normatively unique. -/- In Part II, I develop an account of jealousy’s moral significance. To do so, I divide cases of jealousy into three types: those involving jealous desires relating to (1) caring relationships, (2) non-caring relationships, and (3) material goods or personal qualities. I argue that in all three types of cases, jealousy undermines the actual or potential moral value of the jealous subjects’ relationships, and that this undermining provides the paradigmatic moral reason to criticize jealous subjects. Thus I respond to the challenge of heterogeneity without simply portraying jealous subjects as selfish or insecure. -/- After doing so, I consider multiple arguments for the claim that a person’s being jealous sometimes constitutes a moral reason to praise that person. I critique each of those arguments and conclude that we have good reasons to see jealous subjects as worthy of moral criticism but not moral praise. (shrink)

The classical Confucian philosopher Xunzi proposed a naturalistic virtue ethics account of ritual: rituals are practices that channel human emotion and desire so that one develops virtues. In this paper I show that William of Auxerre’s Summa de Officiis Ecclesiasticis can be understood as presenting a similar account of ritual. William places great emphasis on the emotional power of the liturgy, which makes participants like the blessed in heaven by developing virtue. In other words, he has a virtue ethics (...) of ritual closely aligned with that of Xunzi. Xunzi’s writings on ritual illuminate and enrich one’s reading of the Summa de Officiis. But unlike Xunzi, William is not a naturalist with regard to ritual: although much of William’s language about the causal power of liturgy can be explained in Xunzian terms, Christian liturgy has an irreducible supernatural element. (shrink)

Admiration and adoration have been considered as emotions with the power to change people, yet our knowledge of the specific nature and function of these emotions is quite limited. From an interdisciplinary perspective, we present a prototype approach to admiration and what has variously been labelled adoration, worship, or reverence. Both admiration and adoration contribute to the formation of personal and collective ideals, values, and identities, but their workings differ. We offer a detailed theoretical account of commonalities and (...) differences in the appraisal patterns and action tendencies associated with the two emotions. This analysis reveals that admiration motivates the internalisation and emulation of ideals embodied by an outstanding role model. Adoration motivates adherence to the teachings and expectations of a meaning maker and benefactor perceived as superhuman or sacred. Thus, the primary function of admiration is to promote individual learning and change, whereas adoration primarily serves to bind communities together. (shrink)

ABSTRACTFear of positive evaluation is experiencing dread during real or potential praise. FPE is associated with social anxiety, but its relation to depressive symptoms is unclear. Anhedonia is a core symptom of depression related to symptoms of anxiety in cross-sectional research. The current study investigated the indirect effect of FPE on depressive symptoms via anhedonia over time. One-hundred ninety-six participants completed three waves of questionnaires over a total timespan of approximately four months via Amazon’s Mechanical Turk, including measures of FPE, (...) depressive symptoms, and anticipatory and consummatory anhedonia. Findings indicated that anticipatory anhedonia at Time 2 mediated the relationship between FPE at Time 1 and depressive symptoms at Time 3. Consummatory anhedonia, however, did not. Each model was contextualised by accounting for prospective covarying relationships, such as depressive symptoms predicting the same symptoms at later waves. The constellation of findings is c... (shrink)

Recent research suggests that moral behavior attracts more praise, and immoral behavior less blame, when the agent has suffered in childhood. In this paper we report results from three studies in which a fictional character’s childhood was described in terms of either neglect and abuse (Adversity condition), love and care (Prosperity condition), or neutrally (Control condition). In Study 1 (N = 248), participants in the Adversity condition attributed more praise to a fictional character relative to other conditions. In Study (...) 2 (N = 275), participants in the Adversity condition attributed more praise and less blame relative to other conditions, with the effects mediated by self-expressivity. In Study 3 (N = 275), where the character was female rather than male, there was no effect of condition on praise, but there was an effect of condition on blame, and this effect was mediated by self-expressivity and social-emotional impairment. (shrink)

Some Kantian ethicists, myself included, have been trying to show how, contrary to popular belief, Kant makes an important place in his moral theory for emotions–especially love and sympathy. This paper confronts claims of Kant that seem to endorse an absence of sympathetic emotions. I analyze Kant’s accounts of different sorts of emotions (“affects,” “passions,” and “feelings”), and different sorts of emotional coolness (“apathy,” “self-mastery,” and “cold-bloodedness”). I focus on the particular way that Kant praises apathy, as (...) “sublime,” in order to argue that his praise of extreme emotional self-control is not incompatible with, but rather complementary to, his praise of sympathy. (shrink)

IntroductionIt is clear that forgiveness is closely related to emotions. Bishop Butler’s “forswearing of resentment” is still the definition most philosophical works on the subject take as their point of departure. Some others disagree but usually only insofar as they focus on another reactive emotion – e.g., moral hatred, disappointment, anger – which we overcome when we forgive.More specifically, according to Roberts the emotion we overcome in forgiveness is anger, see Robert C. Roberts, “Forgivingness,” American Philosophical Quarterly 32 (1995): (...) 289–306. According to Richards, forgiveness involves overcoming a whole range of negative emotions including sadness, disappointment, frustration as well as resentment; see Norvin Richards, “Forgiveness,” Ethics 99 (1988): 77–97. According to Sher, forgiveness involves overcoming blame; see George Sher, In Praise of Blame (Oxford: Oxford University Press, 2006).There is something striking about the negativity of this approach. Forgiveness i. (shrink)

This article aims to theoretically analyse so-called character friendship from the perspective of emotions. From this angle, our research enables us to distinguish different types of emotions, and we propose a conceptual model of the hierarchy of the emotions of character friendship and their influence on social behaviour. With this model in hand, the article discusses whether other-oriented emotions fully explain the emotional underpinnings of character friendship. We find other-oriented emotions to be ambiguous (...) because they may or may not be selfless. Thus we question whether these emotions can adequately explain the bonding content of character friendship. We conclude that there is a higher affective tier related to moral emotions and moral behaviour, which we have labelled the ‘bonding feeling’. This feeling is described with reference to its historical precedents (Rof Carballo’s ‘affective warp’), thus explaining its particularity. (shrink)

