Au cours de la dernière décennie, plusieurs projets de danse inclusive, dans lesquels des danseurs professionnels handicapés et non handicapés collaborent, ont été lancés en Suède. L’article explore les expériences des regards et des émotions des danseurs et des leaders avec et sans handicap – lors de rencontres avec le public et les autres personnes qui les entourent – d’un point de vue phénoménologique. Onze entretiens qualitatifs ont été réalisés. Les personnes interrogées croisent des regards remplis de bienveillance, de (...) surprise, de pitié et de fascination. Les émotions collent au corps des danseurs handicapés et suscitent un malaise à gérer. Cependant, les danseurs handicapés et les membres du public handicapés peuvent également se rencontrer dans un regard de reconnaissance. Les regards internes des compagnies sont également importants. Lorsque les danseurs handicapés ne sont intégrés que physiquement ou lorsque les différences sont cachées, le potentiel de changement se perd. Si les chorégraphes et le public réussissent à regarder au-delà du corps lui-même, une identification empathique peut exister. Une autre stratégie consiste à rompre complètement avec le voyeurisme en bloquant tous les regards. Les compagnies montrent de nouvelles façons d'interagir, élargissant ainsi les possibilités pour les corps valides comme handicapés. (shrink)

Cet article se donne pour objectif de réfléchir à ce que la crise mondiale du Covid-19 a révélé de nos manières d’habiter les lieux où nous vivons, et parmi celles-ci, la pratique de la danse. La démarche adoptée ici est celle d’un dialogue entre trois courants philosophiques spécifiques : la phénoménologie, le pragmatisme et l’écoféminisme, au sujet de leur conception de l’expérience somatique, à la fois vécue, complexe et ordinaire. Nous cherchons ici les lignes communes à ces trois mouvements philosophiques, (...) dans le but d’esquisser une compréhensions nouvelle du corps, et par extension, une nouvelle approche de la danse par temps de crise pandémique. (shrink)

À partir d’une pratique clinique et de recherche, cet article traite de la parentalité dans le cas où le père et/ou la mère présentent une déficience cognitive. Il souligne que cette parentalité est négativement impactée par le regard social stigmatisant, des réseaux sociaux souvent retreints et des modalités d’accompagnement dont les normes sont peu compréhensibles et lisibles pour les parents. Face à cela, l’article propose : 1) de développer un travail conjoint entre normes des professionnels et normes des parents ; (...) 2) d’ouvrir davantage sur des situations de coparentalité ; 3) de favoriser les échanges entre parents ayant une déficience cognitive et avec eux le développement du partage d’expériences. Le partage d’émotions, d’affects, de rêves et de cauchemars devant commencer dès l’enfance. (shrink)

Emotional MagicSketch of a phenomenology of emotions in Merleau-PontyHaving more phenomenological and anthropological contours than ontological, this article tries to draw the guidelines of a phenomenology of emotions based on Merleau-Ponty’s Phenomenology of Perception. In a perspective sometimes very close to Sartre, we wish to stress, in the emotional experience, the conditions of facticity and transcendence in Merleau-Ponty’s thought. If the subject lets itself be seduced by the affective category of the environment, it is only the subject as a phenomenal (...) body that possesses the conditions through which it is able to retrieve itself.La magia emozionaleAbbozzo di una fenomenologia delle emozioni in Merleau-PontyCon contorni più fenomenologici e antropologici che propriamente ontologici, questo articolo intende tracciare le linee principali di una fenomenologia delle emozioni nell’ambito della Fenomenologia della percezione di Merleau-Ponty. Seguendo una linea di riflessione a tratti molto prossima al Sartre di Idee per una teoria delle emozioni, è nostra intenzione porre in rilievo, a partire dall’analisi dell’esperienza emozionale, il pensiero merleau-pontiano riguardo alle condizioni di fatticità e trascendenza. Se, da un lato, il soggetto si lascia affascinare dalle categorie affettive dell’ambiente circostante, dall’altro, soltanto il soggetto stesso, in quanto corpo fenomenico, è in grado di recuperare se stesso. (shrink)

Juslin & Vll (J&V) propose a theoretical framework of how music may evoke an emotional response. This commentary presents results from a pilot study that employed young children as participants, and measured musically induced emotions through facial expressions. Preliminary findings support certain aspects of the proposed theoretical framework. The implications of these findings on future research employing the proposed framework are discussed.

