Reviews the book, Upheavals of thought: The intelligence of emotions by Martha C. Nussbaum . Drawing from an astounding array of sources, Nussbaum argues against the common understanding of emotions as irrational and animalistic impulses disconnected from our thoughts and reason. Rather, she argues that emotions are highly discriminating responses to what is of value and importance that are, therefore, suffused with intelligence and discernment. Nussbaum explores the structure of a wide range of emotions, in particular, compassion and love, in (...) order to show that there can be no adequate ethical theory without an adequate theory of emotional experience and meaning. 2012 APA, all rights reserved). (shrink)

It is sometimes said that reasoning, thought and judgment essentially involve action. It is sometimes said that they involve spontaneity, where spontaneity is taken to be connected in some constitutive way with action—intentional, voluntary and indeed free action. There is, however, a fundamental respect in which reason, thought and judgment neither are nor can be a matter of action. Any spontaneity that reason, thought and judgment involve can be connected with freedom only when the word 'freedom' is used in the (...) Spinozan-Kantian sense according to which freedom is a matter of 'rational necessitation', determination by reason. (shrink)

Exceptionally Common Courage provides an extended, close reading of Fear and Trembling, Kierkegaard's well-known, pseudonymous book about Abraham's sacrifice of Isaac. It then fits this (in)famous work into the broader and puzzling corpus that includes both other pseudonymous works and signed discourses by this same mercurial author. Though not the first to tackle Kierkegaard from the direction of either a single work or the whole authorship, this two-in-one book relates whole and part to whole and part in a way that (...) reads like a genuine musical counterpoint. The scholarly debates inevitably generated by any treatment of Fear and Trembling are here addressed in ways that arise from a detailed interpretation of the text itself without letting secondary material interrupt the primary train of thought. Along the way, Kierkegaard's ideas are brought into conversation with a much broader than usual cannon of interlocutors, including such figures as Elizabeth Stuart Phelps and James Baldwin, R.H. Tawney and Wendell Berry. And by the end, the complex movement of the entire authorship becomes audible above the various isolated and doctrinaire notes typically highlighted in comparable studies. The recurring melody is about existential courage, about the risk of emotionally investing in earthly goods against the ambiguous inevitability of their loss. Woven throughout Kierkegaard's so-called esthetic and religious writings, this common task of facing threats to the integral meaning of human experience stands out in arresting color. As the chapters unfold, this understanding of faith as a form of courage provides not just direction, but a topographical score for what is originally a highly indirect and elusive textual arrangement. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Dao Companion to the Philosophy of the Zhuangzi ed. by Kim-chong ChongLuyao Li (bio)Dao Companion to the Philosophy of the Zhuangzi. Edited by Kim-chong Chong. Dordrecht: Springer, 2022. Pp. 835. Hardcover US $133.15, isbn 978-3-030-92330-3.Dao Companion to the Philosophy of the Zhuangzi, edited by Kim-chong Chong, is the sixteenth volume in the Dao Companions to Chinese Philosophy series. This volume includes a total of 34 chapters and is (...) divided into six parts: "Authorship and Commentary" (Part I), "Concepts" (Part II), "Language and Metaphor" (Part III), "Zhuangzi in the Context of Chinese Philosophy" (Part IV), "Ethical, Social, and Epistemic Issues" (Part V), and "The Zhuangzi and Western Philosophy" (Part VI). These six parts not only provide students or non-specialists with a clear overview of the various possible aspects and approaches to Zhuangzi studies, but also present the latest discussions and diverse perspectives on crucial issues in the Zhuangzi, making the volume a valuable resource for experts in this field.Each part of the Dao Companion to the Philosophy of the Zhuangzi extensively explores diverse research perspectives on a specific theme in Zhuangzi studies. Part IV, "Zhuangzi in the Context of Chinese Philosophy," serves as an exemplary illustration of this approach. Considering the possibility that Laozi and the Logicians may have influenced the thought in the Zhuangzi to some extent, this part is comprised of two chapters that respectively examine the connections and distinctions between Zhuangzi and Laozi, and Zhuangzi and the Logicians. Regarding scholars who may have lived after Zhuangzi, Angel On Ki TING envisions Zhuangzi's response to Xunzi's criticism, exploring their respective attitudes towards rites (li 禮) through examining the motivation for action. Additionally, there are chapters that discuss the influence of Zhuangzi's thoughts after the Warring States period, on Neo-Daoism, Buddhism, and Neo-Confucianism, as well as on inner alchemy and religious Daoism.In Part II, however, such extensive exploration proves to be less satisfactory. Here, some crucial concepts in the Zhuangzi are illustrated, including heaven (tian 天) and human (ren 人), transformation (hua 化), vast or big (da 大) and minute (xiao 小), true person (zhen ren 真人) and true knowledge (zhen zhi 真知), no-emotion (wu qing 无情), and ming 命 (fate, destiny, mandate and command). It is unclear why certain concepts are chosen, whereas the central concepts of Dao (道) and de (德) are not focused on. It would perhaps be worthwhile to look closer into more of the above listed concepts, and the [End Page 1] relevance of Dao and de, particularly in terms of Dao and de's relationships to closely connected notions like heaven (tian 天) and ming (命).Furthermore, clear distinctions of themes in various parts of this edited volume overlook the connections among them. Certain terms and issues are addressed in chapters of different parts, with little or no communication between them. For example, the true person is the main concern in a number of chapters: "The True Person and True Knowledge in the Zhuangzi" (Part II, pp. 179-198); "Those Who Fly Without Wings: Depictions of the Supreme Idea Figure in the Inner Chapters of the Zhuangzi" (Part III, pp. 305-376); and "Zhuangzi's Notion of the True Master and Wittgenstein's Grammatical Investigation" (Part VI, pp.807-824). Such exploration of various perspectives on a particular theme is noteworthy. It is regrettable, however, that there is a lack of correspondence between those perspectives. Some discussion on interactions among relevant chapters would certainly enhance the volume.In addition to presenting an extensive range of studies on the Zhuangzi, the Dao Companion to the Philosophy of the Zhuangzi also makes contributions to specific issues, which will be appealing to specialists in this field. I will elaborate on three of these contributions drawing on various parts of the volume.First, this work contributes to discussions on the issue of authorship. The traditional viewpoint attributes the Inner Chapters, or at least their main part, to the historical figure Zhuang Zhou, and assumes that they were written in the Warring States period and composed earlier than other chapters. Therefore, the Inner Chapters are prioritized in studies of the Zhuangzi. Esther Klein has previously challenged the view that the Inner... (shrink)