While agent responsibility appears to be one of the clearest examples of a human distinctive, practices of holding responsible are bound up with social expectations and emotional reactions, many of which are shared with other social animals. This essay attends to the ways in which what Peter Strawson first identified as the reactive emotions, including notably anger, resentment, and indignation, are key to making sense of both the shared and distinctive features of responsible human agency. Like human beings, (...) other social animals express a range of reactive emotions in response to others’ conformity with or violation of implicit social expectations and norms; human beings sometimes reflect on these reactive attitudes and their justifiability, asking whether and when it is appropriate to hold others accountable, blame, and/or punish them. We should recognize that we often praise and blame others for attitudes and desires which they have not chosen and over which they have no direct control, and that this is appropriate. (shrink)

There are many moral values that the Arab writers have written about either in prose or poetry. This emphasis on morality in classical Arabic literature has also been the subject of many academic studies. The abundance of the literary material in this field has attracted the attention of researchers. One of these is the emphasis on "naturalness" which we have seen in classical Arabic literature. In the Arab society which social ties are very strong the moral values have been summarized (...) with the concept of al-murūah/chivalry over time. In these sources that is including poems, parables and anecdotes about morality allthings on the moral values are brought together. Hereunder the main thing in the moral maturity is the naturality. Criticism of ostensible behaviors has taken place in an important part of these works. For example, ancient perception of morality is a predestination that comes from creation has found its response in Arabic poetry. Many Arab poets have stated that one's innate character will beat and the reason will be defeated. On the other hand, some poets tried to establish a balance between character and wisdom. Accordingly, it has been stated that people are innately inclined to falses but they also have the potential to restrain their innate evil tendencies with the ability of mind given to them. These poets liked to explain this balance through the simile stating he ambitious horse that wants to run at full speed is restrained with a bit. According to this simile the man is like a person on the back of a raging horse with the evil inclinations cultivated in his nature. The soul he carries wants to take him wherever it wishes. However, he has a mind that is like a bridle in return for the soul inside him. On the other hand, when we look at the encyclopedic sources of Arabic proverbs we see that there are proverbs comparing many moral attributes with animals. In Turkish proverbs, cunning is identified with the fox and industriousness with the ant, and in Arabic proverbs a very rich human character-animal pairings stand out. These proverbs are based on the idea that people's character is the product of nature. Because each animal species has appreciated characteristics and these features occur without learning and education. In addition, the issue of the naturalness of morality was also used for the purpose of praise and satire in the classical Arabic poets. The poet makes his reproach or anger towards someone through his character. When describing his lover he states that the beauties that adorn him come from creation. Therefore, it can be said that the emphasises of character/nature/temperament in the poems in which these and similar emotions are aroused, are the motifs that serve the purpose of the poet. Finally Arab writers have offered many recommendations in literary form on issues such as brotherhood, solidarity and cooperation for the healthy continuity of social relations in the Muslim society, and they have included anecdotes and poems within the framework of the subject. The study is mainly based on the descriptive method, however, the way the authors handled the subject is analysed when it is deemed to be appropriate. Considering that there is no specific study in Turkish and Arabic literature within the framework of the present study, it is aimed to investigate the literary material in the subject in question. (shrink)

Empathy is a developmental process whereby individuals come to understand the emotional states of others. While the exact nature of this process remains unknown, PAM's utility is that it establishes empathy along a continuum of behavior ranging from emotional contagion to cognitive forms, a very useful distinction for understanding the phylogeny and ontogeny of this important process. The model will undoubtedly fuel future research, especially from comparative domains where data are most problematic.

There is an apparent tension in our everyday moral responsibility practices. On the one hand, it is commonly assumed that moral responsibility requires voluntary control: an agent can be morally responsible only for those things that fall within the scope of her voluntary control. On the other hand, we regularly praise and blame individuals for mental states and conditions that appear to fall outside the scope of their voluntary control, such as desires, emotions, beliefs, and other attitudes. (...) In order to resolve this apparent tension, many philosophers appeal to a tracing principle to argue that agents are morally responsible for those attitudes whose existence can be traced back, causally, to a voluntary action or omission in the past. My aim in this article is to critically evaluate this tracing strategy and to argue that it gives us a misguided picture of when and why we are morally responsible for our attitudes. I argue that we should accept a ‘judgment sensitivity’ condition of moral responsibility rather than a ‘voluntary control’ condition, and defend this account against various objections. (shrink)

Admiration is thought to have essential functions for social interaction: it inspires us to learn from excellent models, to become better people, and to praise others and create social bonds. In intergroup relations, admiration for other groups leads to greater intergroup contact, cooperation, and help. Given these implications, it is surprising that admiration has only been researched by a handful of authors. In this article we review the literature, focusing on the definition of admiration, links to related emotions, (...) measurement, antecedents, and associated behaviors. We propose a conceptual model of admiration that highlights admiration’s function for approaching and emulating successful models, thus contributing to social learning at the interpersonal level and to cultural transmission at the group and societal level. (shrink)

According to one of the rivals, “poets do not create from knowledge but on the basis of certain natural talents and guided by divine inspiration, just like seers and the singers of oracles.”1 There is “a form of possession and madness, caused by the muses, that seizes a tender and untouched soul and inspires and stimulates it so that it educates by praising the deeds of ancestors in songs and in every other mode of poetry. Whoever knocks on (...) the door of poetry without the madness of the muses trusting that technique alone will make him a whole poet does not reach his aim; he and his poetry of reason disappear before the poetry of the madman.”2 Even knowledge cannot arise in a purely rational way. In his seventh letter Plato explains how “from a long and dedicated pursuit of the subject and from close companionship, [understanding] suddenly, like fire being kindled by a leaping spark, is born in the soul and straightaway finds nourishment in itself.”3 Thus understanding or building a work of art contains an element that goes beyond skill, technical knowledge, and talent. A new force takes hold of the soul and directs it, toward theoretical insight in one case, toward artistic achievement in the other.The view adumbrated in these quotations is very popular today. Interestingly enough it seems to receive support form the most rigorous and most advanced parts of the sciences. This rigor, it is pointed out, is but a transitory stage in a process which has much in common with what Plato envisaged. Of course, it is necessary to make some changes: Plato’s knowledge was stable while scientific knowledge progresses. Plato assumed that outside forces—madness, divine inspiration—impinge on the soul while the moderns let the appropriate ideas, images, emotions arise from the individual soul itself. But there seem to exist many reasons to recommend a Platonism that has been modified in this way.In the following essay I shall try to show that the reasons that have been given are invalid and that the view itself—the view that culture needs individual creativity—is not only absurd but also dangerous. To make my criticism as concrete as possible I shall concentrate on e specific group of arguments in its favor. And to make it as clear as possible I shall use arguments trying to show the role of individual creativity in the sciences. If these clear and detailed arguments fail, then the rhetoric emerging from more foggy areas will altogether lose its force. 1. Plato, Apology of Socrates 22c. Translations, unless otherwise noted, are my own2. Plato, Phaedrus 245a.3. Plato, Epistles 341c, d. Paul Feyerabend studied singing and opera production in Vienna, history of theater and theatrical production at the Institute for the Methodological Reform of the German Theater in Weimar, and physics, astronomy, and philosophy in Vienna. He has lectured on aesthetics, the history of science, and philosophy in Austria, Germany, England, New Zealand, and the United States. At the moment he holds a joint appointment at the University of California, Berkeley, and the Federal Institute of Technology in Zurich. His books include Against Method , Erkenntnis für freie Menschen , and Philosophical Papers . Forthcoming works are Farewell to Reason and Stereotypes of Reality. (shrink)

