This chapter focuses on fundamental trends in the philosophy of emotion since the publication of William James’ seminal and contentious view. James is famous for his claim that undergoing an emotion comes down to feeling (psychological mode) specific changes within the body (content). Philosophers writing after him have also attempted to analyse emotional modes in terms of other psychological modes (believing, desiring, and perceiving) and to adjust their contents accordingly. The discussion is organized around a series of contrasts (...) that have played fundamental roles in shaping these approaches to the emotions. These contrasts are those between emotions and feelings, between specific and unspecific phenomenology, and between dependent and independent modes. Focus on these contrasts enables a review of some dramatic turning points in the recent history of theorizing about the emotions; it also serves to bring to light fundamental constraints bearing on emotion theory. (shrink)

Following Meinong, many philosophers have been attracted by the view that emotions have intrinsically evaluative correctness conditions. On one version of this view, emotions have evaluative contents. On another version, emotions are evaluative attitudes; they are evaluative at the level of intentional mode rather than content. We raise objections against the latter version, showing that the only two ways of implementing it are hopeless. Either emotions are manifestly evaluative or they are not. In the former case, the Attitudinal View (...) threatens to collapse into the Perception View or any other view according to which emotions are evaluative at the level of content. In the latter case, the Attitudinal View does not stand up to an obvious alternative, namely that emotions can only be assessed with respect to extrinsic norms or conditions of correctness. (shrink)

I. Introduction. II. Ratiocination vs. Cognition. III. Emotions as Modes of Cognition. IV. Four Competing Proposals. V. The Impact of Emotion on Cognition. VI. The Kinematics of Ratiocination. VII. Competing Cognitive Theories. VIII. Why think Emotions are Beliefs? IX. The Intentionality of Emotions. X. The Kinematics of Emotions. XI. A Unified Account of the Emotions. XII. The Rationality of Emotions.

본 논문은 『수사학』 2권에 나타난 감정에 관한 정의(definition)가 가지는 역할과 양상에 관한 연구이다. 이러한 연구는 파토스적 설득의 실현 기반이 되는 감정의 인지성의 측면에서 진행되었다. 감정에 있어서의 인지주의는 감정을 감정으로 만드는 ‘본질적 요소가 무엇인가’라는 물음에 믿음(belief)이나 판단(judgement) 등의 사고적인 부분, 즉 인지적 요소로 답하는 것이다. 때문에 어떠한 사실에 대하여 가지게 되는 판단과 믿음이라는 사고의 영역은 느낌과 욕구보다 더 근본적이며, 판단과 믿음의 차이는 서로 다른 감정의 차이를 구별하는 기준이 된다. 아리스토텔레스는 『수사학』 2권에서 성격(ēthos), 감정(pathos), 논증(logos)을 통해 상대방을 설득하는 것을 목표로 연설 상황에서 (...) 일으켜야 할 감정들을 분석하고 있다. 그의 분석은 인지주의적 입장을 피력하는 것에 초점을 두지는 않았다. 그러나 아리스토텔레스의 감정에 대한 정의(definition) 부분은 그의 인지주의적 입장을 2가지 양상으로 분명히 드러내고 있다. 첫째는 원인 · 이유를 보여주는 양상이다. 아리스토텔레스는 감정에 대한 정의에서 각 감정들이 일어나는 ‘원인 · 이유’를 명시하거나 유추 가능하도록 서술함으로써 각 감정들의 인지적 요소를 상정하고 있다. 둘째는 감정을 개별화하는 양상이다. 아리스토텔레스의 정의는 감정의 ‘본질’을 규정함으로써 감정들 사이의 차이를 드러내고, 각 감정들을 개별화하게 된다. 결국 그의 정의는 감정의 인지성을 바탕으로 현대 연구자들이 문제시되는 감정의 본질을 검토하며, 각 감정들을 개별화하도록 하는 기초가 되었다. 결론적으로 감정에 대한 정의는 원인 · 이유를 보여주며, 감정을 개별화하는 2가지 양상으로 아리스토텔레스의 인지주의적 견해를 입증하고 있는 것이다. (shrink)

I. Introduction. II. Ratiocination vs. Cognition. III. Emotions as Modes of Cognition. IV. Four Competing Proposals. V. The Impact of Emotion on Cognition. VI. The Kinematics of Ratiocination. VII. Competing Cognitive Theories. VIII. Why think Emotions are Beliefs? IX. The Intentionality of Emotions. X. The Kinematics of Emotions. XI. A Unified Account of the Emotions. XII. The Rationality of Emotions.