Nursing codes of ethics and conduct are features of professional practice across the world, and in the UK, the regulator has recently consulted on and published a new code. Initially part of a professionalising agenda, nursing codes have recently come to represent a managerialist and disciplinary agenda and nursing can no longer be regarded as a self‐regulating profession. This paper argues that codes of ethics and codes of conduct are significantly different in form and function similar to the difference between (...) ethics and law in everyday life. Some codes successfully integrate these two functions within the same document, while others, principally the UK Code, conflate them resulting in an ambiguous document unable to fulfil its functions effectively. The paper analyses the differences between ethical‐codes and conduct‐codes by discussing titles, authorship, level, scope for disagreement, consequences of transgression, language and finally and possibly most importantly agent‐centeredness. It is argued that conduct‐codes cannot require nurses to be compassionate because compassion involves an emotional response. The concept of kindness provides a plausible alternative for conduct‐codes as it is possible to understand it solely in terms of acts. But if kindness is required in conduct‐codes, investigation and possible censure follows from its absence. Using examples it is argued that there are at last five possible accounts of the absence of kindness. As well as being potentially problematic for disciplinary panels, difficulty in understanding the features of blameworthy absence of kindness may challenge UK nurses who, following a recently introduced revalidation procedure, are required to reflect on their practice in relation to The Code. It is concluded that closer attention to metaethical concerns by code writers will better support the functions of their issuing organisations. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 89-104 [Access article in PDF] The Ethical Power of Music:Ancient Greek and Chinese Thoughts Yuhwen Wang Both the ancient Chinese and Greeks from around the fifth century B.C. to around third century A.D. recognized the immense impact that music has on the development of one's personality, and both regarded it as crucial in cultivation for the proper disposition in youth. Music's power (...) over one's ethos 1 — that is, human disposition — was emphasized by Plato and by Chinese authors of various documents. 2 As will become clear, music in both cultures was considered an important means for a proper education and a powerful tool for cultivating and controlling the people of a nation-state. In both cases, the power of music was further connected to the way the universe works. Yet despite their similar views about music, the reasoning strategies used in the two cultures differ enormously. Observing how the two remote cultures conceived the relationship between music and the ethos may give us some insight to music's role in aesthetic education among us modern listeners.In this essay, I investigate how the power of music was understood and explained in these two ancient cultures, and the similarities and differences in their explanations and reasoning strategies. What mechanisms were thought to be at work behind this musical power? How close are ancient Greeks and Chinese in their conceptions of musical power upon the ethos? In particular, the Yue Ji (Record of Music, from the Li Ji) and the Yue Shu (Book of Music, from the Shi Ji) from ancient China, and Plato's writings from ancient Greece will be taken as the foci of the comparison.The Yue Ji and Yue Shu are two of the most important documents in ancient Chinese musical philosophy, respectively included as individual sections in the Li Ji (Record of Rituals) and Shi Ji (Records of the Grand Historian). Both are believed to be later versions of the same source document, which has never been found. In the Chinese textual tradition, the Yue Ji is the earliest fully developed treatise on music that has come down to us. Its authorship has been debated for centuries, but scholars generally agree that [End Page 89] it was completed prior to the middle of the Western Han dynasty (second and first centuries B.C.) The entire contents of the Yue Ji are included in the Yue Shu. The latter contains additional material, is organized in a more logical way, and is also thought to have been compiled during the Western Han dynasty. 3In the first part of this essay, I will use the Yue Ji, the Yue Shu, and Plato's writings to show how the concept of music's power over the ethos evolved in the two ancient cultures. This is closely related to their views on music's effect in regulating human behavior, its educational value, its benefits for governing a state, and its close association with Nature and the universe. Then in the second part, I will focus on the ways that Plato and the authors of the Yue Ji and Yue Shu explained this power, and the reasoning strategies that they used. Essential Belief in Music's Power The close relationship between music and the ethos is explicitly announced in the Yue Ji and the Yue Shu. Both documents state approvingly that "music represented (made clear) virtue" for the ancient rulers (SSJ, 5, 678). 