It is more difficult to feel emotions for future generations than for those who currently exist, and this seems to be one of the reasons why we struggle to care for the future. According to a number of authors, who have recently focused on the psychological flaws that prevent us from dealing with transgenerational issues, the main problem is “future discounting”. Challenging this common view, we argue that the main reason we struggle to care about future generations lies in two (...) features of our daily emotions: the «identified victim effect» and the decrease in empathy for people who are different from us. These traits give rise to two puzzles we call the problem of the indeterminateness of future persons and the problem of dissimilarity. After having analyzed these problems of our moral psychology, we show how they allow us to account for some differences in affectivity towards a number of entities that do not currently exist, such as future generations, past generations and fictional characters. Bearing in mind the real limits of our emotions when dealing with future people, we sketch an alternative proposal on how to develop emotions to provide citizens of liberal democracies with a motivation to act in favor of future generations. (shrink)

I argue that emotional feelings are not just bodily feelings, but also feelings directed towards things in the world beyond the bounds of the body, and that these feelings (feelings towards) are bound up with the way we take in the world in emotional experience.

ONE question asked about the relationship between feelings and emotion is whether feelings are a feature necessary to constitute emotion. Answers vary from James's assertion that they are so central as to be emotion, to Bedford's and Solomon's insistence that they are irrelevant to emotion. More moderate answers, however, have emerged, views in which feelings have a place with regard to emotion--at least some of the time. Assuming that feelings do have some status with regard to emotion, a further question (...) is to be asked. When feelings are a feature relevant to emotion, what is their status with regard to the features of the complex that are said to be emotion? (shrink)

As its title suggests, this anthology is a collection of papers presented at a conference on feelings and emotions held in Amsterdam in 2001. One of the symposium’s main goals was to draw some of the most prominent researchers in emotion research together and provide a multi-disciplinary ‘snap shot’ of the state of the art at the turn of the century. In that respect it is truly a cognitive science success story. There are articles from a wide range of fields, (...) encompassing, e.g., philosophy, neuroscience, anthropology, sociology, and psychology. Another.. (shrink)

In this paper I want to discuss Bernard Bosanquet’s idea of the nature and role of feeling and emotion in art.

Many philosophers suggest (1) that our emotional engagement with fiction involves participation in a game of make-believe, and (2) that what distinguishes an emotional game from a dispassionate game is the fact that the former activity alone involves sensations of physiological and visceral disturbances caused by our participation in the game. In this paper I argue that philosophers who accept (1) should reject (2). I then illustrate how this conclusion illuminates various puzzles in aesthetics and the philosophy of mind.

This paper examines the model of the emotions put forward by Reinach and Scheler at the beginning of the 20th century and presents it as a plausible alternative to the contemporary “perceptual model.” According to the Reinach-Scheler view, emotions are not perceptions of value, but possible responses to values given to us in value-feelings. The paper is divided into two parts. The first is an historical investigation of the origins of the model in Reinach’s and Scheler’s works within the broader (...) context of early phenomenology. The second part presents systematic arguments for the distinction between value-feeling and emotional response. (shrink)

ABSTRACTIn ‘The Principles of Art’, R. G. Collingwood argues that art is the imaginative expression of emotion. So much the worse, then, for Collingwood. The theory seems hopelessly inadequate to the task of capturing art’s extension: of encompassing all the works we generally suppose should be rounded up under the concept. A great number of artworks, and several art forms, have nothing to do with emotion. But it would be surprising were Collingwood philistine enough to think that art is only (...) ever concerned with communicating quotidian affective states, like anger, fear or love. Surely he has some more sophisticated notion of emotion in mind, and quite probably of expression too. And it turns out that those sophisticated notions can be pushed towards a version of the expression theory that meets the extensional challenge. If we interpret Collingwood as saying that expression is a particular application of imagination, and that imagination is the faculty that refines ideas of emotions, and that ‘emotions’... (shrink)

One might imagine that this remark of James was too obvious to be denied, but in fact current philosophical orthodoxy runs against it. Since the renewal of interest in the emotions produced by Anthony Kenny's Action Emotion and Will in 1963, philosophers have focussed primarily on the cognitive aspects of emotions—the judgments, evaluations, beliefs, presuppositions which they contain. Bodily feelings have been, on the whole, slighted. Sometimes they are dismissed outright, as by Robert Solomon: “feelings no more constitute or define (...) the emotion than an army of fleas constitutes a homeless dog. … Feeling is the ornamentation of emotion, not its essence.”; more often, as in Jerome Neu, given only rather slight attention because “thoughts are of greater importance than feelings in the classification and discrimination of emotional states”. (shrink)