Disaster planning challenges our morality. Everyday rules of action may need to be suspended during large-scale disasters in favour of maxims that that may make prudential or practical sense and may even be morally preferable but emotionally hard to accept, such as tsunami-tendenko. This maxim dictates that the individual not stay and help others but run and preserve his or her life instead. Tsunami-tendenko became well known after the great East Japan earthquake on 11 March 2011, when almost all the (...) elementary and junior high school students in one city survived the tsunami because they acted on this maxim that had been taught for several years. While tsunami-tendenko has been praised, two criticisms of it merit careful consideration: one, that the maxim is selfish and immoral; and two, that it goes against the natural tendency to try to save others in dire need. In this paper, I will explain the concept of tsunami-tendenko and then respond to these criticisms. Such ethical analysis is essential for dispelling confusion and doubts about evacuation policies in a disaster. (shrink)

Emotions are discrete, automatic responses to universally shared, culture-specific and individual-specific events. The emotion terms, such as anger, fear, etcetera, denote a family of related states sharing at least 12 characteristics, which distinguish one emotion family from another, as well as from other affective states. These affective responses are preprogrammed and involuntary, but are also shaped by life experiences.

P.F. Strawson’s account of moral responsibility in “Freedom and Resentment” has been widely influential. In both that paper and in the contemporary literature, much attention has been paid to Strawson’s account of blame in terms of reactive attitudes like resentment and indignation. The Strawsonian view of praise in terms of gratitude has received comparatively little attention. Some, however, have noticed something puzzling about gratitude and accountability. We typically understand accountability in terms of moral demands and expectations. Yet gratitude does not (...) express or enforce moral demands or expectations. So, how is it a way to hold an agent accountable? In a more general manner, we might ask if there is even sense to be made of the idea that agents can be accountable—i.e., “on the hook”—in a positive way. In this paper, I clarify the relationship between gratitude and moral accountability. I suggest that accountability is a matter of engaging with others in a way that is basically concerned with their feelings and attitudes rather than solely a matter of moral demands. Expressions of gratitude are a paradigmatic form of this concerned engagement. I conclude by defending my view from the objection that it leads to an overly generous conception of holding accountable and suggest in reply that moral responsibility skeptics may not help themselves to as many moral emotions as they might have thought. (shrink)

Paul Standish; In Praise of the Cognitive Emotions, Journal of Philosophy of Education, Volume 26, Issue 1, 30 May 2006, Pages 117–119, https://doi.org/10.1111/.

Sympathy (empathic concern) is mainly understood as a feeling for another and is often contrasted with empathy—a feeling with another. However, it is not clear what feeling for another means and what emotions sympathy involves. Since empirical data suggests that sympathy plays an important role in our social lives and is more closely connected to helping behavior than empathy, we need a more detailed account. In this paper, I argue that sympathy is not a particular emotion but a type (...) of emotional experience: those that have another person as focus. I explain what this means and show that this sheds light on why sympathy, rather than empathy, directly motivates altruistic actions. (shrink)

In Praise of Philosophy Mister Provost, Colleagues, Ladies and Gentlemen: The man who witnesses his own research, that is to say his own inner disorder, ...