This paper examines the different ways in which the body is linguistically codified in the Chinese language of emotions. The three general modes of emotion description under examination are via (a) externally observable (involuntary) bodily changes, (b) sensation, and (c) figurative bodily images. While an attempt is made to introduce a typology of sub-categories within each mode of emotion description, the paper focuses on the meaning of different iconic descriptions through the Natural Semantic Metalanguage (NSM). On one hand, the (...) linguistic evidence, from a Chinese perspective, attests to the emotional universals proposed by Wierzbicka (1999). On the other, it points to cultural diversity in bodily conceptualisation and interpretation in emotional experiences, which are crystallised in linguistic conventions of Chinese emotion talk, including certain syntactic constructions. This paper also demonstrates the importance of examining the language of emotions in emotion studies, and concludes that a full account of emotions must include the examination of the language of emotions. (shrink)

With the development of modern information technology, the flipped classroom teaching mode came into being. It has gradually become one of the hotspots of contemporary educational circles and has been applied to various disciplines at the same time. The domestic research on the flipped classroom teaching mode is still in the exploratory stage. The application of flipped classroom teaching mode is still in the exploratory stage. It also has many problems, such as low class efficiency, poor teacher-student (...) interaction, outdated teaching modes, not student-centered, etc., which lead to poor students’ enthusiasm for learning. Therefore, the current English flipped classroom teaching mode still needs to be tested and revised in practice. Combined with emotion recognition technology, this paper analyzes speech emotion recognition, image emotion recognition, and audition emotion recognition technology and conducts a revision test for the current English flipped classroom teaching mode. It uses the SVM algorithm for one-to-one method and dimension discretization for emotion recognition, and finds that the recognition results after different dimension classification recognition are improved for each emotion. Among them, the recognition rate of different dimension classification recognition methods is 2.6% higher than that of one-to-one method. This shows that under the same conditions, the emotion recognition technology of different dimension classification recognition methods is higher. (shrink)

The student management work model in colleges and universities is an effective plan for college student management, but the traditional college student management work is not very good in terms of student psychology, resulting in negative attitudes such as low learning desire, low learning efficiency, and inactive learning. In recent years, with the development of artificial intelligence technologies such as sentiment analysis and incentive theory, emotional management and incentive theory have been applied to the management of college students. The (...) emotional management and incentive model is a way to help college students get rid of psychological obstacles and guide students to establish positive and correct values by predict and analyze the psychological state of college students through language emotion recognition and BP neural network. This paper compares the college student management work model based on emotional management and incentives with the traditional college management work mode through experiments. The results show that the students’ learning enthusiasm is better than the traditional college student management work mode based on emotional management and incentives. The student management work model in colleges and universities is 15.8% better, and the students’ grades have improved by 12.5%; the college student management work model based on emotional management and incentives also has a positive role in helping students’ mental health. The way of emotional management and motivation can make better use of college students’ psychology to effectively manage students and guide students to develop in a good direction. (shrink)

This article explores melodrama's capacity to evoke strong emotional responses with a focus on the ending of King Vidor's Stella Dallas. It suggests a consideration of the phenomenological concept of instrument-mediation as coined by Vivian Sobchack as a filmic structure that fosters melodrama's emotional appeal and the spectator's engagement with it. It suggests a self-reflexive element in highly emotional film scenes that inscribes the spectator's subject position into the film, thus enabling the film to impact the spectator's (...) body. This reflection of a spectator's perspective enables and fosters the communication of emotionality. Consequently, instrument-mediation describes one function and strategy of the melodramatic mode. (shrink)

In the following comments, I will raise no major objection to Furtak’s main line of argument. My questions are essentially requests for clarification. They focus on three key expressions: first, the “unified” character of emotional agitation and intentionality; second, the unique “mode of cognition” claimed for emotions; and third, the “emotional a priori.”.

Neuroscience investigations of emotional influences on social cognition have been dominated by the somatic marker hypothesis and dual-process theories. Taken together, these lines of inquiry have not provided strong evidence that emotional influences on social cognition rely on neural systems which code for bodily signals of arousal nor distinguish emotional reasoning from other modes of reasoning. Recent findings raise the possibility that emotionally influenced social cognition relies on two stages of neural changes: once when emotion is elicited (...) and a different set of changes at the time of social cognitive judgment. These findings suggest that affect infusion models may be a fruitful framework for bridging neuroscience and psychological understanding of the role of emotion in social cognition. (shrink)

The phenomenology of emotions has traditionally been understood in terms of bodily sensations they involve. This is a mistake. We should instead understand their phenomenology in terms of their distinctively evaluative intentionality. Emotions are essentially affective modes of response to the ways our circumstances come to matter to us, and so they are ways of being pleased or pained by those circumstances. Making sense of the intentionality and phenomenology of emotions in this way requires rejecting traditional understandings of intentionality and (...) so coming to see emotions as a distinctive and irreducible class of mental states lying at the intersection of intentionality, phenomenology, and motivation. (shrink)