Choses vues, non, pas même vues jusqu'au bout. Choses simplement entrevues, aperçues. Etres qui passent, souvent au féminin pluriel, comme la Béatrice de Dante, Laura de Pétrarque, la " nymphe " d'Aby Warburg, la Gradiva de Jensen et de Freud ou la " passante " anonyme des rues parisiennes selon Charles Baudelaire. Créatures ou simples formes qui surgissent ou qui tombent. Instants de surprise, ou d'admiration, ou de désir, ou de volupté, ou d'inquiétude, ou de rire. Impressions enfantines, deuils. Colères (...) aussi. Réflexions esquissées. Instants critiques. Ou descriptions, tout simplement. Phraser le passage des aperçues? Comme un recueil de circonstances, de visions en bribes, d'émotions inattendues, de pensées qui s'inventent devant des choses ou des êtres apparaissants, apparus et, très vite, disparaissants, disparus. Une phénoménologie, une poétique, une érotique du regard s'esquissent. Tout cela devenu, sans crier gare, un journal sans continuité, un ensemble de récits sans personnages bien définis, un autoportrait sans visage unique. Remonter ce journal en désordre. Découvrir, alors, qu'il était fait d'occasions (où les temps passent vite), de blessures (où les temps frappent fort), de survivances (où les temps reviennent toujours) et de désirs (où les temps adviennent pour un futur entraperçu). (shrink)

Porter son attention sur l'attention, voilà l'urgence de notre humanisation contemporaine. Les sciences l'ont compris, qui depuis plus d'un siècle multiplient les travaux en psychologie et en neurosciences sur cette fonction complexe et globale qui forme un réseau intégré transversal où jouent mémoire, perception, veille, émotion et décision ; les techniques méditatives ont aussi leur rôle à jouer, s'adressant moins à notre intellect, comme les sciences, qu'à l'attitude fondamentale face à la vie. Elles nous proposent une clé en matière de (...) pratique de la présence à soi. Devant l'impact croissant des sciences et la visibilité actuelle des techniques méditatives, quel rôle jouera la phénoménologie? Contrairement aux autres approches philosophiques, elle possède ce plus de tenir en un regard ouvert sur le monde : par son retour à l'expérience, elle fait alliance avec la visée expérimentale des sciences et, par sa méthode de suspension, elle entre en contact avec une quête contemplative qui est prise de recul. Elle joue ainsi un rôle-charnière pour repenser l'attention en en faisant une expérience d'ouverture au monde davantage qu'un état mental interne. La phénoménologie apporte quelque chose d'inédit : une éthique de l'attention, qui réforme celle-ci en " vigilance ". (shrink)

The human body has been a potent and persistent metaphor for social and political relations throughout human history. For example, different parts of the body have traditionally represented different social functions. We refer to the ‘head of state’ without really recognizing the metaphor, and the heart has been a rich source of ideas about life, imagination and emotions. The heart is the house of the soul and the book of life, and the ‘tables of the heart’ provided an insight into (...) the whole of Nature. The hand also plays an important role in conventional imagination regarding things that are beautiful (handsome) or damaged and incomplete (handicap). We can generalize from these diverse examples to argue that the fluids flowing from the inside of the body to the outside are regarded as socially dangerous and contaminating, because these fluids on the outside of the body directly challenge our sense of order and orderliness. This inside/outside division of the body combines with a wet/dry dichotomy to delineate these risky borders. Although leaking bodies have been a source of ancient metaphors of disorder, the modern world, that sociologists increasingly characterize by its liquidity, is peculiarly fascinated by flow as an image of global flexibility. The more our world is economically and militarily interconnected, the more we fear social fluidity. In political terms, asylum seekers and terrorists are thought not to respect our bodies or our borders; we are especially sensitive to their capacity to disrupt the solidity of sovereignty. In short, metaphors of the human body, even in an age of high technology, continue to shape the social and political imagination, but they are challenged by emerging metaphors of liquidity, that is by liquid modernity. (shrink)

Emotions, Truths and Meanings Regarding Cattle: Should We Eat Meat? Content Type Journal Article Category Review Paper Pages 1-5 DOI 10.1007/s10806-011-9334-2 Authors Michiel Korthals, Department of Applied Philosophy, Wageningen University, Wageningen, The Netherlands Journal Journal of Agricultural and Environmental Ethics Online ISSN 1573-322X Print ISSN 1187-7863.

Having functional expected emotions regarding one’s future life as a teacher is important for student teachers to maintain their motivation to choose a career as a teacher. However, humans show several biases when judging their emotional experiences. One famous bias is the so-called peak-end effect which describes the phenomenon that overall affective judgments do not reflect the average of the involved emotional experiences but the most intense and the most recent of the involved emotional experiences. Regarding student teachers’ expected positive (...) emotions, such a bias would be functional since their motivation to become a teacher is enhanced. However, regarding student teachers’ expected negative emotions, such a bias would be dysfunctional since their motivation to become a teacher would be decreased. The aim of the present preregistered study was to examine whether student teachers’ expected future teaching-related emotions show a peak-end effect. Student teachers viewed 14 common events that could part of a typical everyday routine of a teacher and rated their expected emotional pleasure and discomfort for each of the events. Afterward, they were asked to rate their overall expected emotional pleasure and discomfort when looking at their future professional life as a whole. Results showed that expected pleasure was much larger than expected discomfort regarding both overall, peak, and average ratings. No peak-end effect was observed for overall expected discomfort which reflected the average expected discomfort across events. By contrast, overall expected pleasure was biased toward expected peak pleasure experiences. These findings indicate that student teachers judge their expected overall affect in a functional way: realistically when dealing with negative emotions but through rose-colored glasses when dealing with positive emotions. (shrink)