4 Various kinds of music are then pointed out as having different effects upon human ethos and emotion: Men have powers of the body and powers of the mind but they cannot remain stable with regard to grief, pleasure, joy, and anger. They are moved by external causes. Thus originates the appearance of the various affections. Therefore, if feeble, trivial, and rushed music prevails, people will be sad. If harmonious, peaceful, varied but simple music prevails, people will be gratified and happy. If vigorous, violent, and forceful music prevails, which arouses people to... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 89-104 [Access article in PDF] The Ethical Power of Music:Ancient Greek and Chinese Thoughts Yuhwen Wang Both the ancient Chinese and Greeks from around the fifth century B.C. to around third century A.D. recognized the immense impact that music has on the development of one's personality, and both regarded it as crucial in cultivation for the proper disposition in youth. Music's power (...) over one's ethos 1 — that is, human disposition — was emphasized by Plato and by Chinese authors of various documents. 2 As will become clear, music in both cultures was considered an important means for a proper education and a powerful tool for cultivating and controlling the people of a nation-state. In both cases, the power of music was further connected to the way the universe works. Yet despite their similar views about music, the reasoning strategies used in the two cultures differ enormously. Observing how the two remote cultures conceived the relationship between music and the ethos may give us some insight to music's role in aesthetic education among us modern listeners.In this essay, I investigate how the power of music was understood and explained in these two ancient cultures, and the similarities and differences in their explanations and reasoning strategies. What mechanisms were thought to be at work behind this musical power? How close are ancient Greeks and Chinese in their conceptions of musical power upon the ethos? In particular, the Yue Ji (Record of Music, from the Li Ji) and the Yue Shu (Book of Music, from the Shi Ji) from ancient China, and Plato's writings from ancient Greece will be taken as the foci of the comparison.The Yue Ji and Yue Shu are two of the most important documents in ancient Chinese musical philosophy, respectively included as individual sections in the Li Ji (Record of Rituals) and Shi Ji (Records of the Grand Historian). Both are believed to be later versions of the same source document, which has never been found. In the Chinese textual tradition, the Yue Ji is the earliest fully developed treatise on music that has come down to us. Its authorship has been debated for centuries, but scholars generally agree that [End Page 89] it was completed prior to the middle of the Western Han dynasty (second and first centuries B.C.) The entire contents of the Yue Ji are included in the Yue Shu. The latter contains additional material, is organized in a more logical way, and is also thought to have been compiled during the Western Han dynasty. 3In the first part of this essay, I will use the Yue Ji, the Yue Shu, and Plato's writings to show how the concept of music's power over the ethos evolved in the two ancient cultures. This is closely related to their views on music's effect in regulating human behavior, its educational value, its benefits for governing a state, and its close association with Nature and the universe. Then in the second part, I will focus on the ways that Plato and the authors of the Yue Ji and Yue Shu explained this power, and the reasoning strategies that they used. Essential Belief in Music's Power The close relationship between music and the ethos is explicitly announced in the Yue Ji and the Yue Shu. Both documents state approvingly that "music represented (made clear) virtue" for the ancient rulers (SSJ, 5, 678). 4 Various kinds of music are then pointed out as having different effects upon human ethos and emotion: Men have powers of the body and powers of the mind but they cannot remain stable with regard to grief, pleasure, joy, and anger. They are moved by external causes. Thus originates the appearance of the various affections. Therefore, if feeble, trivial, and rushed music prevails, people will be sad. If harmonious, peaceful, varied but simple music prevails, people will be gratified and happy. If vigorous, violent, and forceful music prevails, which arouses people to... (shrink)