Our engagements with poetry often leave us with a sense of having been not only aesthetically pleased and emotionally aroused but intellectually stimulated and cognitively rewarded.1 However, explicating the nature of such intellectual stimulus and accounting for poetry’s cognitive values are not easy tasks, given that poetry does not stand in the same relation to truth and knowledge as do science and philosophy. How then to account for the undeniable experience of having undergone a profound cognitive change after engaging with (...) poetry?Turning to the work of Immanuel Kant, who praised poetry above all other forms of art,2 I explore how his account of poetry might help us understand poetry’s cognitive influence on... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Hugh Bredin I. A. RICHARDS AND THE PHILOSOPHY OF PRACTICAL CRITICISM IN much of the English-speaking world, an essential component of literary studies is the exercise known as "practical criticism." The name, and to some extent the practice, originated in a book by I. A. Richards, Practical Criticism, 1 in which he described an experiment conducted by him at Cambridge and elsewhere. In the experiment, undergraduate students of English (...) were given a number of unfamiliar poems, whose authorship was not revealed, and were asked to read and to submit written comments upon them. The result, in the words of one account, "was horrifying. Magazine poetasters were extravagandy praised, Donne, Hopkins, and Christina Rossetti firmly damned; every felicity was ridiculed, and every absurdity praised, by large minorities and even majorities."2 Richards himself did not respond to his discoveries in quite such a marked fashion as this, but he did betray the concern of someone in whom a longheld fear had been confirmed. He suggested that members of the Royal Society of Literature would have fared no better, and argued in general that an ability to read successfully — that is, with correct understanding and appropriate sensuous and emotive response — was rare and intermittent in even the most highly educated products of our schools and universities. He discerned a worsening of language performance compared with a few generations earlier, and advocated, as a corrective measure, widespread study of the theory of interpretation, and widespread training in the techniques thereof. This project he initiated himself in a subsequent work, Interpretation in Teaching.3 Richards's recommendations have not been adopted in general education practice, but they have been extremely influential in the pedagogy of literature; and it is generally said about other writers, such as Leavis, 26 Hugh Bredin27 Empson, and Brooks, that they have reinforced this influence. Practical criticism, as a teaching device, means the close and attentive reading of literary texts, usually poetry, usually by a small group, under the guidance of a tutor. As an examination method, it means the kind of test originally undergone by Richards's undergraduates. The end result ofthe practice — a result which, presumably, may or may not occur in the examination hall — is alleged to be "an opening up of the poem for what it can really be for us: a unique and fascinating experience, carefully wrought by its maker, and fully available only to those with the patience, as well as the sensibility, to recreate."* Practical Criticism is a most interesting work. The variety and divergence of views on the poems used for the experiment reveal unexpected and musty corners of the human spirit. Richards's diagnosis of the factors which may lead to errors in judgment and understanding is acute. His proposals for remedial action win our approval. What is puzzling, however, is that the result of the experiment should be a cause of surprise or dismay to anyone. What other result could there have been? Richards himselfremarked that "the precise conditions ofthis test are not duplicated in our everyday commerce with literature," and upon "the difficulty of judging verse without a hint as to its provenance."5 Yet he makes no concession to the fact that these conditions, with their attendant difficulty, must bear primary responsibility for the failings displayed by his students. His conviction was that the conditions helped to reveal defects in reading, and not, as seems more likely, that they helped to produce them. Any written text requires a context if it is to be fully understood. This is of course true of spoken language as well; and the extra complexity of poetry makes it especially susceptible to misinterpretation and misjudgment if taken in isolation. The first thing that any competent teacher will do with a poem is to provide a context — a period, a chronology, a social, political, religious, and intellectual background, a body of similar and contrasting works, works by the same and by related authors, linguistic and stylistic conventions, the relevant conceptions ofart and literature and their role in the world — all of this, and more. He will take it for granted that, as the student grows more deeply familiar with context, a context which... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy, Psychiatry, & Psychology 12.4 (2005) 307-310 [Access article in PDF] Aesthetics, Criticism, and Psychotherapy John Z. Sadler Keywords aesthetics, psychiatry, psychotherapy, Sibley In his wide-ranging survey of how Kantian aesthetic theory is implicated in psychothera-py, John Callender has raised at least a dozen potentially profound and rewarding possibilities in applying aesthetic theory to psychiatry and psychotherapy. Although the idea of marrying aesthetic theory to psychiatry and psychotherapy is (...) not new, Callender's direction of the merger is distinctively novel. The mid-twentieth century had a distinct literature in applying psychoanalytic and psychiatric theory to aesthetic experience, summarized by the sizable bibliography by Norman Kiell, Psychiatry and Psychology in the Visual Arts and Aesthetics: A Bibliography (1965). This line of interdisciplinary work influenced a later generation of art historians and literary theorists in applying (particularly) psychoanalytic theory to interpretation and appreciation of the arts, contributions that are still being developed today, along with the emergence of complementary viewpoints from cognitive neuroscience (Peretz and Zatorre 2003; Rose 2004; Zeki 1999). Callender's project, however, is quite the converse—he wishes to show how philosophical aesthetics can contribute to psychiatry and clinical psychology. Exploring the aesthetics of psychiatry is the innovation.Before focusing my own comments on a few of Callender's points, I wish to call attention to the substantive questions he has directly raised or implied by his discussions. These questions are worthy of further development in this and other journals, and I hope that Callender will succeed in engaging the minds of his readers and inspire them to work in this exciting area in the philosophy of psychiatry. In his elegant review of Kant's key theoretical points of aesthetics, his discussion provokes us to consider the kinds of evaluations that patients make of themselves (moral? aesthetic? others?), as well as the kinds of evaluations clinicians make in their judgments of psychopathology. Evolutionists may wonder about the adaptive significance of aesthetic capacities (e.g., derivatives of grooming? mating displays?). In presenting Kant's notion of "disinterestedness" or contemplative judgment, readers may wonder about overlap with notions of therapist neutrality and unconditional positive regard. Should therapist relationships with patients be dominated by a similar aesthetic sensibility? What does the aesthetic posture have to do with the therapist posture?Importantly, Callender notes the connections and ambiguities between moral values and aesthetic values. This is borne out in his later discussions of clinical case material (considered again below). He focuses primarily on the duplication of aesthetic and moral values in the same terms of praise (honesty, integrity, originality), but there is no question that aesthetic experiences are had by viewers of art exhibiting perverse or depraved [End Page 307] imagery (consider, for instance, Francis Bacon's "3 Screaming Popes" or, even more extremely, the grotesque staged photographs of Joel-Peter Witkin). The implication here is that (as an example) to understand the aesthetics of sadomasochistic art may help us to understand the psychology of sadomasochistic people.By the time he introduces his case material, Callender has raised the issue of intersubjectivity in aesthetic experience, an experience that may be devoid of discursive cognitive content but may be profound with emotional content, thus challenging tenets of cognitive psychology and psychotherapy. His discussion of cases reflecting elements of Kant's components of aesthetic judgment point toward new ways of understanding psychopathology as disturbances in aesthetic self-appraisal.I would like to return to the problem of moral and aesthetic judgments in psychotherapy and in psychopathology. Dr. Callender presents three cases—a woman who has been traumatized by multiple instances of sexual abuse, a young girl with postpartum depression with fears of losing her child because of bad mothering, and a third patient with anorexia nervosa who demonstrates the typically distorted body self-image. I suggest that the aesthetic nature of these patients' self-judgments is not so clear cut as Callender suggests. His sexual abuse case summary certainly suggests a woman consumed by shame. Because shame is a typical "moral emotion," the question is raised of moral badness being involved in her self-concept as well as, or perhaps... (shrink)

Central to the debate on the moral relevance of shame is whether we take others’ assessments of our moral shortcomings seriously. Some argue that viewing shame as a social emotion undermines the moral standing of shame; for a moral agent, what is authoritative are his own moral values, not the mere disapproval of others. Adam Smith's framework sheds some light on the contemporary debates in philosophy on the moral value of shame. Shame is mostly a social emotion but has moral (...) value for Smith. This is because we desire sympathy and share an ongoing social practice of morality with others. Smith developed the underpinnings of an account for a sympathetic basis of shame. An agent is evaluated through the sympathetic process to determine whether he/she has lived up to shared norms and morality. Shame emerges from the understanding that we ought not to be favorably thought of by others, the impartial spectator, or by our own conscience. We want to avoid shame for two reasons: first, we want to receive praise which gives pleasure, blame and blameworthiness operate by giving pain. Secondly, we are pleased with the sympathy of others. According to Smith, shame is a very painful emotion. Given our dread of pain and love of pleasure, we are motivated to be not blamed or blameworthy. We want to be favorably thought of so as not to be, or feel, shamed. Our dread of blameworthiness and our desire for sympathy motivates us to be a person who acts according to the norms and morality of society. Shame has a moral value both as a social emotion and when it arises from our conscience; however, Smith was also aware that there are limits to shame as a moral value, which arises from misjudgments of spectators. (shrink)