La danse a peu fait l'objet de la philosophie. Pourtant, immanente au corps du danseur, la philosophie de la danse decoule non seulement d'une rencontre entre la danse et les problemes philosophiques, mais apporte egalement la possibilite d'un renouvellement de leur traitement en vertu de sa nouveaute. Le corps danseur est ainsi fondamental: a partir de la pratique, de l'experience, de la vie des danseurs, la philosophie parvient a restituer l'intense subtilite de leur existence. Parallelement, l'exercice de la pensee pratique (...) dans la continuite du corps incite a prendre en compte la materialite, la sensibilite, et donc a repenser, d'une certaine maniere, l'ame. Cet essai, ecrit dans un langage clair, s'adresse a la fois aux philosophes et aux danseurs, aux praticiens de ces disciplines ainsi qu'au public amateur. (shrink)

Cet article vise à exposer et discuter les thèses du phénoménologue Mikel Dufrenne au sujet de la danse. Dans _Phénoménologie de l’expérience esthétique_, Dufrenne interroge l’art chorégraphique aux côtés des autres arts et depuis les concepts « d’objet esthétique », « d’_a priori _existentiel » et de « monde ». Plus exactement, il soutient que l’œuvre chorégraphique déploie, par l’entremise des danseurs, de leurs mouvements et des autres éléments scéniques, une atmosphère affective qui correspond à l’attitude existentielle du chorégraphe. Après (...) élucidation du sens de ces formules, et en vue d’approcher davantage du phénomène chorégraphique, nous soulevons une triple réserve vis-à-vis de la position dufrennienne. (shrink)

Sul concetto di scienza della pittura nel Trattato della Pittura di Leonardo da Vinci.

En posant avec clarté des questions de philosophie de l’esprit, d’ontologie et d’épistémologie, ce livre témoigne à la fois de l’intérêt réel de la danse comme objet philosophique et du rôle unique que peut jouer la philosophie dans une meilleure compréhension de cet art. Qu’est-ce que danser ? Que nous apprend le mouvement dansé sur la nature humaine et la relation entre le corps et l’esprit ? À quelles conditions une œuvre est-elle correctement interprétée par les danseurs et bien identifiée (...) par les spectateurs ? (shrink)

Cet article se donne pour tâche l’examen de la fécondité conceptuelle d’une réduction paradigmatique souvent effectuée par les études en phénoménologie contemporaines de la danse : la réduction du mouvement dansé aux _kinesthèses_ par lesquelles il devrait être immédiatement vécu. Nous entendrons montrer, au contraire, que les kinesthèses ne permettent pas de rendre compte du mouvement vécu parce qu’elles le transforment en un vécu de mouvement demeurant extérieur au sujet qui le vit. Cette critique nous amènera ensuite à repenser conjointement (...) le mouvement dansé comme véritable sujet de la danse et le corps dansant comme déposé par ce mouvement en lequel il est pris. (shrink)

Cet essai développe une analyse critique de la mondialisation basée sur des recherches de terrains entreprises dans la décennie 2010 à Cuba, plus particulièrement à La Havane. L’enseignement de la mondialisation dans les universités anglo-saxonnes au Canada et en Grande-Bretagne dans les années 2000 se caractérisait par une peur de l’homogénéisation de la culture, puis de l’application d’une approche ethnographique pour l’exploration du processus d’appropriation culturelle engendrée par les interactions entre le local et le transnational. Des recherches de terrain ont (...) cependant montré, parfois de manière concrète, comment la vision de la mondialisation composée de systèmes de circulations fluides et sans tension était utopique et non pertinente dans le contexte cubain (et probablement dans tous les pays de l’hémisphère Sud). L’histoire du « dossier dubstep » racontée ici permet d’illustrer le sentiment de décalage tel qu’exprimé par des DJs et producteurs de musique électronique à La Havane et leur désir d’entrer dans la danse. Enfin, cet essai jette un regard critique sur une vision fluide des échanges, souvent associée au concept de circulation et, par extension, au phénomène de la mondialisation. (shrink)