Organized around a series of philosophic questions about film,The Philosophy of Film: Introductory Text and Readingsoffers an accessible and engaging overview of the discipline. Provides thorough selection of readings drawn from philosophy,film studies, and film criticism Multiple points of view highlighted in discussion of filmtheory, narration, authorship, film and emotion, and the socialvalues of cinema Presents thought-provoking reading questions as well as clearand helpful introductions for each section More information about this text along with further resourcesare available from the accompanying (...) website at:http://www.mtholyoke.edu/omc/phil-film/index.html. (shrink)

This essay presents a reading of the use of wonder in the political philosophy of Thomas Hobbes. In this essay, I argue that not only did Hobbes incorporate the ancient conception of wonder into his design for the emotional apparatus of the modern sovereign state, but that when he did so he also transformed it and other concepts. Previous scholars have paid close attention to Hobbes’s confrontation with ancient philosophy, but there has been no sustained study of Hobbes’s use of (...) wonder, which was a concern of his over the entire course of his authorship. More broadly, this study opens up a place for the study of wonder in contemporary political theory as part of the broader reassessment of emotion. (shrink)

This handbook brings together essays in the philosophy of film and motion pictures from authorities across the spectrum. It boasts contributions from philosophers and film theorists alike, with many essays employing pluralist approaches to this interdisciplinary subject. Core areas treated include film ontology, film structure, psychology, authorship, narrative, and viewer emotion. Emerging areas of interest, including virtual reality, video games, and nonfictional and autobiographical film also have dedicated chapters. Other areas of focus include the film medium’s intersection with contemporary social (...) issues, film’s kinship to other art forms, and the influence of historically seminal schools of thought in the philosophy of film. Of emphasis in many of the essays is the relationship and overlap of analytic and continental perspectives in this subject. (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)

Provocation's past shows it to be a defence grounded in the concept of excessive defence. The quality of the defendant's reasons for killing - the 'proportionality' of his conduct - formed a vital and probably a free-standing ground of mitigation. Anger was introduced only where proportionality did not itself afford sufficient ground for defence, although as society came later to disapprove private force so emotional disturbance began to play a more and more central role. The importance of anger has nevertheless (...) been widely misunderstood. Far from interfering with 'authorship' of actions, it rather modifies perspective and so helps to explain how the defendant could have viewed a wholly inappropriate act of violence as broadly proportionate. It is because scholars have largely ignored anger's impact upon reasoning, presenting it instead as a fundamentally irrational force, that modern interpretations of the defence obscure so much of its moral detail. (shrink)

Emotions are typically dual-faced: they involve both an evaluative and a practical aspect. What is more, an emotion's evaluative and practical aspects tend to exhibit a kind of fit. For example, Sakshi's fear of the bear involves apprehending the bear as a threat to something she cares about, i.e., her wellbeing. And it motivates her to act on behalf of this care: it motivates her to act in ways that protect her wellbeing. Both dimensions of Sakshi's fear are about her (...) wellbeing. Typically, characterizations of gratitude speak to both its evaluative and practical dimensions. Gratitude is described as a way of apprehending the significance of one's benefactor's kindness, and it is said to involve a disposition to thank one's benefactor and to return the kindness. In this article I show that this characterization is incomplete insofar as it leaves us without the resources needed to discern the link between gratitude's two dimensions. I argue that discerning the fit requires an account of gratitude's focus and goal. I urge that the beneficiary's communal relationship with her benefactor is gratitude's focus and that promoting this relationship is gratitude's goal. Both dimensions of a beneficiary's gratitude are about her communal relationship with her benefactor. (shrink)

For the past century French intellectuals have increasingly censured Athénaïs Michelet as an "abusive widow" who mutilated the work of her husband. This article explores the role such censure, often vituperative and emotionally charged, has played in the development of French historiography and argues that it has been crucial in constructing the revered figure of Michelet. Further, the figure of Michelet is itself central to the more important trajectory of historiography that depends on the establishment of "authors" as focal points (...) of disciplinary power. Because the authorship of Michelet is so reliant on the scientific scholarship deployed to prove that Athénaïs Michelet was no author herself, the historiographic enterprise of establishing authorship is more than a little tainted with gender--not immune to it, as the profession claims to be. To the contrary, Michelet scholarship, like other historiographical debates, has taken great pains to establish the priority of the male over the female in writing history. If, as Howard Bloch as noted, this pointing to a male "original" and a female "copy" is the archetype of misogyny, then, the paper asks, is not scientific history so grounded? (shrink)

This chapter argues that emotion recognition is a skill. A skill perspective on emotion recognition draws attention to underappreciated features of this cornerstone of social cognition. Skills have a number of characteristic features. For example, they are improvable, practical, and flexible. Emotion recognition has these features as well. Leading theories of emotion recognition often draw inadequate attention to these features. The chapter advances a theory of emotion recognition that is better suited to this purpose. It proposes that emotion recognition involves (...) scripts. Emotion scripts describe how people are likely to behave in different emotional contexts. Scripts can be improved with the addition of richer social knowledge, they are practical in that they describe and guide social interaction, and they are flexible because they must accommodate the fact that emotions have different behavioral impact depending on the agents involved and the circumstances at play. Learning to recognize emotions through scripts qualifies as a skill. (shrink)

Noël Carroll’s influence on the contemporary debate on the horror genre is hard to overestimate. His work on the topic is often celebrated as one of the best instances of interdisciplinary dialogue between film studies and philosophy of art. It has provided the foundations for the contemporary study of horror in art. Yet, for all the critical attention that his views on horror have attracted over the years, little scrutiny has been given to the nature itself of the emotion of (...) horror in the genre. This article offers a critical understanding of the nature of the emotion of horror for Carroll, with a view to informing future investigations into the nature of horror in film (and beyond). (shrink)