Emotion experience reflects some of the outcomes of the mostly nonconscious processes that compose emotions. In my view, the major processes are appraisal, affect, action readiness, and autonomic arousal. The phenomenology of emotion experience varies according to mode of consciousness (nonreflective or reflective consciousness), and to direction and mode of attention. As a result, emotion experience may be either ineffable or articulate with respect to any or all of the underlying processes. In addition, emotion experience reflects the degree (...) to which the emotion processes control perception, thought, action and bodily arousal. (shrink)

Emotions shape our mental and social lives. Their relation to morality is, however, problematic. Since ancient times, philosophers have disagreed about the place of emotions in morality. One the one hand, some hold that emotions are disorderly and unpredictable animal drives, which undermine our autonomy and interfere with our reasoning. For them, emotions represent a persistent source of obstacles to morality, as in the case of self-love. Some virtues, such as prudence, temperance, and fortitude, require or simply consist in the (...) capacity to counteract the disruptive effect of emotions. On the other hand, venerable traditions of thought place emotions such as respect, love, and compassion at the very heart of morality. Emotions are sources of moral knowledge, modes of moral recognition, discernment, valuing, and understanding. Emotions such as blame, guilt, and shame are the voice of moral conscience, and are central to the functioning of our social lives and normative practices. New scientific findings about the pervasiveness of emotions posit new challenges to ethical theory. Are we responsible for emotions? What is their relation to practical rationality? Are they roots of our identity or threats to our autonomy? This volume is born out of the conviction that philosophy provides a distinctive approach to these problems. Fourteen original articles, by prominent scholars in moral psychology and philosophy of mind, offer new arguments about the relation between emotions and practical rationality, value, autonomy, and moral identity. (shrink)

Human emotions are passions – ways in which the soul is affected. It is noteworthy that the Cartesian conception, especially in its concern with the physiology of the emotions and with their causal order, inspires neuroscientific investigation of the emotions to this day. A detailed empiricist account of the character of the concepts of the emotions and of their mode of acquisition is to be found in the writings of John Locke. In his view, all ideas are derived either (...) from sensation or from reflection. The most influential psychological account of the emotions advanced in the late nineteenth century was the James‐Lange theory. It dominated reflection upon the emotions among experimental psychologists until the rise of behaviourism, and it again had a substantial influence towards the end of the twentieth century upon the somatic marker theory of the emotions advanced by the cognitive neuroscientist Antonio Damasio. (shrink)

I discuss Toulmin's (1964) concept of backing with respect to the emotional mode of arguing by examining an example from Fogelin (1985), where emotional backing justifies a warrant concerning when we should judge that a person is being pig-headed. While Fogelin 's treatment is consistent with contemporary emotion science, I show that it needs to be supplemented by therapeutic techniques by comparing an analysis of an emotional argument from Gilbert (1997). The introduction of psychotherapy into argumentation (...) theory raises the question of the extent to which ordinary arguers can use such techniques. Psychotherapeutic techniques can be used in an intractable quarrel; is it fruitful to use them in the context of a deep disagreement? (shrink)

Action orientation is a volitional mode that promotes flexible self-regulation of emotional and motivational states; state orientation represents the conceptually opposite volitional mode that promotes fixation on (particularly negative) emotional and motivational states (Kuhl & Beckmann, 1994a). The present research investigated the link between action versus state orientation and implicit emotion regulation under demanding conditions. After inducing a demanding context, action-oriented participants displayed reduced affective priming effects of negative primes relative to state-oriented individuals (Studies 1–3). Action (...) versus state orientation did not moderate affective priming effects of positive prime words (Studies 1–3). Effects of action versus state orientation emerged only for a limited number of trials (Study 2) and were reversed under low-demanding conditions (Study 3). These findings support the notion that implicit emotion regulation is closely linked to volitional action control. (shrink)

As the cores of education, teachers’ emotions have a critical place in academia. However, the power of EFL teachers’ positive emotions and their regulation in online mode of instruction have been ignored by scholars. With the rapid shift of education from face-to-face to remote/electronic delivery, many challenges and emotional problems emerged among teachers and learners worldwide. This entailed the necessity of considering and planning for emotional regulation to generate positive outcomes. To provide a roadmap for this line (...) of research, the present mini-review article presented the theoretical and empirical underpinnings of emotion regulation, its origins and definitions, as well as outcomes for second/foreign language education. The study also presents some implications for EFL teachers, teacher trainers, and avid scholars of this area of research pinpointing the current yawning gaps. (shrink)