The aim of this article is to explore in a systematic way the rationality of emotions elicited when we engage with works of fiction. I first lay out the approach to the emotions on which my discussion is premised. Next, I concentrate on two facets of emotional rationality—the first pertains to the relation between emotions and the mental states on which they are based, the second to the relation between emotions and the judgements and behaviour they elicit. These observations about (...) emotional rationality are then applied to emotions elicited by works of fiction. After having distinguished several families of emotions, I concentrate on what I call blob-emotions and emotions-for. I argue that, given their nature as direct responses to a restricted range of stimuli, blob-emotions are not irrational. As regards emotions-for fictional entities, I emphasize that a subject’s rationality shows in the way her emotions-for respond to evidence. On this basis, I discard an influential reason to think that emotions-for fictional entities are irrational. Finally, I offer an argument to conclude that they are typically correct and rational. (shrink)

Based on the dispute between Protagoras and Socrates on the origin of ethics, one can ask the question of whether the principle of ethics is reason orfeeling/emotion, or whether ethics is grounded on reason or feeling/emotion. The development of Kant’s thoughts on ethics shows the tension between reason and feeling/emotion. In Kant’s final critical ethics, he held to a principle of “rational a priori.” On the one hand, this is presented as the rational a priori principle being the binding principle (...) of judgment. On the other hand, it is presented as the doctrine of “rational fact” as the ultimate argument of his ethics. Husserl believed that Kant’s doctrine of a rational a priori totally disregarded the a priori essential laws of feeling. Like Husserl, Scheler criticized Kant’s doctrine of a rational a priori, and therefore developed his own theory of an “emotional a priori”. Both of them focused their critiques on the grounding level of ethics. Scheler, however, did not follow Husserl all the way, but criticized him and reflected on his thoughts. At last, he revealed the primary status of a phenomenological material ethics of value. (shrink)

Most of those who hold that emotions involve appraisals also accept that the content of emotions is nonconceptual. The main motivation for nonconceptulism regarding emotions is that it accounts for the difference between emotions and evaluative judgements. This paper argues that if one assumes a broadly Fregean account of concepts, there are good reasons to accept that emotions have nonconceptual contents. All the main arguments for nonconceptualism regarding sensory perception easily transpose to the case of emotions. The paper ends by (...) responding to two important objections: firstly, that nonconceptualism rules out the possibility that emotions justify evaluative judgements and secondly, that nonconceptualism cannot account for the fact that some emotions have conceptually articulated cognitive bases. (shrink)

In the last decades there has been a great controversy about the scientific status of emotion categories. This controversy stems from the idea that emotions are heterogeneous phenomena, which precludes classifying them under a common kind. In this article, I analyze this claim—which I call the Variability Thesis—and argue that as it stands, it is problematically underdefined. To show this, I examine a recent formulation of the thesis as offered by Scarantino (2015). On one hand, I raise some issues regarding (...) the logical structure of the claim. On the other hand, and most importantly, I show that the Variability Thesis requires a consensus about what counts as a relevant pattern of response in different domains, a consensus that is lacking in the current literature. This makes it difficult to assess what counts as evidence for or against this thesis. As a result, arguments based on the Variability Thesis are unwarranted. This raises serious concerns about some current empirical theories of emotions, but also sheds light on the issue of the scientific status of emotion categories. (shrink)

I) Introduction : la phénoménologie expérientielle Depuis la plus haute Antiquité, et dans plusieurs continents, les philosophes, les religieux, les sages, les mystiques mais aussi d’autres humains n’ayant que la prétention de moins mal comprendre ce qu’il en est de leur vie mentale, posent un regard réflexif sur le contenu et l’organisation de la vie de l’esprit. En Occident, une étape décisive fut franchie par Husserl, quand il prit le parti d’une analyse systématique et scientifique des vé...

Emotions can be the subject of moral judgments; they can also constitute the basis for moral judgments. The apparent circularity which arises if we accept both of these claims is the central topic of this paper: how can emotions be both judge and party in the moral court? The answer I offer regards all emotions as potentially relevant to ethics, rather than singling out a privileged set of moral emotions. It relies on taking a moderate position both on the question (...) of the naturalness of emotions and on that of their objectivity as revealers of value: emotions are neither simply natural nor socially constructed, and they apprehend objective values, but those values are multidimensional and relative to human realities. The axiological position I defend jettisons the usual foundations for ethical judgments, and grounds these judgments instead on a rationally informed reflective equilibrium of comprehensive emotional attitudes, tempered with a dose of irony. (shrink)