Studies of normal individuals reveal an asymmetry in the folk concept of intentional action: an action is more likely to be thought of as intentional when it is morally bad than when it is morally good. One interpretation of these results comes from the hypothesis that emotion plays a critical mediating role in the relationship between an action’s moral status and its intentional status. According to this hypothesis, the negative emotional response triggered by a morally bad action drives the attribution (...) of intent to the actor, or the judgment that the actor acted intentionally. We test this hypothesis by presenting cases of morally bad and morally good action to seven individuals with deficits in emotional processing resulting from damage to the ventromedial prefrontal cortex (VMPC). If normal emotional processing is necessary for the observed asymmetry, then individuals with VMPC lesions should show no asymmetry. Our results provide no support for this hypothesis: like normal individuals, those with VMPC lesions showed the same asymmetry, tending to judge that an action was intentional when it was morally bad but not when it was morally good. Based on this finding, we suggest that normal emotional processing is not responsible for the observed asymmetry of intentional attributions and thus does not mediate the relationship between an action’s moral status and its intentional status. (shrink)

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

This paper explores the value of a Poststructuralist psychoanalytic model of persons, or Subjects, as an expanded frame for the question Whose consent is it anyway? The elaboration of the need for this expanded frame, its tenets and its value form the substance of the paper. This frame incorporates the emotional, linguistic, and socio-cultural dimensions that help restore patients and physicians to their full status as persons from their restricted status, in the current dominant theory and model, as unidimensional, rationalistic, (...) medico-legally constructed players; emphasizes their interconnectedness; and, focuses broadly on responsibility as bearing consequences, and not only accountability. This frame does not deny the role and importance of cognition or rationality, it supplements them. It does not supplant rationality, but rather includes it in a view of the person that also includes those other human capacities which are not based on an ideal of pure reason. (shrink)

First published in 1977, Emotion, Thought and Therapy is a study of Hume and Spinoza and the relationship of philosophical theories of the emotions to psychological theories of therapy. Jerome Neu argues that the Spinozists are closer to the truth; that is, that thoughts are of greater importance than feelings in the classification and discrimination of emotional states. He then contends that if the Spinozists are closer to the truth, we have the beginning of an argument to show that Freudian (...) or analytic therapies make philosophic sense. Throughout the book, careful attention is paid to modern discussions in philosophy of mind and psychology, and materials from anthropology and other relevant disciplines are considered. At the centre of the discussion is the notion of ‘thought-dependence’. Therapies for psychological disorders are placed along a spectrum in accordance with the role they assign to thoughts. The Spinozist view of the emotions can be seen as at the extreme thought end of a corresponding spectrum of theories of the emotions. The book suggests that this stream may help explain the spectrum of therapeutic theories and the possibilities that exist for psychological development and change. This book will be of interest to students of philosophy, psychology and counselling. (shrink)

This essay raises a challenge for the perceptual theory of emotion. According to the perceptual theory, emotions are perceptual states that represent values. But if emotions represent values, something should explain why. In virtue of what do emotions represent the values they do? A psychosemantics would answer this, and that’s what the perceptual theorist owes us. To date, however, the only perceptual theorist to attempt a psychosemantics for emotion is Jesse Prinz. And Prinz’s theory, I argue, faces an important difficulty: (...) It makes the pairing of any given emotion with its respective value entirely arbitrary. But that’s a problem. It seems—and this is a major contention of this essay—that an emotion, in virtue of how it feels, bears a natural or non-arbitrary link to the value it represents. And this datum makes it all the more difficult to provide a viable psychosemantics for the evaluative content of emotion. (shrink)

Emotion dysregulation (ED) is a vulnerability factor for affective disorders that may originate from deficits in cognitive control (CC). Although measures of ED are often designed to assess trait-like tendencies, the extent to which such measures capture a time-varying (TV) or state-like construct versus a time-invariant (TI) or trait-like personality characteristic is unclear. The link between the TV and TI components of ED and CC is also unclear. In a 6-wave, 5-month longitudinal study, community participants (n = 1281) completed the (...) Difficulties in Emotion Regulation Scale (DERS-16), a commonly used measure of ED and measures of CC. A latent variable (trait-state-occasion) model showed that the proportion of TI factor variance (.80) was greater than the TV factor variance (.19). Although TV factor stability was significant, the coefficients were small in magnitude. Furthermore, regression weights for the ED TI factor (average β = −.62) were significant and larger than those for the TV factor (average β = −.10) in predicting latent CC at each of the six-time points. These findings suggest that ED, as assessed by the DERS-16, is largely TI and this TI component is more strongly linked to CC than the TV component. (shrink)

We develop a version of a direct perception account of emotion recognition on the basis of a metaphysical claim that emotions are individuated as patterns of characteristic features. On our account, emotion recognition relies on the same type of pattern recognition as is described for object recognition. The analogy allows us to distinguish two forms of directly perceiving emotions, namely perceiving an emotion in the absence of any top-down processes, and perceiving an emotion in a way that significantly involves some (...) top-down processes ; and, in addition, an inference-based evaluation of an emotion. Our model clarifies the epistemology of emotion recognition. (shrink)