In this paper, we develop a fresh understanding of the sense in which emotions are evaluations. We argue that we should not follow mainstream accounts in locating the emotion–value connection at the level of content and that we should instead locate it at the level of attitudes or modes. We begin by explaining the contrast between content and attitude, a contrast in the light of which we review the leading contemporary accounts of the emotions. We next offer reasons to think (...) that these accounts face substantial problems since they locate the link emotions bear to values at the level of content. This provides the incentive to pursue an alternative approach according to which emotions qualify as evaluations because they are specific types of attitudes, an approach we substantiate by appealing to felt bodily stances. We conclude by considering two reasons why this approach may be resisted; they respectively pertain to the alleged impossibility of drawing the attitude–content contrast in the case of the emotions and to the suspicion that so doing raises qualia-related worries. (shrink)

The paper reports our research aiming at utilization of human interactive communication modeling principles in application to a novel interaction paradigm designed for brain–computer/machine-interfacing (BCI/BMI) technologies as well as for socially aware intelligent environments or communication support systems. Automatic procedures for human affective responses or emotional states estimation are still a hot topic of contemporary research. We propose to utilize human brain and bodily physiological responses for affective/emotional as well as communicative interactivity estimation, which potentially could be used (...) in the future for human–machine/environment interaction design. As a test platform for such an intelligent human–machine communication application, an emotional stimuli paradigm was chosen to evaluate brain responses to various affective stimuli in an emotional empathy mode. Videos with moving faces expressing various emotional displays as well as speech stimuli with similarly emotionally articulated sentences are presented to the subjects in order to further analyze different affective responses. From information processing point of view, several challenges with multimodal signal conditioning and stimuli dynamic response extraction in time frequency domain are addressed. Emotions play an important role in human daily life and human-to-human communication. This is why involvement of affective stimuli principles to human–machine communication or machine-mediated communication with utilization of multichannel neurophysiological and periphery physiological signals monitoring techniques, allowing real-time subjective brain responses evaluation, is discussed. We present our preliminary results and discuss potential applications of brain/body affective responses estimation for future interactive/smart environments. (shrink)

This paper explores the emotional life of governmental power through the affective domains of confidence and respect in criminal justice, in the context of a climate of insecurities and uncertainties with existing modes of governance. The paper problematises some of the key tenets of the governmentality thesis and questions its core assumptions about forms of rationality, processes of subjectivation and the conditions of possibility for ethical conduct. It also prompts us to reconsider the tenets of contemporary neo-liberal governance, its (...) “rationalities of rule,” technologies and apparatuses, how these work to capture hearts as well as minds, and how these may promote an “emotionalised” art of government such that we might properly speak of “emotionalities of rule.”. (shrink)

The purpose of this paper is to explore the question whether and in what sense emotions might be said to provide reasons for actions or to rationalize them. This requires that one have a picture of the causal structure of actions that is sufficiently detailed for one to see how emotions can impinge on the proc-ess of action production. I present a two-tiered model of action explanation and try to exploit this model in a tentative account of the modes of (...) in-volvement of emotions in the explanation of action. In particular, I examine in what sense emotions can be said not just to explain actions, but also to rationalize them. (shrink)

Language comprehension requires a simulation that uses neural systems involved in perception, action, and emotion. A review of recent literature as well as new experiments support five predictions derived from this framework. 1. Being in an emotional state congruent with sentence content facilitates sentence comprehension. 2. Because women are more reactive to sad events and men are more reactive to angry events, women understand sentences about sad events with greater facility than men, and men understand sentences about angry events (...) with greater facility than women. 3. Because it takes time to shift from one emotion to another, reading a sad sentence slows the reading of a happy sentence more for women than men, whereas reading an angry sentence slows the reading of a happy sentence more for men than for women. 4. Because sad states motivate affiliative actions and angry states motivate aggressive action, gender and emotional content of sentences interact with the response mode. 5. Because emotion simulation requires particular action systems, adapting those action systems will affect comprehension of sentences with emotional content congruent with the adapted action system. These results have implications for the study of language, emotion, and gender differences. (shrink)

In this paper, involvement in fictional films is defined as a multidimensional construct consisting of qualitatively differing, interdependent modes of reception. Based on theoretical considerations that we developed further through successive questionnaire studies, we construct a four-factor-model with the latent factors Identity Work, In-Emotion, Imagination, and Production. We subsequently develop and validate a measurement instrument, the Modes of Reception Inventory, which assesses dominant modes of reception for fictional films. The psychometric properties and the construct validity of this scale are tested (...) using structural equation modeling. Finally, we discuss possible extensions and applications of modes of reception for audience research. (shrink)

This paper focuses on disagreement spaces fused with emotion. Following Gilbert’s emotional mode of argumentation (1997), further expansions of the mode are made here, specifically for the purposes of being able to classify different types of emotional arguments. First, general concerns with arguments that stray from the traditional approach are addressed. Then a classification system for different types of emotional arguments is developed. Some of the criteria that help determine emotional arguments include dialogue types, (...) arguers involved, as well as the use of emotion. (shrink)