Can we experience emotion without the feeling of accelerated heartbeats, perspiration, or other changes in the body? In his paper “What is an emotion”, William James famously claimed that “if we fancy some strong emotion and then try to abstract from our consciousness of it all the feelings of its bodily symptoms, we find we have nothing left behind” (1884, p. 193). Thus, bodily changes are essential to emotion. This is known as the Subtraction Argument. The Subtraction Argument is still (...) used to support Embodied theories of emotion. Proponents of Disembodied theories, however, have different intuitions regarding the role of bodily changes in the experience of emotion. In order to advance this debate, I conducted a series of studies testing people’s intuitions regarding the Subtraction Argument. Results show that, against James’ claims, most people consider that their hypothetical (Study 1) and actual (Study 2) emotions persist in the absence of bodily feelings. Furthermore, Study 1 found that participants’ responses were not related to individual differences in reflection or interoceptive awareness. These results pose a problem for Embodied theories of emotion and challenge extant explanations for the persistence of emotional experience in cases of impaired interoception. (shrink)

One important question in emotion science is determining what emotions there are. To answer this question, researchers have assumed either that folk emotion concepts are unsuitable for scientific inquiry, or that they are constitutive or explanatorily significant for emotion research. Either option faces a challenge from the cultural variability of folk emotion concepts, prompting debate on the universality of emotions. I contend that cultural variation in emotion should be construed as variations in components rather than entire emotional repertoires. To do (...) this, I distinguish between hypotheses concerning emotional repertoires and those focused on specific emotional features within various cultural contexts. I hold that decisions regarding emotional repertoire hypotheses call for either revising current classification systems or maintaining them, but that, given underdetermination by evidence, this entails a preference for maintaining emotion taxonomies. This, in turn, leaves empirical hypotheses on specific emotional features as the most viable avenue for scientific inquiry. (shrink)

Research targeting emotion’s impact on relational episodic memory has largely focused on spatial aspects, but less is known about emotion’s impact on memory for an event’s temporal associations. The present research investigated this topic. Participants viewed a series of interspersed negative and neutral images with instructions to create stories linking successive images. Later, participants performed a surprise memory test, which measured temporal associations between pairs of consecutive pictures where one picture was negative and one was neutral. Analyses focused on how (...) the order of negative and neutral images during encoding influenced retrieval accuracy. Converging results from a discovery study (N = 72) and pre-registered replication study (N = 150) revealed a “forward-favouring” effect of emotion in temporal memory encoding: Participants encoded associations between negative stimuli and subsequent neutral stimuli more strongly than associations between negative stimuli and preceding neutral stimuli. This finding may reflect a novel trade-off regarding emotion’s effects on memory and is relevant for understanding affective disorders, as key clinical symptoms can be conceptualised as maladaptive memory retrieval of temporal details. (shrink)

Research indicates that people value music primarily because of the emotions it evokes. Yet, the notion of musical emotions remains controversial, and researchers have so far been unable to offer a satisfactory account of such emotions. We argue that the study of musical emotions has suffered from a neglect of underlying mechanisms. Specifically, researchers have studied musical emotions without regard to how they were evoked, or have assumed that the emotions must be based on the mechanism for emotion induction, a (...) cognitive appraisal. Here, we present a novel theoretical framework featuring six additional mechanisms through which music listening may induce emotions: (1) brain stem reflexes, (2) evaluative conditioning, (3) emotional contagion, (4) visual imagery, (5) episodic memory, and (6) musical expectancy. We propose that these mechanisms differ regarding such characteristics as their information focus, ontogenetic development, key brain regions, cultural impact, induction speed, degree of volitional influence, modularity, and dependence on musical structure. By synthesizing theory and findings from different domains, we are able to provide the first set of hypotheses that can help researchers to distinguish among the mechanisms. We show that failure to control for the underlying mechanism may lead to inconsistent or non-interpretable findings. Thus, we argue that the new framework may guide future research and help to resolve previous disagreements in the field. We conclude that music evokes emotions through mechanisms that are not unique to music, and that the study of musical emotions could benefit the emotion field as a whole by providing novel paradigms for emotion induction. (shrink)

The focus of this dissertation is on the rationality of emotion directed toward fiction. The launch of the cognitive theory of emotion in philosophy of mind and in psychology provides us with a way to show how emotion is not, by nature, opposed to reason and rationality. However, problems still remain with respect to emotion directed toward fiction, because we are emotionally involved with a story about people that do not exist and events that did not happen. This is called (...) the paradox of fiction. ;The current debate in relation to emotion and fiction in aesthetics revolves around the paradox of fiction. I believe that the paradox of fiction consists of two different problems: an explicatory problem and a classificatory problem. The former concerns how we apprehend fiction if we do not believe that what is described in fiction happened, while the latter concerns the problem concerning if our emotional responses toward fiction do not require belief of the relevant sort, how should we classify them? I examine four theories on the first issue: the make-believe theory, the simulation theory, the revisionist theory, and the thought theory. I believe that the revisionist theory and the thought theory provide us with the most plausible view on how we apprehend fiction. For the latter issue, I divide cognitivism in general into two different kinds: narrow cognitivism and broad cognitivism. I defend broad cognitivism against narrow cognitivism. ;However, I believe that cognitivism in general falls short of giving a full account of emotion directed toward fiction, since it neglects the role of non-representational features of fiction in arousing emotion in the reader. In this regard, I attempt to go beyond cognitivism. Last, I examine how we can attribute rationality to emotion directed toward fiction, given the fact that not all emotional responses are accompanied by cognition, strictly called. By discussing various warranting conditions, I try to show how emotions can be warranted not only in terms of their cognitive component, but also in terms of the perceptual element involved in emotion. (shrink)