Although some still advance reductive accounts of emotions—according to which they fall under a more familiar type of mental state—contemporary philosophers tend to agree that emotions probably constitute their own kind of mental state. Agreeing with this claim, however, is compatible with attempting to find commonalities between emotions and better understood things. According to the advocates of the so-called ‘perceptual analogy’, thinking of emotion in terms of perception can fruitfully advance our understanding even though emotion may not be reducible to (...) ordinary perception. In this paper, I spell out and motivate a different analogy—that between emotion and action—an analogy which I think can do some important theoretical work. In particular, it constitutes a theoretically fruitful way to think about core aspects of emotions and might in fact be employed to provide a better account of certain aspects of emotions than the one based on the perceptual analogy. Emotions might not be a matter of seeing the world a certain way, but a matter of behaving internally in response to it. In a slogan form: Emotion is the inward counterpart of bodily movement. (shrink)

These comments concern Bordwell’s explicit and implicit claims about cinematic authorship in his 1985 Narration in the Fiction Film. Distinctions are drawn between causal and attributionist conceptions of authorship, and between actualist and fictionalist views about the spectator’s attitude toward authorship. A key question concerns the autonomy or independence of a viewer’s competent uptake of story and narration, as opposed to its dependence on knowledge of authorship or authorial design. The example of cinematic quotation in Resnais’s Mon oncle d’Amérique is (...) used to illustrate the pertinence of the latter option. (shrink)

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

Recent studies of emotion mindreading reveal that for three emotions, fear, disgust, and anger, deficits in face-based recognition are paired with deficits in the production of the same emotion. What type of mindreading process would explain this pattern of paired deficits? The simulation approach and the theorizing approach are examined to determine their compatibility with the existing evidence. We conclude that the simulation approach offers the best explanation of the data. What computational steps might be used, however, in simulation-style emotion (...) detection? Four alternative models are explored: a generate-and-test model, a reverse simulation model, a variant of the reverse simulation model that employs an “as if” loop, and an unmediated resonance model. (shrink)

While it may be useful to consider the development of new topics in teaching the responsible conduct of research (RCR), it is perhaps equally important to reconsider the traditionally taught core topic areas in both more nuanced and broader ways. This paper takes the topic of authorship as an example. Through the description of two specific cases from sociocultural anthropology, ideas about credit and responsibility are examined. It is suggested that placing more focus on the array of meanings found in (...) the act of authoring might help students see themselves as part of a wider community both of scientists and beyond science. (shrink)

ABSTRACTNumerous studies have found that shame increases individuals’ anger at others. However, according to recent theories about the social function of shame and anger at others, it is possible that shame controls individuals’ anger at others in specific conditions. We replicated previous findings that shame increased individuals’ anger at others’ unfairness, when others were not aware of the individual’s experience of shameful events. We also found for the first time that shame controlled or even decreased individuals’ anger at others’ unfairness, (...) when others were aware of the individual’s experience of shameful events. The results were consistent when shame was induced by either a recall paradigm or an imagination paradigm, and in either the ultimatum game or the dictator game. This suggests that shame strategically controls individuals’ anger at others to demonstrate that they are willing to benefit others, when facing the risk of social exclusion. Our findings highlight the interpersonal function of... (shrink)

There is a view of the emotions (I might tendentiously call it ‘cognitivism’) that has at present a certain currency. This view is of the emotions as playing an essential role in our gaining evaluative knowledge of the world. When we are angry at an insult, or afraid of the burglar, our emotions involve evaluative perceptions and thoughts, which are directed towards the way something is in the world that impinges on our well-being, or on the well-being of those that (...) matter to us. Without emotions, we would be worse off, prudentially and morally: we would not see things as they are, and accordingly we would not act as we should. Emotions are, according to this view a Good Thing. No wonder we have evolved as creatures capable of emotion.[1]. (shrink)

This daily diary study examined the within-person coupling between four emotion regulation strategies and both subjective well-being and perceived stress in daily life of geriatric nurses. Participants (N = 89) described how they regulated their emotions in terms of cognitive reappraisal and suppression. They also indicated their subjective well-being and level of perceived stress each day over three weeks. At the within-person level, cognitive reappraisal intended to increase positive emotions was positively associated with higher subjective well-being and negatively associated with (...) perceived stress. Suppression of the expression of positive emotions was negatively associated with subjective well-being and positively associated with perceived stress. However, cognitive reappraisal intended to down-regulate negative emotions and suppression as a strategy to inhibit the expression of negative emotions were not associated with daily well-being or perceived stress. Off-days were rated as days with higher subjective well-being and lower perceived stress in contrast to working days. At the between-person level, individuals who reported more daily negative affect reported increased suppression of positive emotions, corroborating the within-person findings. Moreover, findings indicated that nurses with more years of experience in the job reported higher subjective well-being and less perceived stress. These results provide insights into important daily emotional processes of geriatric nurses, both at workdays and in their leisure time. (shrink)