Fieldwork involves imagination, social encounters and a recognition of feelings, emotions, in observer and observed. As with ‘ the field’ itself, emotions and encounters are dynamically temporal, whether they are observed, or felt by the investigator, or described by interlocutors. If we want to develop anthropological work on emotions and their significance, we must be aware of the layers of interpretation that mediate between a fieldwork event and its often manifold recensions. ‘Writing up’ therefore requires consideration of how to (re-) (...) present persuasive accounts and analyses: examples are discussed of such modes in different media and the role of mediators in academic descriptions of emotion. (shrink)

Musical systems develop associations over time between aspects of musical form and concepts from outside of the music. Experienced listeners internalize these connotations, such that the formal elements bring to mind their extra-musical meanings. An example of musical form-meaning mapping is the association that Western listeners have between the major and minor modes and happiness and sadness, respectively. We revisit the emotional semantics of musical mode in a study of 44 American participants (musicians and non-musicians) who each evaluated (...) the relatedness of 96 melody-word pairs. Among the tonal melodies, we manipulated mode (major and minor) and timbre (clarinet and flute) while systematically controlling for other musical factors including pitch register and melodic contour. Similarly, among the English words, we manipulated word affect (happy and sad) while systematically controlling for other lexical factors including frequency and word length. Results demonstrated that participants provided a higher proportion of related responses for major melodies paired with happy words and minor melodies paired with sad words than for the reverse pairings. This interaction between mode and word affect was highly significant for both musicians and non-musicians, albeit with a larger effect for the former group. Further interactions with timbre suggested that while both clarinet and flute conveyed happiness when in the major mode, the clarinet was somewhat more successful than the flute at conveying sadness in the minor mode. Debriefing questionnaires suggested that the majority of the participants, including all of the non-musicians, had no awareness of the major-minor manipulation, and instead directed their attention to register and contour. We argue that the affective character of the major and minor modes is but one example of form-meaning mapping in music, and suggest further exploration of the roles of timbre, register, and contour in conveying musical emotions. (shrink)

This book provides the first systematic interpretation of what Aristotle thinks occurrent emotions are and points to some philosophical merits of his account. It is argued that he holds that emotions are representational pleasures or distresses that are formed in response to other intentional states that apprehend their objects. Even this bare formulation of his view is notable in several respects. First, the idea that the pleasures or distresses of emotions are representational--directed at objects in the world (or ourselves)--contrasts sharply (...) with accounts that identify emotions with non-representational sensations or feelings. Second, the notion that emotions are pleasurable or distressful responses to other intentional states that apprehend their objects provides a fundamental contrast with many current accounts which instead view emotions as (in part) modes of apprehension or kinds of epistemic state themselves. Third, Aristotle's view stands in opposition to motivational accounts of emotions, insofar as while he thinks that emotions interact with desires or motivational states in important ways, he does not think they are themselves (even in part) motivational states. They are representational pleasures or distresses alone. Together, these three points give Aristotle a novel understanding of the representational role emotions play; namely, neither descriptive, nor prescriptive, but reactive. Besides developing these ideas, both textually and philosophically, the book also explores how Aristotle individuates emotion types; his understanding of the material dimension of emotions; and how his view can provide a novel explanation of recalcitrant emotions, a notoriously problematic phenomenon for many recent accounts of emotions. (shrink)

One way of studying emotions which is sensitive to cultural differences is to analyze the vocabularies people use to describe their own and other’s emotions, which can be called the local emotionology. Wittgenstein’s concepts of language game and family resemblance can be used in this project. The result of research in this mode is a three-factor account of emotions, involving bodily perturbations, judgments of meanings, and the social force of emotion displays. This treatment of a psychological phenomenon is typical (...) of recent conceptions of psychology as a hybrid science, linking cognitive, cultural, and physiological phenomena. It can be seen as a further development of the cognitive account of emotions that has appeared in the last century. (shrink)

Moritz Geiger’s 1911 article on the consciousness of feeling, entitled “Das Bewusstsein von Gefühlen,” was an object of study for Husserl in a series of manuscripts recently published in Studien zur Struktur des Bewusstseins II. Gefühl und Wert (1896–1925) (2020). Geiger’s article and Husserl’s remarks on it received attention from Métraux (1975), but, more recently, an increasing number of publications have been devoted to the topic (Averchi, 2015a, 2015b; Crespo, 2015; Quepons, 2017; Marcos del Cano, 2023). These new publications identify (...) a central area of disagreement between the two authors concerning the nature of emotive consciousness, i.e., the mode in which affective states relate to their objects. For Geiger, emotions are directed toward their objects but are not regarded as intentional and, in certain forms of consciousness, can even lose their relation to their objects. By contrast, for Husserl, intentionality is an intrinsic feature of emotive consciousness. The aim of this paper is to place the authors’ disagreement in a broader historical context and to show that it reveals profound differences between their respective ontologies of the mind and the place of feeling within it. -/- . (shrink)