Feeling Power is a bold and provocative book whose breadth of inquiry is stunning. Author Megan Boler sets out to rescue emotions from their devalued and obscure political status by showing that they are both a site of social control and also a site for political resistance. She situates her inquiry within the context of education, convinced that classrooms, especially within higher education, constitute significant locations of social and political struggle. -/- Boler takes the reader on a wide-ranging interdisciplinary exploration (...) where she analyzes various discourses to show how emotions get visibly and invisibly addressed in education and how emotions reflect particular historical, cultural, and social arrangements. Her broad conception of emotion resonates with philosophical accounts that view emotions as (partially) cognitive as well as with accounts that give emotions a role in moral judgments and ethical reasoning. -/- In Part I, Boler builds upon the work of feminist theorists, such as Elizabeth Spelman (1989, 1991), Alison Jaggar (1989), Sandra Bartky (1990), and Sue Campbell (1997), and uses key concepts drawn from poststructural theorists to develop a theoretical framework for revealing and explicating the myriad ways in which the "politics of emotion," shaped by different scholarly disciplines, functions in public education to enforce social control of the nation's citizens. Through astute, gender-sensitive historical critiques of the mental hygiene and character education movements, and a close analysis of Daniel Goleman's (1995) contemporary notion of emotional intelligence, Boler shows how we are taught to internalize and enact emotional rules, and roles, that serve to maintain society's particular stratifications of gender, race, and class. The chapters on emotional intelligence and the emotional literacy curricula founded on this concept are, I think, among the best in the book. Together they constitute a persuasive example of the power of Boler's method of discourse analysis. (shrink)

This book opens up a new area of research by not only considering the rationality of such diverse phenomena as ordinary emotions, generalized anxiety disorder, social phobia, psychotic depression, major depressive disorder, and bipolar disorder, but also by evaluating the question whether the vagueness of these diverse disorders and emotions poses an obstacle to the rationality of these phenomena. As these emotional phenomena turn out to be vague on many different levels, an explanation is found for the millennia long dispute (...) of which kind of phenomena fall under the emotions and whether such diverse phenomena as hope and alexithymia fall under the emotions. Since vagueness can be most easily identified in mixed feelings, the rationality of mixed feelings will also be dealt with. (shrink)

Contemporary debates on God’s emotionality are divided between two extremes. Impassibilists deny God’s emotionality on the basis of God’s omniscience, omnipotence and incorporeality. Passibilists seem to break with tradition by affirming divine emotionality, often focusing on the idea that God suffers with us. Contemporary philosophy of emotion reflects this divide. Some philosophers argue that emotions are voluntary and intelligent mental events, making them potentially compatible with omniscience and omnipotence. Others claim that emotions are involuntary and basically physiological, rendering them inconsistent (...) with traditional divine attributes. Thinking Through Feeling: God, Emotion and Passibility creates a three-way conversation between the debate in theology, contemporary philosophy of emotion, and pre-modern (particularly Augustinian and Thomist) conceptions of human affective experience. It also provides an exploration of the intelligence and value of the emotions of compassion, anger and jealousy. (shrink)

We argue that the main objections against two central tenets of a Jamesian account of the emotions, i.e. that (1) different types of emotions are associated with specific types of bodily feelings (Specificity), and that (2) emotions are constituted by patterns of bodily feeling (Constitution), do not succeed. In the first part, we argue that several reasons adduced against Specifity, including one inspired by Schachter and Singer’s work, are unconvincing. In the second part, we argue that Constitution, too, can withstand (...) most of the objections raised against it, including the objection that bodily feelings cannot account for the outward-looking and evaluative nature of emotions. In both sections, we argue that the kinds of felt bodily changes posited by a Jamesian account of emotions are best understood in terms of felt states of action-readiness. (shrink)

Studies of social media and its uses have focused on how it shapes behavior but less so with emotion. Overcoming this limitation, this article investigates the role of emotion in understanding and shaping actions online, and how, conversely, different uses of social media are leveraged to manage and express emotions, focusing on Facebook and Instagram. To this end, this article draws on 24 in-depth interviews with youth users in Hong Kong to excavate practices of emotional labor and management online, which (...) reveal (1) strategies to manage emotional reactions, centering on critical distance; (2) strategies to manage emotional conveyance by manipulating the temporality of the content they produce; and (3) the creation of a digital blasé that consisted of the atmosphere of Facebook and Instagram, sustained by general emotional detachment, the perceived need to detach, and a sense of “watchedness”. Throughout, emotional detachment was the default state that users entered into when using Facebook and Instagram, as an anticipatory reaction to the emotional exhaustion imposed by imagined content and into which they inevitably returned. (shrink)

Carroll Izard’s theoretical and research contributions to the study of early socioemotional development are profiled. His studies of early emotional expression and the formulations of differential emotions theory have stimulated contemporary inquiry into the organization of early emotional life, the developmental processes by which distinct feelings and facial expressions become progressively concordant, and how the emotional expressions of others become imbued with emotion meaning. His work on emotion, attachment, and emotion–cognition relations has contributed to contemporary study of the emotional bases (...) of attachment organization and the development of the internal working models associated with attachment security. Because of Izard’s contributions, developmental emotions research is theoretically richer, and emotion has a more central place in our understanding of development and motivation. (shrink)

Many of the judgements we make of particular works of art employ the vocabulary of feelings or emotions. Typically, the critic uses terms such as 'sad', 'joyful', 'optimistic', 'gloomy', 'angry', 'lusty', 'exuberant' and so forth to describe aspects of works of art. Such descriptions generate one of the most intractable problems in aesthetics: that of specifying the relation between art and the feelings and emotions thus ascribed to them.