While much is known about the prevalence and impact of incivility in the workplace, relatively less is known about those who instigate workplace incivility. This research aims to investigate incivility instigation through a moral lens by examining the roles of other-condemning moral emotions (contempt, disgust, and anger) and appraisals of coworkers’ morality as predictors of this behavior at work. In Study 1, we used structural equation modeling to analyze two waves of self-report data collected from a sample of (...) 447 full-time United States (U.S.) working adults. Findings from this study indicate that appraising coworkers as low in morality elicited feelings of contempt, disgust, and anger. However, only contempt predicted incivility instigation and mediated the relationship between appraising coworkers as low in morality and instigating incivility. In Study 2, we collected self-report data from a sample of 309 full-time U.S. workers using a critical incident technique. Structural equation modeling was used to analyze the data. Results from Study 2 replicated the association between low morality appraisals and contempt, anger, and disgust found in Study 1. However, anger predicted incivility instigation and mediated the relationship between appraising coworkers as low in morality and instigating incivility. Additionally, contempt and perceived civility norms had an interactive effect on instigated incivility. These studies provide insight into the roles of contempt, disgust, and anger in predicting incivility instigation, suggesting that employees may engage in incivility to condemn others who engage in moral transgressions. Theoretical and practical implications are discussed. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Defending Wordsworth, Defending PoetryMark EdmundsonNear the close of Wordsworth’s first great poem, The Ruined Cottage, there arrives an extraordinary moment. Armytage has been telling the story of his friend Margaret’s decline and death to the young narrator of the poem, who is in some sense Wordsworth’s stand-in. Part of the poem’s achievement, Coleridge thought, was the way that Wordsworth conferred a tragic dignity on the sufferings of a common (...) person. Margaret loses her husband, who enlists to fight in America so that he can leave his family his enlistment bonus, saving them from terrible want, perhaps starvation. Margaret never ceases to hope that her husband will return. Whenever a stranger passes by her gate, she stops him and asks for news about Robert. Years go by, Robert does not return home, and Margaret pines gradually away. Each time the wandering Armytage comes back to her door, Margaret is more gaunt and distracted. She neglects her children: one goes off to a meager apprenticeship; the other, the younger boy, dies.Armytage is a stoical character, though not a frigid one. He has withdrawn his energies from the world of human things, and dispersed them throughout nature where they cannot, presumably, be betrayed. Nature will always regenerate itself; the world grows older, but returns each spring to its youth. Nature offers a sort of perfection that’s far removed from the human course of birth, decay, and death.Armytage tells the young narrator Margaret’s story for many reasons, but one, I think, is to instruct him in the management of grief. The wanderer unfolds the tale with such patient eloquence, poise, and restraint that the young man ends up overwhelmed by feelings for Margaret that are, we can assume, much like the ones that Armytage has locked up in himself, has subdued with his reasoning powers. When [End Page 207] the tale is over, Armytage, compassionately if a touch formulaically, tries to salve the young man’s grief: “Enough to sorrow have you given,” he says, “the purposes of Wisdom ask no more.”But if Armytage teaches the young man a measure of stoicism, the narrator’s strongly felt response also succeeds, however transiently, in restoring to the old man his life of feeling. For the lines that follow from Armytage—and that comprise the moment I want to call attention to—convey both force of feeling and supple but sure intellectual power. This synthesis is the culmination of the poem: it dramatizes the rich interpenetration of mind and emotion that The Ruined Cottage has been working toward:“She sleeps in the calm earth, and peace is here. I well remember that those very plumes, Those weeds, and the high spear grass on that wall, By mist and silent raindrops silvered o’er, As once I passed, did to my mind convey So still an image of tranquility, So calm and still, and looked so beautiful Amid the uneasy thoughts which filled my mind, That what we feel of sorrow and despair From ruin and from change, and all the grief The passing shows of being leave behind, Appeared an idle dream that could not live Where meditation was. I turned away, And walked along my road in happiness.”We praise poets, and rightly, when they make fine metaphors, finding the likeness in apparently unlike things. So Robert Frost asked his critics to be more responsive to his figurative breakthroughs: he talked about how we should note what an achievement it was to “turn that that way, and what a feat it was to remember that, to be reminded of that by this.”Yet it can also be a feat to resist the act of metaphor making. And this I think is what Wordsworth is doing in the culminating passage. What calms Armytage is the remembered image of the weeds and the high spear grass silvered by mist and silent rain drops. The fact that this is weeds and grass, that the vegetation is dispersed and multiple, matters a great deal. What we are not getting here is a natural image for Margaret. Such an image—one lovely blowing wand of spear grass, say... (shrink)