The aim of this article is to present trust as a meta-emotion, such that it is an emotion that precedes first-order emotions. It examines how trust can be considered a meta-emotion by establishing criteria for identifying trust as a meta-emotion. How trust plays out differently in aesthetic and ordinary contexts can provide another mode for investigating meta-emotions. The article illustrates how it is possible to recognize these meta-emotions in narratives. Finally, it presents one of the aims of trust, sharing (...) knowledge between agents, when someone who provides testimony shares knowledge in an epistemic trust process with others. It shows a relationship construction between subjects and objects thanks to the trust, a meta-emotion that represents emotional ties between subjects to achieve another emotion. (shrink)

This book defines political ideology as a structural force that combines ideas, emotion, and people for the purpose of transforming political discourse. It advances a theoretical proposition concerning the creation of alternative modes of governance and proposes a general theory explains the reasons for the creation of political ideologies as an escape from perceived injustice. The theory also explains democracy's success and the failure of Communism and the Fascism. The purpose of any political ideology, whether Democracy, Fascism (and its varieties), (...) or Communism, is to escape human suffering by combining ideas, emotion, and people in the production of fundamental societal change. Ideologies must possess these three variables to attain the necessary power to succeed as a political force. Power gives the ideology the structural ability to transform society, trapping the once free individual into the ideology. (shrink)

In his discussions of “sensibility” and “feeling,” Hegel has a compelling interpretation of the emotional foundations of experience. I begin by situating “mood” within the context of “sensibility,” and then focus on the inherently “outwardizing” or self-externalizing character of mood. I then consider the different modes of moody self-externalization, for the sake of determining why we express ourselves in language. I conclude by demonstrating why the notions of emotion and spirit are necessarily linked.

This paper begins the development of a pragmatics of emotion based on the pragma-dialectical programme, Externalization, Socialization, Functionalization, and Dialectification, applied to the emotional mode of argumentation. The first step points out a systematic equivocation within pragma-dialectics between the notion of argument and that of 'dialectics.' With this cleared, it is shown that each of the first three main assumptions can be altered to accommodate a non-logical mode of communication. However, dialectification, insofar as it is actually defining (...) of the dialectical mode, must be created anew. A defining assumption for emotionality is presented as a replacement for dialectification. (shrink)

The paper investigates semantic properties of expressions that suggest the possibility that emotions are shared. An example is the saying that a sorrow shared is a sorrow halved. I assume that such expressions on sharing an emotion refer to a specific mode of subjective experience, displayed in first person attributions of the form 'We share E'. Subjective attributions of this form are intrinsically ambiguous on all levels of their semantic elements: 'emotion', 'sharing' and 'We'. One question the paper seeks (...) to answer is whether and in what respect these semantic ambiguities mirror an indeterminacy of emotional experience. Discussing 'aggregate sharing' (of a determinate) in distinction of mere 'distributive sharing' (of a determinable), I argue that there is no sufficient criterion to determine which mode of sharing an emotional experience shaped as 'We feel E' displays. Disambiguation of this intrinsic indeterminacy must recur to situational parameters of individuals' de re relatedness. (shrink)

It is popular to hold that emotions are evaluative. On the standard account, the evaluative character of emotion is understood in epistemic terms: emotions apprehend or make us aware of value properties. As this account is commonly elaborated, emotions are experiences with evaluative intentional content. In this paper, I am concerned with a recent alternative proposal on how emotions afford awareness of value. This proposal does not ascribe evaluative content to emotions, but instead conceives of them as evaluative at the (...) level of intentional mode or attitude. I first argue that this proposal fails to make emotions intelligible as value apprehensions. There are reasons to suppose that emotions do not apprehend value to begin with, but are related to values in a different, non-epistemic sense. I then go on to show that the notion of an evaluative intentional mode can still help elucidate the evaluative character of emotion. I argue that there is a plausible non-epistemic understanding of the view that emotions are evaluative modes. On this account, emotions are not ways of apprehending values, but ways of acknowledging values. (shrink)