In this paper, we develop an impure somatic theory of emotion, according to which emotions are constituted by the integration of bodily perceptions with representations of external objects, events, or states of affairs. We put forward our theory by contrasting it with Prinz's pure somatic theory, according to which emotions are entirely constituted by bodily perceptions. After illustrating Prinz's theory and discussing the evidence in its favor, we show that it is beset by serious problems—i.e., it gets the neural correlates (...) of emotion wrong, it isn't able to distinguish emotions from bodily perceptions that aren't emotions, it cannot account for emotions being directed towards particular objects, and it mischaracterizes emotion phenomenology. We argue that our theory accounts for the empirical evidence considered by Prinz and solves the problems faced by his theory. In particular, we maintain that our theory gives a unified and principled account of the relation between emotions and bodily perceptions, the intentionality of emotions, and emotion phenomenology. (shrink)

Objective: To analyse medical students’, graduate students’ and doctors’ and medical teachers’ perceptions of research contributions as criteria for authorship in relation to the authorship criteria defined by the International Committee of Medical Journal Editors .Design: Medical students with or without prior instruction on ICMJE criteria, graduate students/doctors and medical teachers rated the importance of 11 contributions as authorship qualifications. They also reported single contributions eligible for authorship, as well as acceptable combinations of two or three qualifying contributions.Results: Conception and (...) design, Analysis and interpretation and Drafting of article formed the most important cluster in all four groups. Students without prior instruction rated Critical revision and Final approval lower than the other three groups. “Final approval” was a part of the least important cluster in all groups except among students with instruction.Conclusions: Conception and design, Analysis and interpretation and Drafting of article were recognised as the most important of the ICMJE criteria by all participants. They can be considered independent of previous instruction or experience. Final approval and Critical revision should be actively taught as important authorship criteria to future scientists. (shrink)

Recent brain imaging studies using functional magnetic resonance imaging (fMRI) have implicated insula and anterior cingulate cortices in the empathic response to another’s pain. However, virtually nothing is known about the impact of the voluntary generation of compassion on this network. To investigate these questions we assessed brain activity using fMRI while novice and expert meditation practitioners generated a loving-kindness-compassion meditation state. To probe affective reactivity, we presented emotional and neutral sounds during the meditation and comparison periods. Our main hypothesis (...) was that the concern for others cultivated during this form of meditation enhances affective processing, in particular in response to sounds of distress, and that this response to emotional sounds is modulated by the degree of meditation training. The presentation of the emotional sounds was associated with increased pupil diameter and activation of limbic regions (insula and cingulate cortices) during meditation (versus rest). During meditation, activation in insula was greater during presentation of negative sounds than positive or neutral sounds in expert than it was in novice meditators. The strength of activation in insula was also associated with self-reported intensity of the meditation for both groups. These results support the role of the limbic circuitry in emotion sharing. The comparison between meditation vs. rest states between experts and novices also showed increased activation in amygdala, right temporo-parietal junction (TPJ), and right posterior superior temporal sulcus (pSTS) in response to all sounds, suggesting, greater detection of the emotional sounds, and enhanced mentation in response to emotional human vocalizations for experts than novices during meditation. Together these data indicate that the mental expertise to cultivate positive emotion alters the activation of circuitries previously linked to empathy and theory of mind in response to emotional stimuli.. (shrink)

Emotion is conceptualised as an emergent, dynamic process based on an individual's subjective appraisal of significant events. It is argued that theoretical models of emotion need to propose an architecture that reflects the essential nature and functions of emotion as a psychobiological and cultural adaptation mechanism. One proposal for such a model and its underlying dynamic architecture, the component process model, is briefly sketched and compared with some of its major competitors. Recent empirical evidence in support of the model is (...) reviewed. Special emphasis is given to the dynamic aspect of emotion processes, in particular the sequence of appraisal checks and the synchronisation of response systems, as well as the capacity of the model to predict individual differences in emotional responding. (shrink)

Hope is important in Thomas Aquinas’s account of the emotions: it is one of the four primary emotions and the first of the irascible emotions. Yet his account of hope as a movement of the sensory appetite toward a future possible good that is arduous to attain appears to be overly restrictive, for people often hope for things that are not cognized as arduous. This paper examines Aquinas’s reasons for limiting hope to arduous goods.

A successor to the acclaimed 'Music and Emotion', The Handbook of Music and Emotion provides comprehensive coverage of the field, in all its breadth and depth. As well as summarizing what is currently known about music and emotion, it will also stimulate further research in promising directions that have been little studied.