"Ever Since This World Began" from Love Dog (Penny-Ante Editions, 2013) by Masha Tupitsyn continent. The audio-essay you've recorded yourself reading for continent. , “Ever Since the World Began,” is a compelling entrance into your new multi-media book, Love Dog (Success and Failure) , because it speaks to the very form of the book itself: vacillating and finding the long way around the question of love by using different genres and media. In your discussion of the face, one of the (...) themes of Love Dog , I think there is something to be said about the surfaces media create and how you constantly manipulate them in your work. This seems important for thinking also about your book LACONIA: 1,200 Tweets on Film ; a book on film written in tweets, interposing already three sets of expectations and pushing the boundaries of each medium's faciality, it's surface tension. In Love Dog , is there another kind of facial interaction? Perhaps the discursive faces of approaching love as topic and love as method? If so, how did/do these intersect for you, do/did they drive the creation of this book? MASHA TUPITSYN With LACONIA and Love Dog , I wanted to pay homage to the work modernism has done on subjective time and chronological time by carrying that experiment over into the digital economy. Because LACONIA is a time-based work of cultural criticism that employs the aphorism to look at 21 st century American culture, it is also an archival work of cultural mourning and memory. And in Love Dog , which is also a work about mourning as it relates to love, I wanted to think with all my senses, and to reflect that in the writing itself by using a multi-media form. LACONIA tackled the sound bite and the promotional image--the everyday language of consumer culture--which often wants to communicate ideological agendas through the repetition of a single image or reductive phrase. I had always been interested in the approaches of artists like Barbara Kruger and Jenny Holzer and essayistic, typographical filmmakers, like Chris Marker and Godard. In both cases, I felt it was important to try to compose a book in which deep—critical—thinking happens in so-called immediate, informal, and disposable contexts. That is, in places where you are either not supposed to be serious or are not required to take things seriously. To me the most intervention is needed in every day instances of culture and representation. In order to do that, I had to utilize and interrogate the very structures I was critiquing. In other words, the writing had to materialize in that live, digital, public space. It couldn’t simply happen at home on a piece of paper or in a word document on my computer that no one could see until it was finished. It had to unfold in real time, amidst everything else. And it had to literally be surrounded by the cultural landscape I wanted to assess. In both LACONIA and Love Dog , I wanted to know how and if we can get away from what we cannot get away from? From which there is no respite. Given this, I don’t think hypertexts can really be called hypertexts anymore. Hypertexts are simply the world today. This is not only the way we read the world now. It is the way the world reads. Likewise, interfaciality, as you put it, works on a number of levels for me, both on and off the page. There is my relation to epistemological and phenomenological surfaces—the screen, the body, the face, the voice, gender; the official story. Then there is the way this dovetails formally, and to which the digital adds yet another dimension. It’s also where sound comes into Love Dog (giving the book a sound; giving tonality to the book’s ideas and feelings). As Anne Carson pointed out in her essay “The Gender of Sound,” the two are connected, and of course so are love and gender. In “Ever Since This World Began,” I wanted to think about the phenomenology of the voice, which is why I visualize the sonic in the book and why in my writing about faces, I look at the tonal aspects (the things a face voices and a voice faces) of a face. This was standard to do when images and faces were “silent” in the silent era. Those images/faces were extraordinarily audible. The greatest screen face, to me, is still Falconetti’s in Dreyer’s The Passion of Joan of Arc . We can hear her face—even though there is no actual sound on screen of her speaking. The internet is a similarly “silent” space where actual voices are lacking. So intertextuality goes with interfaciality. I’ve also talked a lot about how categorization worked when it came to the reception of my first book, Beauty Talk & Monsters . How despite the fact that Beauty Talk is a text that crisscrosses form and content in a variety of ways, not pinpointing its exact genre—choosing one genre over another—only made things worse. Fiction was the category people were most adverse to me using, even though of course there is a lot of fiction in the book. Part of how fiction works in Beauty Talk is in the reader not knowing exactly where the fiction resides. In Godard’s 1967 film, Weekend , for example, everything matters. Everything is political, whether it’s real or imaginary, film or reality. In Weekend , life is not a game and neither is the game a game. The game is really life. Either everything is important or nothing is. But many people want clear answers and demarcations so that they can decide what is important and what is not important. My use of the “I,” subjective criticism, made everything “real” in Beauty Talk . But fiction is in the construction. It is in the blending. This is why I perforate the movie screen and connect the onscreen and the offscreen; the official story and the backstory. Although I don’t think there is a difference between onscreen and offscreen anymore. Nor is there a dialectic. It’s all screen all the time now. Non-fiction, on the other hand, was more tolerated as a moniker. Unlike Love Dog , Beauty Talk wasn’t explicitly or tangibly (what is tangible is a question in all these books) working with digital forms or within this digital economy, so some people resisted the book’s hypertextuality or intertextuality because they couldn’t see its other forms, if that makes sense. It was a problem of invisibility; of how to make something appear (this is where Nietzsche, big presence in Love Dog , comes in—the nature of appearances). Something people don’t necessarily want to see. Some readers couldn’t see the way forms were interfacing in that book. On the surface, Beauty Talk was simply a text about media culture—the domination of entertainment as a mode of being and knowing—and most readers could only see that one side of the book. But as Godard puts it in Wim Wenders’ documentary about the future of cinema, Room 666 , “Films are made, images are made, when there’s no one looking. That’s what the invisible is, that which we don’t see. That’s what the incredible is, that which we don’t see. And cinema shows you that which we don’t see, the incredible.” We are living in the aftermath of narrative and temporal collapse, which means we don’t read or feel in the same way. I began to use digital forms in my writing because I don’t see us as traditional book people anymore. I would add that power also resides in the invisible, in the things we make invisible by making them visible. Or it did for a long time. The new face of power is quickly becoming so-called transparency, which is even more corrupt because even though we now live in a behind-the-scenes culture, and see and know how the mechanisms of power and corruption operate, we still don't change. The world still doesn't change. Finally, another important thing that Godard says in Room 666 that relates to Love Dog is: “I’m here in front of the camera, and yet in my body and in my head, I’m behind it. My world is the imaginary and the imaginary is a journey between forwards and backwards.” This idea of visible/invisible, foresight and hindsight , backwards and forwards is an important dialectic in relation to time and the idea of the destinal. This is why I wanted Love Dog to travel, literally, figuratively, and discursively. You have to be open to not knowing. To epistemological, geographical, chronological, and emotional aporias. In Love Dog my story is both visible and invisible to me. Sometimes I could see where I was going. Other times I was completely in the dark existentially. Truth procedure, which love is, as bell hooks and Badiou tell us, requires expedition and openness to possibility. Unless you want a story you already know, but that is not truth procedure. So I tried to create this backwards and forwards journey in the book—this sense of travel and motion, hope and doubt—by jumping between forms, media, time; traveling to different places, texts, and emotional registers. The book’s “Time-Jump series,” which mostly takes the form of music—songs—but also a series of “green” videos that I shot, is the most obvious tribute to this idea of subjective and chronological time. continent. Your work aligns with writers that play with the form of their language, or have assumed the role of performance artist at some point: Kathy Acker, Chris Kraus, Avital Ronell, and Anne Carson to name a few representing varied approaches that show up in Love Dog . At the risk of ossifying the work, or missing the point—as these experimental modes of writing stack-up in piles of published works, do they approach a genre? MASHA As I noted in my book Life As We Show It , in Chelsea Girls the poet Eileen Myles points out, “You can’t get money without a category.” More importantly, you can’t get a category—or respect, rank—without a clear genre. This makes genre and gender an obvious pair. The two words are even linked etymologically and both genre and gender concern taxonomies of legitimacy—of sorting through what and who is valuable. So the words share common prejudices. The things one does not want to read is often synonymous with who one doesn't want to read about. Therefore a break-up of or with genre is maybe the genre or anti-genre that could be said to link these writers. Avital Ronell breaks up with philosophical tradition and modes of inquiry. Like Nietzsche, she revaluates methods of evaluation, testing out things you are not supposed to use philosophy to test (and, by the same token, testing philosophy in ways it’s not supposed to be tested), like drugs and stupidity—where philosophy fails and we fail philosophy. And Chris Kraus does something similar in her experimental fiction, using different forms to put female subjectivity “to the test,” so to speak. All these female writers and thinkers have tried to destabilize the systems that have been set up in (and against) writing. Thus missing the mark with genre, even intentionally, means that we have missed the point in some sense as writers and thinkers. And that to me is a good thing, however difficult. We’ve started at the wrong point and gone somewhere else instead. We’ve acknowledged that writing and thinking are also about failure, and that failure is always embedded in the act of writing and in our reasons for writing. So that missing the point is also the point. Derrida insisted: “We must invent a name for those ‘critical’ inventions which belong to literature while deforming its limits.” But how can you give something that resists and deforms, a name? Wouldn’t the name also be deformed? Isn't this why the aforementioned writers get hyphenated descriptors like ficto-criticism? Do we need a proper name to be able to read something carefully? I don’t think so. I don’t need it as a reader. I’ve always taken a work on its own terms. But for most people, if you don’t have an address, people don’t know how to find you. A lot of time, they won’t even know how to look. And in some cases, they’ll think you’re not even worth finding. You are not on the map because you have to literally make the map in order to exist. In her essay, “The Gender of Sound” Carson asks, “Why is female sound bad to hear?” I think for the same reason something uncategorizable (pedagogically, creatively, racially, and sexually)—Other—is hard to read. *For an audio recording of Florida , read by Masha Tupitsyn click here . continent. : We're also curious to hear know how you see the significance of 'performance' (and why the label sticks to the shoes of these authors like toilet paper) in describing this kind of writing work? MASHA I think I responded to the parenthetical portion of this question in my previous answer. As far as how performance relates to Love Dog , in Acker’s Don Quixote , which is another big presence in the book, she writes, “there is no other reality than anthropomorphism.” In Don Quixote , the dog is human and the human is dog. Which brings us to the title of Love Dog and the totemic function of the dog in the book: giving human things animal characteristics and animal things human characteristics. Rather than investing all our human love ideals into dogs, which we do constantly as a culture of dog lovers, I wanted to put the dog into love. It is the difference between the consumption of love as a patriarchal institution or status position and the essence of a type of radical and liberatory relation that would benefit humans in their bonds with other humans. So the dog in Love Dog is not simply the book’s cover or performative affect, so to speak. Love has always needed the dog, which is why the dog is the very embodiment of belief in love . Recall Argos The Great Dog and Odysseus. Argos is the only one who remembers and recognizes the ragged and old Odysseus even after his 20-year absence. So love is the high ideal and the dog, both common and dependable, is the bridge between the sacred and the profane. The dog is the house of love. And because Love Dog is a digital project, it seemed impossible to think about the post-human, technology, the virtual, or difference (which Badiou says is essential to love in In Praise of Love ) without thinking about animal-being and being-animal. Instead of simply “performing” these ideas and characteristics as literary affects, I’m interested in being-becoming. Which means the book’s tropes, leitmotifs, series, and even its titles are in service of that truth procedure. In other words, I actually want to live this way, not just write this way. And, more importantly, I want to live this way not just think this way. So Love Dog became both my totem animal and my autobiographical animal. This made the book organic, anthropomorphic—beyond literary. See the trailer to Masha Tupitsyn's new book available now from Penny Ante Editions. (shrink)