A meta-analysis of 190 cross-cultural emotion studies, published between 1967 and 2000, was performed to examine (1) to what extent reported cross-cultural differences in emotion variables could be regarded as valid (substantive factors) or as method-related (statistical artefacts, cultural bias), and (2) which country characteristics could explain valid cross-cultural differences in emotion. The relative contribution of substantive and method-related factors at sample, study, and country level was investigated and country-level explanations for differences in emotions were tested. Results indicate that a (...) correction for statistical artefacts and method-related factors reduced the observed cross-cultural effect sizes considerably. After controlling for valence (positive vs. negative emotions) and kind of study (self-report vs. recognition studies), the remaining cross-cultural variance was associated with subsistence mode, political system, values, and religiosity. Values explained more variance than did ecological or sociopolitical variables. It was concluded that both method-related factors (13.8% of variance explained) and culture-level factors (27.9% of variance explained) underlie observed cross-cultural differences. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 36.1 (2003) 39-47 [Access article in PDF] Restraint and Emotion in Cicero's De Oratore Per Fjelstad In De Oratore Cicero has the revered orator Crassus ask, "Who then is the man who gives people a thrill? whom do they stare at in amazement when he speaks? who is interrupted by applause? who is thought to be so to say a god among men?" (1942a, III.53). Crassus, (...) who is asking his companions to think about emotional energy in speech, goes on, "It is those whose speeches are clear, explicit, and full, perspicuous in matter and language, and who in actual delivery achieve a sort of rhythm and cadence—that is, whose style I call 'ornate'."Several things are striking about the passage. First, it resolves its inquiry by invoking the concept of ornatus, a word widely used to translate the Greek idea of kosmos (DiLorenzo 1978). Cicero thus refers to a quality that joins the ideas of cosmic order, physical beauty, and earthly power. Second, the passage is delivered in the midst of Crassus's discussion of the fourth rhetorical canon, that referring to the elaboration of ideas in language, of selecting levels of style and modes of verbal embellishment. Third, the passage ranges across the entire field of rhetorical art, at least as indexed by the scope of the canons. The performative quality directly under discussion, that which gives people a thrill—initially associated with the Theophrastian virtues of style that Crassus has been enumerating, that is, clarity and explicitness—quickly is expanded to include copiousness of invention, perspicuity of language, and energetic beauty in delivery. Cicero's Crassus thus discusses a performative dynamic that appears to govern rhetoric as a whole.As the other characters in the dialogue discuss this quality of speech, which engages listeners emotionally and transforms their experience of the present, they bound beyond the preliminary categories of their analysis and describe a power of speech that is aesthetic and philosophical. As the [End Page 39] narrator of this dialogue, Cicero eventually associates the possibility of emotional transformation with a quality of performance we might identify as graceful or urbane. Cicero suggests that performative style can rise above particular details, conventions, and rules of standard rhetorical instruction. Ornate speech is, in sum, emotionally transformative. In detail, however, how does Cicero theorize this grand ability? What goals, resources, or models does he invoke?This essay argues that Cicero's theory of ornatus insists an orator display emotions relevant to the performance while responding to the need of listeners to hear emotional expression against a backdrop of relative calm. In developing this analysis, I claim that the dialogic format of De Oratore allows insight to emerge from juxtaposed perspectives, that Cicero's ideal of ornatus contains a limiting threshold for performative exuberance, and that his examples of emotional engagement illustrate the importance of context and aesthetic restraint. Theoretical tensions as sources for synthetic insight Theoretical tensions in Cicero's De Oratore are instructive. While Cicero's effort to reconcile Isocratean practice with Aristotelian teleology ultimately makes for a rough fit, the juxtaposition of those understandings within the dialogue also generates new insight, even about limits for rhetorical theory itself. Referring to this mode of theorizing as "ironic eloquence," Michael Leff holds that "through this merger of theory and practice, the rival conceptions of oratory as systematic art and oratory as synthetic practice coalesce within the text, the two perspectives interacting to produce a development that incorporates both" (1986, 323).A similar theoretical tension can be observed in De Oratore regarding the prospects and significance of emotional engagement in oratorical performance. In discussing the practices of emotional oratory Cicero draws on three distinct intellectual sources: a quasi-enthymematic model of emotional engagement, in which an orator need not share or display the sought-after emotional response; a mimetic theory of theatrical performance (that is, a typology of tonal and gestural "moods"); and a latent theory of "authenticity," according to which that which is being theatrically displayed is not "fakely" fictional, but somehow genuine.The conflicting theories suggest... (shrink)

Highly divergent accounts exist of the nature of emotional feelings. Following Lambie and Marcel (2002), that divergence is traced back to actual differences in experience that result from variations in the involvement and direction of attention during emotions. The dimensions of variation include first versus second order experience, world- versus self-focus, appraisal or action-readiness focus, and attention mode (synthetic-analytic, immersed-detached). It is argued that the most characteristic form during actual emotional events consists of the more or less (...) immersed and synthetic perception of an emotionally meaningful world or of oneself as emotionally meaningful. Meaning consists of perceived qualities that represent appraisal and action readiness. Although information from one's body is central for all emotion experience, it is not central in all emotion experience. Feeling of the body in a particular state represents detached analytic self-focused awareness only.Emotion experience not only represents a perspective on emotional reactions but also contributes to the constitution of those reactions, notably with respect to attention shifts, action initiation and action guidance, and emotion regulation. It is a major factor in constituting a representation of “self” and in establishing social coherence. (shrink)