This paper argues that an emotion is a state of affectively perceiving its intentional object as falling under a “thick affective concept” A, a concept that combines cognitive and affective aspects in a way that cannot be pulled apart. For example, in a state of pity an object is seen as pitiful, where to see something as pitiful is to be in a state that is both cognitive and affective. One way of expressing an emotion is to assert that the (...) intentional object of the emotion falls under the thick affective concept distinctive of the emotion. I argue that the most basic kind of moral judgment is in this category. It has the form “That is A” (pitiful, contemptible, rude, etc.). Such judgments combine the features of cognitivism and motivational judgment internalism, an advantage that explains why we find moral weakness problematic in spite of its ubiquity. I then outline a process I call “thinning” the judgment, which explains how moral strength, weakness, and apathy arise. I argue that this process is necessary for moral reasoning and communication, in spite of its disadvantage in disengaging the agent's motivating emotion from the judgment. (shrink)

Researchers have wondered how the brain creates emotions since the early days of psychological science. With a surge of studies in affective neuroscience in recent decades, scientists are poised to answer this question. In this target article, we present a meta-analytic summary of the neuroimaging literature on human emotion. We compare the locationist approach (i.e., the hypothesis that discrete emotion categories consistently and specifically correspond to distinct brain regions) with the psychological constructionist approach (i.e., the hypothesis that discrete emotion categories (...) are constructed of more general brain networks not specific to those categories) to better understand the brain basis of emotion. We review both locationist and psychological constructionist hypotheses of brain–emotion correspondence and report meta-analytic findings bearing on these hypotheses. Overall, we found little evidence that discrete emotion categories can be consistently and specifically localized to distinct brain regions. Instead, we found evidence that is consistent with a psychological constructionist approach to the mind: A set of interacting brain regions commonly involved in basic psychological operations of both an emotional and non-emotional nature are active during emotion experience and perception across a range of discrete emotion categories. (shrink)

헤겔은 자신의 전체론적 정신 모델을 통해 감정의 개념을 발전시킨다. 감정은 감각과 신체화와 더불어 발생한다. 감각이 대상에 대한 지향적 관계에서 발생한다면, 감정은 감각에 대한 나의 현상적 의식을 의미하며 신체화는 감각과 감정에 동반된다. 감각-감정-신체화는 동시적인 현상이지 단계적인 과정이 아니다. 헤겔에 따르면 인간의 정신은 감각-감정-신체화 현상을 ‘습관’이라는 과정을 통해 자기에 복속시킨다. 이 과정이 없다면 정신은 감각-감정-신체화라는 자동적인 과정에 갇혀 있게 된다. 하지만 반복되는 이 과정의 경험을 통해 정신은 이 과정 자체를 습관화한다. 이를 통해 정신은 대부분의 감각-감정-신체화 과정을 의식하지 않게 된다. 더 나아가 정신은 (...) 감각-감정-신체화에 의해 영향을 받는 수동적인 상태가 아니라 능동적인 주체로 발전한다. 감각과 감정, 신체화는 정신이 자신의 내면을 표현하는 상징적 기호가 된다. 감각과 감정, 신체적 변화는 정신에게 발생하는 것이 아니다. 오히려 정신은 이들을 통해 자신을 표현한다. 물론 정신이 표현하려는 의미와 상징적 기호로서의 감각, 감정, 신체적 변화는 불일치하다. 이점에서 인지주의의 딜레마가 발생한다. 인지주의의 딜레마는 우리가 감정을 인지주의적으로 해석할 때 발생한다. 이에 따르면 감정은 인지주의적인 내용을 가지지만, 동일한 인지주의적 내용이 서로 다른 감정을 발생시킬 수 있다. 더 나아가 동일한 감정이 서로 다른 인지주의적 내용을 전제로 할 수도 있다. 이러한 인지주의의 딜레마는 헤겔의 감정이론으로 해결되는 것이 아니라 해소된다. (shrink)

While interest in the emotion of awe has surged in psychology, philosophers have yet to devote a single self-standing article to awe’s conceptual contours and moral standing. The present article aims to rectify this imbalance and begin to make up for the unwarranted philosophical neglect. In order to do so, awe is given the standard Aristotelian treatment to uncover its conceptual contours and moral relevance. Aristotelianism typically provides the most useful entry point to ‘size up’ any emotion – more problematically (...) here, however, as Aristotle did not himself explicitly identify awe. The article critiques and proposes to improve upon existing psychological conceptual analyses of awe, probes the question why Aristotle ignored it and addresses an often-presumed link between awe and humility which bears on its moral status. (shrink)

It is generally assumed that emotion concepts are purely descriptive. However, recent investigations suggest that the concept of happiness includes information about the morality of the agent's life. In this study, we argue that normative influences on emotion concepts are not restricted to happiness and are not about moral norms. In a series of studies, we show that emotion attribution is influenced by whether the agent's psychological and bodily states fit the situation in which they are experienced. People consider that (...) emotions are not just about feeling in certain ways, but also about feeling the right way. (shrink)

Starting with a review of research on love as an emotion, with an emphasis on romantic love, it is argued that despite strong emotional correlates evidence is lacking to conclude that love would meet the criteria of basic emotions. Theoretical developments are proposed where love is conceived of as a combination of an objectless drive, a desire for love, and a mythical and scripted representation that offers the possibility of labeling the current core affect. I argue that the basic motive (...) for love is not so much the partner’s personal attributes, but rather the benefits of the transformative power of being in love. (shrink)