Now in a thoroughly revised and expanded third edition, this authoritative Handbook reviews current knowledge about all aspects of emotion and its role in human ...

Recently there has been a resurgence of philosophical interest in love, resulting in a wide variety of accounts. Central to most accounts of love is the notion of caring about your beloved for his sake. Yet such a notion needs to be carefully articulated in the context of providing an account of love, for it is clear that the kind of caring involved in love must be carefully distinguished from impersonal modes of concern for particular others for their sakes, such (...) as moral concern or concern grounded in compassion. That is, we might say, the kind of caring that is central to love must be somehow distinctly intimate. The trouble is to cash out these firm intuitions in a satisfactory way. (shrink)

This volume of original essays addresses a range of issues concerning the responsibility individuals have for their actions and for their characters. Among the central questions considered are the following: What scope is there for regarding a person as responsible for his or her character given genetic and environmental factors? Does an account of responsibility provide a legitimate basis for the retributive emotions? Are we ever justified in feeling guilty for occurences over which we have no control? Does responsibility for (...) the consequences of our acts require that they were intended or simply expected? How have a number of influential previous philosophers, including Aristotle, Maimonides, and Spinoza, approached these questions? (shrink)

Mixed or ambivalent emotions have long intrigued philosophers. I dissect various putative cases of emotional ambivalence and conclude that the alleged 'psychological problem' surrounding them admits of a solution. That problem has, however, often been conflated with 'moral problem' - of how one should react morally to such ambivalence — which remains active even after the psychological one has been solved. I discuss how the moral problem hits hardest at virtue ethics, old and new. I distinguish between particularist and generalist (...) (Aristotelian) virtue ethics, and pay special attention to the latter. After discussing critically previous attempts at an Aristotelian solution of the 'moral problem' by McDowell, Stark and Carr, I pay special attention to the role of phronesis as a second-order meta-emotion and mediator, and consider how that may offer a way out of the impasse. I finally present some concluding remarks about the idea of a constructive dividedness of mind. (shrink)

There are cases of emotion that we readily describe as 'sharing emotions with other people.' How should we understand such cases? Joel Krueger has proposed the Joint Ownership Thesis : the view that two or more people can literally share the same emotional episode. His view is partly inspired by his reading of Merleau-Ponty -- arguably Merleau-Ponty advocates a version of JOT in his "The child's relations with others." My critical analysis demonstrates that JOT is flawed in several respects: 1) (...) It involves a vague account of joint subjects; 2) It relies on a confusion between phenomenological and ontological levels of analysis. When these are clearly distinguished, Krueger's phenomenological analysis contradicts JOT understood as an ontological claim; 3) It relies on a highly problematic coupling-constitution inference; 4) It relies on a shift from the claim that the child and the caregiver jointly _realize_ an emotion, to the claim about joint _ownership_, which is a _non sequitur_. I argue that we can reach a better understanding of the phenomenon of shared emotions by bringing in another level of analysis: that of _social relationships_. I propose that shared emotions are a special case of _social-relational emotions_, typically arising within and/or giving rise to communal relationships. (shrink)

Understanding subjective processes in mindfulness-based interventions and during contemplative learning is the goal pursued by Medeiros et al. in the present target article. Implicitly, they touch ….

This article argues that the episode in Il. 24.552–658 involving Achilles and Priam brings out the hero’s ability to control his emotions – even if he did lose them momentarily – by means of his calculation of what will come next. This interpretation fits the compositional structure of the epic, whose closure is highlighted by the hero’s dramatized emotions in his encounter with the Trojan king.

Many of the psychological studies carried out within virtual environments are motivated by the idea that virtual research findings are generalizable to the non-virtual world. This idea is vulnerable to the paradox of fiction, which questions whether it is possible to express genuine emotion toward a character (or event) known to be fictitious. As many of these virtual studies are designed to elicit, broadly speaking, emotional responses through interactions with fictional characters (avatars) or objects/places, the issue raised by the paradox (...) seems particularly apt. This paper assesses the extent to which the paradox of fiction constitutes a legitimate challenge to psychological research within virtual environments, and argues that any alleged conflict is in fact a product of an overly simplistic view of emotions which a more complete understanding resolves. Moreover, through a more detailed analysis of why the paradox cannot be sustained, one finds justification for the claim that emotions elicited through interactions with virtual (fictitious) objects/events are valid. However, their generalizability to the non-virtual world must still be treated with caution. (shrink)

This article investigates the impact of different emotions on trust decisions taking into account the experience of betrayal. Thus, an experiment was created that included one betrayal group and one control group. Participants in the betrayal group experienced more intense feelings governed by negative emotions than participants in the control group did. Moreover, participants in the betrayal group significantly lowered their trust of another stranger. On the other hand, we found some evidence that neuroticism exaggerated the relationship between experienced betrayal (...) and subsequent trust. (shrink)

The article examines some aspects of Scheler’s view on affectivity, especially his hierarchical approach which is useful in solving difficulties in analysis of affectivity and helps to avoid downwards as well as upwards reductionism in considering intricacy of emotions. After presenting how Scheler delineates the four levels of feelings, critical observations are made as to points which should be developed or refined so that Scheler’s model could more broadly contribute to current debate over emotions and advancement of the theory of (...) affectivity. (shrink)

Music often pictures emotion through representing its expression and is thereby able to bear insight into significant aspects of emotional life. Scruton's arguments for denying that music is significantly representational is shown to fail, musical pictures having their own sort of determinacy. Musical representation is dramatic. Musical sounds play the role of expression. They themselves are portrayed as expressing the emotions which we thus represented. But musical drama is distinct from literary drama.

Many discussions of the moral status of “mindless beings” such as the permanently comatose, the dead, trees, and human fetuses seem to take for granted the thesis that it is improper to appeal to emotions to establish the fundamental distinction between “persona” (beings capableof rights “in their own right”) and “things” (beings not capable of rights except in some fictional or iIlusory sense). Persons are persons, however we may feel about them.That thesis seems to be a major obstacle to any (...) nonutilitarian account of the personhood of mindless beings.I argue that the thesis of independence is true, if at aIl, only for one class of persons (“rational agents”). Beyond that class, our emotional response to a being can be relevant to its moral status. Acting on some consideration (or believing something in virtue of it) can be rational inthe “constitutive”, “regulative”, or “associative” sense. A consideration is a good reason if it is rational in any of these senses. The importance of this claim is shown by briefly examining Feinberg’s weIl-known argument that it is a conceptual truth that mindless beings are incapable ofrights. His argument assumes that our emotions cannot be rational in the appropriate sense and coIlapses without that assumption. (shrink)

This study asserts that philosophical interest in the connection between music and the emotions lies in the light it could throw on the nature of expression. Expression in turn is interesting because of the light it could throw on the nature of understanding and of value. Three different sorts of theory are considered: those that rely on experienced resemblance, those that rely on some imaginative state and those that rely on an aroused feeling. It is suggested, following Malcolm Budd, that (...) room might be found for all these accounts. (shrink)

Film emotions are genuine emotions whose formation and development is affected by conflictive factors. Whereas their arousal, similar to that of real-life emotions, is disproportionately strengthened by the cinematographic medium, their subsequent course is both weakened and interrupted. Their objects, which I view as members of our personal emotional world (not in terms of their supposed fictionality, as often assumed), are also proper intentional objects of emotions: our fear is about the shark on the screen, our pity about the main (...) character. This view allows also for an explanation of two of film emotions’ neglected features: (a) the viewer's emotional attachment and empathy toward film objects and (b) the long-lasting emotional impact films can have on viewers. (shrink)