There is a gap between, on the one hand, the tragic character of human action and, on the other hand, our moral and legal conceptions of responsibility that focus on individual agency and absolute guilt. Drawing on Kierkegaard’s understanding of tragic action and engaging with contemporary discourse on moral luck, poetic justice, and relational responsibility, this paper argues for a reform of our legal practices based on a less ‘harsh’ (Kierkegaard) conception of moral and legal responsibility and directed more (...) at empathic understanding based on the emotional and imaginative appreciation of personal narratives. This may help our societies and communities to better cope with unacceptable deeds by individuals who are neither criminals nor patients, to make room for praise as well as blame and punishment, and to set up practices and institutions that do not rely on a conception of responsibility that is hard to bear for all of us. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Moral Distress: The Face of Workplace BullyingJohn S. MurrayAfter a 28–year long distinguished military career I accepted a research position in a tertiary academic health science center, which I considered to be my dream job following retirement. Initially I was to be responsible for one department. A second was added because of my expertise with disaster preparedness. Following my orientation, I immersed myself into my new roles recognizing that (...) there was much to be done to achieve the goal of getting both departmental research programs up to par with the rest of the organization. In a short time, I began to recognize one of my bosses was going to be challenging to work with.She expected that her name be included on all grant proposals and manuscripts despite making no substantial intellectual contributions to either. Additionally, she wanted unwarranted control over all research and scholarship activities I was engaged in with staff despite having no research experience. Even meeting with her to discuss my plans for the direction of research in this department, my efforts were met with argumentative and condescending behavior. She would agree to discuss my plans. When I showed up for meetings in her office she would get angry with me oftentimes for situations, which she herself created. I continued to move forward with my work feeling that how I had conducted research and scholarly work in the past, with integrity and uncompromising ethical standards, was going to be threatened. This created great moral stress for me. I felt overwhelmed, powerless and frustrated as a result of the uncertainty as to whether or not I could fulfill my responsibilities while still meeting moral obligations.Over time, my moral compass prevented me from deviating from the principles, which helped me to build a long–standing stellar reputation as a leader in the field of pediatric nursing. However, this came with a cost. Working for this particular boss was like being on an emotional rollercoaster. One day I would feel like she was pleased with my work, but the next day my efforts could be met with anger, demeaning and dismissive behaviors. Once she praised me in front of staff for the “great” work I was doing with the evidence–based practice initiative nurse leaders. The following day she reprimanded me for not working closely with this group. She was extremely well versed at singing my praises in front of staff. Behind her closed office door was a very different experience.I confided in some colleagues in this department how I was being treated. I quickly learned that all staff were treated in this manner by this one individual. They shared that condescending language and fear and intimidation were the norm. When [End Page 112] I asked them why no one had the awareness or courage to say this treatment was not right, they quickly shared with me that staff were deterred from speaking up for fear of greater bullying behaviors. Sadly, while everyone knew what was the right thing to do, institutional constraints made it nearly impossible to pursue the right course of action. It was readily apparent these nurses were missing advocacy. At that point, I decided it was important to seek a remedy to this problem recognizing it would be no easy task.Progressively, my work environment with this particular boss became intolerable. Despite working relentlessly to develop a research program, unwarranted criticism, unjustified blame, exclusion, isolation, unreasonable demands and denied opportunities persisted. By this time, I was suffering from nightmares, headaches, fear, anxiety, depression, difficulty concentrating, and problems with self–esteem. I felt like my professional competence and reputation was being unjustifiably denigrated by this one individual.In the past, I confided in trusted organizational leaders for guidance when faced with difficult situations. As such, I approached my other boss and shared what was happening. She was deeply concerned. She encouraged me to seek guidance from a safe and confidential environment where staff members can share concerns and receive assistance with how to handle these apprehensions. I had used a program like this in the past when dealing with moral distress. This experience was very helpful. In fact, I returned on multiple... (shrink)