Are feelings an essential part or aspect of emotion? Cases of unconscious emotion suggest that this is not the case. However, it has been claimed that unconscious emotions are better understood as either (a) emotions that are phenomenally conscious but not reflectively conscious, or (b) dispositions to have emotions rather than emotions proper. Here, I argue that these ways of accounting for unconscious emotions are inadequate, and propose a view of emotions as non-phenomenal attitudes that regard their contents as relevant (...) to one's motivations. (shrink)

The notion that emotional expressions regulate social life by providing information is gaining popularity. Prior research on the effects of emotional expressions on observers’ inferential processes has focused mostly on inferences regarding the personality traits of the expresser, such as dominance and affiliation. We extend this line of research by exploring the possibility that emotional expressions shape observers’ construal of social situations. Across three vignette studies, an interaction partner's expressions of anger, compared to expressions of happiness or disappointment, led observers (...) to construe hypothetical situations as less cooperative, both in dyads and groups. These effects occurred even when factual information regarding the cooperativeness or competitiveness of the situation was provided, attesting to the power of emotional expressions in shaping the construal of social situations. Results are discussed in relation to appraisal theory, reverse appraisals, emotions as social information theory, and the emergence of cooperation in groups and cultures. (shrink)

Contemporary accounts on fictional emotions, i.e., emotions experienced towards objects we know to be fictional, are mainly concerned with explaining their rationality or lack thereof. In this context dominated by an interest in the role of belief, questions regarding their phenomenal quality have received far less attention: it is often assumed that they feel “similar” to emotions that target real objects. Against this background, this paper focuses on the possible specificities of fictional emotions’ qualitative feel. It starts by presenting what (...) I call the “phenomenological question” about the qualitative feel of fictional emotions (section 1) and by showing that this is irreducible to questions about their cognitive, intentional, evaluative, and embodied nature (section 2). Drawing on some insights from early phenomenologists, the next two sections elaborate criteria to distinguish between real and sham emotions on the one side (section 3) and between genuine and non-genuine emotions on the other (section 4). Finally, I apply this orthogonal distinction to the particular case of fictional emotions (section 5). The paper argues that fictional emotions are neither sham emotions nor quasi-emotions, but full-fledged emotional experiences, despite them displaying the distinctive phenomenology of emotions experienced as non-genuine. In the particular case of fictional emotions, they are non-genuine because our psychology is in fact in a state dominated by aesthetic enjoyment. (shrink)

Emotion theory is beset by category disputes. Examining the nature and function of scientific classification can make some of these more tractable. The aim of classification is to group particulars into <<natural>> classes - classes whose members share a rich cluster of properties in addition to those used to place them in the class. Classification is inextricably linked to theories of the causal processes that explain why certain particulars resemble one another and so are usefully regarded as <<of the same (...) kind>>. The need to base categories on underlying causal processes explains why mere careful definition (including operational definition) need not produce categories that are productive objects of scientific study. Because different causal processes produce different patterns of similarity there is unlikely to be a single classification that is optimal for addressing all scientific questions. Cultural categories should not be contrasted to natural categories, but should be treated as natural classes generated by underlying social processes. Our capacity to introduce epistemically optimal categories is often restricted because categories play a role in social and political, as well as epistemic, projects. This account of classification has many implications for emotion theory. (shrink)

Schadenfreude is the emotion we experience when we obtain pleasure from others’ misfortunes. Typically, we are not proud of it and admit experiencing it only sheepishly or apologetically. Philosophers typically view it, and the disposition to experience it, as moral failings. Two recent defenders of Schadenfreude, however, argue that it is morally permissible because it stems from judgments about the just deserts of those who suffer misfortunes. I also defend Schadenfreude, but on different grounds that overcome two deficiencies of those (...) recent defenses. First, my defense accounts for the wide range of circumstances in which we experience Schadenfreude. Those circumstances often involve feelings and judgments that are less noble and admirable than judgments regarding just deserts. Second, it accounts for the sheepish or apologetic feelings that commonly accompany Schadenfreude. The two recent defenses can account for those feelings only by holding that they are mistaken or misguided. In opposition to those who view Schadenfreude as a moral failing, I argue that it is morally permissible unless it is part of a causal chain that produces an immoral act. The moral permissibility of the emotion is necessary in order for individuals to have the emotional freedom that, in turn, is necessary for their well-being. Schadenfreude’s moral status is similar to a sexual fetish’s. Like a fetish, experiencing Schadenfreude is not immoral in itself, but sharing and discussing it with others is immoral in many contexts. (shrink)

Emotion is critical in Mealey's conceptual arguments. However, several of her assertions about the role of emotion in sociopathy are problematic. Questions are raised regarding the link between lack of anxiety and low levels of secondary emotions such as love and sympathy, the argument that sociopaths are low in anxiety but high in neuroticism, and the designation of anxiety as a secondary emotion.