As its title suggests, this anthology is a collection of papers presented at a conference on feelings and emotions held in Amsterdam in 2001. One of the symposium’s main goals was to draw some of the most prominent researchers in emotion research together and provide a multi-disciplinary ‘snap shot’ of the state of the art at the turn of the century. In that respect it is truly a cognitive science success story. There are articles from a wide range of fields, (...) encompassing, e.g., philosophy, neuroscience, anthropology, sociology, and psychology. Another goal was to emulate a series of conferences of the same name that had taken place in the early parts of the 20th Century. Included in the book are the title pages of these other conferences, which put the symposium in a nice historical context. The conference seems to have met both goals. It does, for instance, offer a vital snap shot of the state of emotions research at the turn of the century, though this does not mean that it is best suited for the annals of history. This volume will provide anyone interested in the cognitive science of the emotions a clear indication of where the field has come from, and insight into where it will be going. (shrink)

According to some, there is a problem concerning the emotions we feel toward fictional entities such as Anna Karenina, Werther and the like. We feel pity, fear, and sadness toward them, but how is that possible? “We are saddened, but how can we be? What are we sad about? How can we feel genuinely and involuntarily sad, and weep, as we do know that no one has suffered or died?” (Radford, in: Proceedings of the Aristotelian Society, 1975). This is the (...) paradox of fiction which is based on the assumption that emotions, to be genuine and rational, should be directed toward existent beings. But if beliefs about existence are necessary for us to be rationally moved by something, and such beliefs are lacking when we are moved by fiction (because we do not believe fictional characters and events to be real), then our capacity for an emotional response to fiction is irrational. Consequently, our emotional attitude toward future generations should be considered as irrational as well. But is this really the case? Are there good arguments to consider future and fictional entities as similar from this point of view? Or would it be better to distinguish the two? Is there such a thing as a paradox of the future? If so, how does it relate to the more famous paradox of fiction? (shrink)

How do we feel our body in emotion experience? In this paper I initially distinguish between foreground and background bodily feelings, and characterize them in some detail. Then I compare this distinction with the one between reflective and pre-reflective bodily self-awareness one finds in some recent philosophical phenomenological works, and conclude that both foreground and background bodily feelings can be understood as pre-reflective modes of bodily self-awareness that nevertheless differ in degree of self-presentation or self-intimation. Finally, I use the distinction (...) between foreground and background bodily feelings to characterize the experience of being absorbed in an activity, as opposed to accounts that imply that absorption involves bodily inconspicuousness. (shrink)

The Diagnostic Statistical Manual of the American Psychiatric Association defines substance dependence, more commonly known as “drug addiction,” as “a cluster of cognitive, behavioral, and physiological symptoms indicating that the individual continues use of the substance despite significant substance-related problems. There is a pattern of repeated self-administration that usually results in tolerance, withdrawal, and compulsive drug-taking behavior.” If drug addiction is a matter of compulsion, as this definition suggests, then is it correct to say that a drug addict chooses to (...) take their drug of choice? Similarly, does it make sense to say that a person in the grip of fear really chooses to flee from what frightens them? In this book, Jon Elster argues that in general drug addicts and people subject to powerful emotions should be interpreted as making choices. Although there is a compulsion to choose, there is choice nonetheless. This is different from cases where there is a compulsion to act but no choice. But what kind of choice is this? And are such choices rational or not? These are among the central questions addressed in this book. (shrink)

Philosophers of mind and epistemologists are increasingly making room in their theories for epistemic emotions (E-emotions) and, drawing on metacognition research in psychology, epistemic – or noetic or metacognitive – feelings (E-feelings). Since philoso- phers have only recently begun to draw on empirical research on E-feelings, in particular, we begin by providing a general characterization of E-feelings (section 1) and reviewing some highlights of relevant research (section 2). We then turn to philosophical work on E-feelings and E-emotions, situating the contributions (...) to the focus section (two articles devoted to E-feelings and two devoted to E-emotions) with respect to both the existing literature and each other (section 3). We conclude by brie y describing some promising avenues for further philosophical research on E-feelings and E-emotions (section 4). (shrink)