This essay provides an analysis of the role of affectivity in Martin Heidegger's writings from the mid to late 1920s. We begin by situating his account of mood within the context of his project of fundamental ontology in Being and Time. We then discuss the role of Befindlichkeit and Stimmung in his account of human existence, explicate the relationship between the former and the latter, and consider the ways in which the former discloses the world. To give a more vivid (...) and comprehensive picture of Heidegger's account of mood, we focus on the experience of anxiety by articulating both its function within fundamental ontology and, relatedly, its revelatory nature. We conclude by considering the place of emotions in Heidegger's thinking from this period. In a companion essay, ‘Affectivity in Heidegger II: Temporality, Boredom, and Beyond’, we complement our present analysis by revisiting the issue of affectivity in terms of Heidegger's discussion of temporality in Division II of Being and Time. We also expand our present discussion by considering the fundamental mood of boredom and other specific moods that Heidegger considers within his later thinking. (shrink)

Moral responsibility and morality lie at the heart of how we view the world. In our daily life, we feel responsibility-related emotions: gratitude, pride, love, forgiveness, resentment, indignation, and shame. We love those who freely and reciprocally love us. Also, we feel that people act rightly or wrongly, make the world better or worse, and are virtuous or vicious. These policies are central to our justifying how we see the world and treat others. In this book, I argue that (...) our views on these matters, except love, are false. (shrink)

What is the relation between emotional experience and its behavioural expression? As very preliminary clarification, I mean by ‘emotional experience’ such things as the subjective feeling of being afraid of something, or of being angry at someone. On the side of behavioural expression, I focus on such things as cowering in fear, or shaking a fist or thumping the table in anger. Very crudely, this is behaviour intermediate between the bodily changes which just happen in emotional arousal, such as sweating (...) or the secretion of adrenalin, and reasoned actions done ‘out of an emotion’, such as breathing deeply to clam down, or writing a letter of complaint, for which a standard rationalizing explanation can be given.1 I pursue the relation between this experience and expression in a somewhat roundabout manner. First, I note an analogy between a problem of other minds, and Berkeley’s (1975) challenge to Locke’s (1975) realism. Second, I sketch what I regard as the correct strategy for meeting this challenge. Third, I develop and defend a parallel response to the problem of other minds, as this applies to certain basic directed emotions. This yields the following answer to my opening question. Reference to the appropriate expressive behaviour is essential to the identification of the way in which various emotional experiences present their worldly objects. (shrink)

Explore the Resistance to Death, and Awaken More Fully to Life Death is simply one more aspect of being a human being, but in our culture, we've made it a taboo. As a result, most of us walk through life with conscious or unconscious fears that prevent us from experiencing true contentment. Embracing the End of Life invites you to lean into your beliefs and questions about death and dying, helping you release tense or fearful energy and awaken to a (...) more vital life now. Preparing mentally, emotionally, and spiritually for this inevitable transition provides improved clarity and strength. This book shares the idea of death as a journey of three steps—resistance, letting go, and transcendence. With dozens of exercises, practices, and meditations, author Patt Lind-Kyle helps you experience your truest, most expansive self. Exploring multiple aspects of life and death—with everything from chakras and the Enneagram to living wills and health care directives—this book is meant to help you unwind the challenge of death and discover the truth of your own path to inner freedom. Praise: "The fear of dying keeps countless people from living fully—as well as keeping countless others trapped in endless suffering. Embracing the End of Life will help all of us prepare joyously for the inevitable."—Christiane Northrup, MD, New York Times bestselling author of Goddesses Never Age Winner of a 2018 Gold IPPY Award. (shrink)

Older adults report high emotional well-being, but age-comparative studies of emotion regulation strategies have not identified systematic age differences. We propose that emotion regulation tactics may be more promising. Emotion regulation tactics involve strategy implementation in a specific situation, and have features shared across strategies involving positive or negative elements (objects/thoughts) in the environment that may be approached or receded from in the regulation attempt (i.e., a valence dimension about the environmental element, and a direction dimension indicating movement toward or (...) away from it). Across several studies, older adults used more positive-approaching than negative-receding tactics. Positive-approaching tactics may also be more effective at regulating mood. We consider implications for aging, as well as group differences in emotion regulation behavior generally. (shrink)

To answer whether moral responsibility is compatible with determinism, two different methods for justifying compatibilist conditions of responsibility have emerged in recent literature. First-person approaches, such as Hilary Bok's, appeal to the first-person experience of human agency to justify our practices of holding agents responsible. In contrast, T. M. Scanlon and Jay Wallace, following P. F. Strawson, begin with an account of the interpersonal significance of holding each other responsible in order to discern the conditions under which it is (...) appropriate to assign that significance to an agent's actions. In this dissertation, I evaluate these different methodologies, and I examine the details of each view in order to find a proper understanding of the conditions of responsibility and of the significance of responsibility judgments within our interpersonal lives. ;I argue that the backward-looking significance we attach to responsibility judgments, including those of blame and praise, can be captured only by an interpersonal approach. Specifically, I argue that the significance of responsibility is not found in the negative consequences or emotions that we associate with holding agents responsible. Rather, ascribing to an agent the status of being responsible is a form a deep respect, which has practical implications. I argue that our intuitions concerning victims of severely deprived childhoods are best accounted for if we recognize that ascription as a form of respect and we separate the question of whether an agent is responsible from considerations of appropriate punishments. ;With regard to the conditions of responsibility, I argue that practical reasoners should be considered responsible not only for their choices, but also for negligent omissions, moral beliefs, and certain emotional reactions, even if such phenomena are not based on their choices. In addition, I argue that compatibilists do not need to add the capacity to grasp distinctly moral reasons to the requirements of responsible agency because that capacity is entailed by the basic capacity to reason practically. I examine the psychological literature on psychopaths---agents who supposedly are practical reasoners without moral understanding---to counter an objection to my view. (shrink)