In a recent article Professor M. C. Nahm, defending what he characterizes as an amplified version of the James' theory of the emotions, argues that teleological principles are required in any adequate definition of the emotions. Mechanistic principles may account for the physiological basis of emotional experience, it is maintained, but if we are to define the total experience, which includes a certain conscious content, we must go beyond the mechanistic hypothesis and regard the emotions as directed toward certain ends. (...) He proposes to reveal the “epistemological core” of the problem of the emotions with the evident intention of indicating the lines which the development of the theory of the emotions should follow. It is the aim of this paper to scrutinize the general problem of the emotions in the light of Mr. Nahm's arguments and to consider specifically: the alleged teleological implications of the problem, the statement of the problem of the emotions as it is given in Mr. Nahm's paper, and the present state of research as it may be relevant to the question whether Mr. Nahm's presentation makes for philosophical clarity or methodological advancement in science. (shrink)

This paper explores substantive accounts of emotional phenomenology so as to see whether it sheds light on key features of emotions. To this end, we focus on four features that can be introduced by way of an example. Say Sam is angry at Maria’s nasty remark. The first feature relates to the fact that anger is a negative emotion, by contrast with positive emotions such as joy and admiration (valence). The second feature is how anger differs from other emotions such (...) as sadness, fear and joy (individuation). The third concerns the objects of anger and the sense in which anger discloses the significance of Maria’s remark to Sam (intentionality). Finally, there is anger’s relation to behaviour (motivation). Does focussing on emotional phenomenology encourage specific accounts of these features? We shall see that there are reasons to think it does. Still, are these reasons of sufficient import to dispel the scepticism of those who think that nothing of consequence plays out at the personal level of emotional experience? Given the role of emotional experience in our evaluative practices, we shall conclude that they are. Our discussion is structured as follows: section 1 focuses on feeling approaches to phenomenology, section 2 on componential approaches, section 3 on perceptual approaches and section 4 on attitudinal approaches. Section 5 concludes with some observations regarding the significance of emotional phenomenology. (shrink)

Emotions normally include elements of feeling, motivation, and also intentionality; but the argument of this essay is that there can be emotion without feeling, emotion without corresponding motivation, and emotion without an intentional relation to an object such that the emotion is (among other things) a belief about or construal of it. Many recent writers have claimed that some form of intentionality is essential to emotion, and then have created lines of defence for this thesis. Thus, what look like troublesome (...) cases of emotions can be regarded as having a global intentionality or as being “mood-like”. Alternatively surges of non-intentional joy or ecstasy can be regarded as merely feelings rather than as emotions, and what people experience in response to absolute music can be treated similarly. A clear view of how we normally talk about moods, emotions, and feelings however undermines these defences; and in particular we can understand the role of emotions in relation to absolute music once we become clear about the way in which musical content stands in for intentional objects. (shrink)

Emotions and moods have been distinguished in the literature. If they are distinct, we may expect emotion regulation and mood regulation to be distinct too. We show that although emotion regulation and mood regulation are considered theoretically distinct, they are often confounded empirically. We review characteristics proposed to distinguish emotions from moods by different theoretical approaches to emotion. We also review challenges to these propositions, suggesting that one valid distinction involves intentionality. Building on the above, we discuss possible differences between (...) emotion regulation and mood regulation. Finally, we encourage the use of accurate terminology, argue for the importance of empirically testing hypotheses regarding distinctions between emotion regulation and mood regulation, and discuss possible implications. (shrink)

Research on collective emotion spans social sciences, psychology and philosophy. There are detailed case studies and diverse theories of collective emotion. However, experimental evidence regarding the universal characteristics, antecedents and consequences of collective emotion remains sparse. Moreover, current research mainly relies on emotion self-reports, accounting for the subjective experience of collective emotion and ignoring their cognitive and physiological bases. In response to these challenges, we argue for experimental research on collective emotion. We start with an overview of theoretical frameworks to (...) identify a set of three characteristics of collective emotion. Based on research in cognitive and affective sciences, we then examine the corresponding candidate mechanisms. Finally, we highlight outstanding questions, review experimental evidence, and suggest ideas for future experimental research. (shrink)

The goal of this article is to discuss theoretical arguments concerning the idea that emotional mimicry is an intrinsic part of our social being and thus can be considered a social act. For this, we will first present the theoretical assumptions underlying the Emotional Mimicry as Social Regulator view. We then provide a brief overview of recent developments in emotional mimicry research and specifically discuss new developments regarding the role of emotional mimicry in actual interactions and relationships, and individual differences (...) in emotional mimicry. We conclude with open questions for future research. (shrink)

The scientific study of emotion faces a potentially serious problem: after over a hundred years of psychological study, we lack consensus regarding the very definition of emotion. We propose that part of the problem may be the tendency to define emotion in contrast to cognition, rather than viewing both “emotion” and “cognition” as being comprised of more elemental processes. We argue that considering emotion as a type of cognition (viewed broadly as information processing) may provide an understanding of the mechanisms (...) underlying domains that are traditionally thought to be qualitatively distinct. (shrink)

The paper develops a philosophical account of emotions experienced and communicated on the internet, and, in particular, in the context of social media use. A growing body of research across disciplines has investigated the distinctive features of emotions in the digital age, and a key question in this regard concerns whether online emotions are the same kind of phenomena as those undergone offline. In this paper, I contribute to addressing this question by suggesting that the structure and characteristic features of (...) internet-mediated emotions can be accounted for within the perspective of Peter Goldie’s narrative theory of emotion. To do so, I first offer a reconstruction of Goldie’s conception of emotions as complex, dynamic, episodic and structured phenomena. I then move to show how the experience of emotions on social media like Facebook displays the characteristics which are at the core of Goldie’s account, proceeding to suggest that this enables us to better understand some of the features of emotions undergone on the internet. More specifically, I argue that the intensity, persistence and contagiousness of some online emotions can be better understood if we adopt Goldie’s framework. (shrink)

Emotive Interjections in British English: A corpus-based study on variation in acquisition, function and usage constitutes the first in-depth corpus-based study on the use of emotive interjections in Present Day British English. In a novel approach, it systematically distinguishes between child and adult speakers, providing new insights into how they use Ow!, Ouch!, Ugh!, Yuck!, Whoops!, Whoopsadaisy! and Wow! in everyday spoken language. It studies in detail their acquisition by children and pinpoints changes and developments in their use throughout early (...) childhood. The study highlights particularities displayed by child and adult speakers in general and identifies crucial differences regarding how adults use emotive interjections depending on whether they are interacting with children or other adults. This book thus offers an exhaustive overview on the functions of emotive interjections based on thorough empirical research and will appeal to linguists concerned with pragmatics, child language acquisition, the expression of emotion and interjections. (shrink)

How many emotions are there? Should we accept as overwhelming the evidence in favour of regarding emotions as emanating from a relatively small number of modules evolved efficiently to serve us in common life situations? Or can emotions, like colour, be organized in a space of two, three, or more dimensions defining a vast number of discriminable emotions, arranged on a continuum, on the model of the colour cone?There is some evidence that certain emotions are specialized to facilitate certain response (...) sequences, relatively encapsulated in their neurophysiological organization. These are natural facts. But nature, as Katherine Hepburn remarked to Humphrey Bogart, is what we were put in the world to rise above. I shall suggest that we can consider the question not merely from a scientific point of view, but from a political point of view. And so I will try to explain how to reconcile the evidence of emotional modularity - which, as some of the contributions to the present volume illustrate, is not devoid of a certain ambiguity - with a reasonable plea for an attitude of disapproval towards the rigidities of our taxonomy. (shrink)

It is controversial whether virtual reality should be considered fictional or real. Virtual fictionalists claim that objects and events within virtual reality are merely fictional: they are imagined and do not exist. Virtual realists argue that virtual objects and events really exist. This metaphysical debate might appear important for some of the practical questions that arise regarding how to morally evaluate and legally regulate virtual reality. For instance, one advantage claimed of virtual realism is that only by taking virtual objects (...) and events to be real can we explain our strong emotional reactions to certain virtual actions, as well as their potential immorality. This paper argues that emotional reactions towards, and wrongs within, virtual reality are consistent with its being merely fictional. The emotional and ethical judgments we wish to make regarding virtual reality do not provide any grounds for preferring virtual realism. (shrink)

Philosophical discussion of emotional responses to fiction has been dominated by work on the paradox of fiction, which is often construed as asking whether and how we can experience genuine emotions in reaction to fiction. One may also ask more generally how we ought to respond to fictional works, a question that has to do both with what we should do when reacting to fiction and with what we should and should not let happen to us. It is possible to (...) delineate any principles regarding the rationality, and more generally, the appropriateness of emotional responses to fiction? (shrink)