This article is an extension of the author’s previous work on this subject. Primarily it outlines the main directions of this mode of analysis and possible fields to which it could be applied. The first chapter demonstrates a specific method of understanding emotions. The second chapter examines the concept of emotions as a source of the specific modes of “internal” rationality of an agent. The third chapter isdevoted to a comparison between various emotions and the two basic intentional states (...) - belief and desire. The fourth chapter will present the instrumental typology of certain emotional concepts. The final chapter represents preliminary logical schema of the meanings of emotional concepts. (shrink)

The first objective of this paper is to recognize the role of emotion and feeling in Ricœur’s “little ethics” and what they can further add to it, then to explore in more detail how solicitude as a virtue, and affective disposition more broadly, can contribute to a modern ethics of technology. Ultimately, emotions help us to understand technologies and technological ways of being today; Ricœur’s “little ethics”, along with his narrative theory, provide a framework for understanding the ethically salient aspects (...) of technical practice, especially through the openness to the other demanded by solicitude, and essentially by emphasising emotion or feeling as a way of being in the world, and a mode of existence: one which is done with, if not sometimes because of, technology and technical practice. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Emotion, Restraint, and Community in Ancient RomePeter TooheyRobert A. Kaster. Emotion, Restraint, and Community in Ancient Rome. Classical Culture and Society. New York: Oxford University Press, 2005. xii + 245 pp. Cloth, $45.Emotion, Restraint, and Community has much in common with William Miller's well-known The Anatomy of Disgust (1997). There is their interest in disgust, their focus on the social and literary life of the emotions, and, best (...) of all, their tone. The ironic, fresh, often funny, and personal tone of Kaster's book is very like that of Miller's. The tone is utterly unlike anything one normally expects from a learned classical volume from a learned press. Similarities end there. While [End Page 137] Miller focuses on the modern world, Kaster's book on the social life of the emotions takes as its research object Roman literature up until Christianity becomes the religion of the Roman Empire. In five chapters, Kaster looks at five emotions (verecundia, pudor, paenitentia, invidia, and fastidium) and offers, as a conclusion, a vision of what it must have been like for a Roman male to have control over the workings of these five emotions. That person, he suggests, is what would have been termed integer—upright, honest, and undamaged.Based on word searches and contextual analyses for each of the terms, Kaster's discussion provides an engaging way of describing the life of these emotions. Rather than relying on dictionary definitions, he briefly analyzes and illustrates his terms in their literary contexts. Then he produces scripts, which consist not just of the things you think, feel, and do as they relate to these five emotions, but which also show how they are played out in a social context. What does it feel like to be the object of fastidium, for example, or to direct it at another? Kaster's analysis, therefore, concerns itself more with the cognitive dimension of these emotions rather than the affective. Or, to adapt his own terminology, the analysis is on the occurrent (situational) rather than dispositional (psychological).How does Kaster understand the basis of each of these terms and how it is that they are defined socially? Verecundia ("respect" or "shame"—the subject of chapter 1) "animates the art of knowing your proper place in every social transaction and basing your behavior on that knowledge; by guiding behavior in this way, verecundia establishes or affirms the social bond between you and others, all of whom (ideally) play complementary roles" (15). Kaster makes his understanding even more clear when he states that "verecundia is what might be called 'ignorability': not being invisible, quite, but being seen to claim the minimum amount of social space needed to carry out a given line of action" (17). Pudor ("decency," "shame," "embarrassment"), the subject of the second and longest chapter, can be paraphrased as "being aware of others being aware of you" (28–29). He expands on this to add that "while it was understandably your goal to receive the largest possible share of creditable attention ('honor') and experience the least possible discomfort from discrediting attention ('shame'), honor and shame were experienced as complementary, rather than opposed" (29).Kaster is not, therefore, interested in the modes by which verecundia and pudor can become internalized. He does not believe that a Roman's valuation of what action could or could not be judged as invoking verecundia or pudor can be made without immediate recourse to others (cf. 59). He is not interested, for example, in the way that Seneca, with his recommendation for daily (Epistles 83) self-scrutiny (so, for example, Epistles 16.2: excute te et varie scrutare et observa) might have evaluated an action. Seneca, as we know, suggested that you judge an action, hence its capacity to evoke an emotion such as verecundia, by checking it against a judge internal to your mind, such as an imagined Scipio, Cato, or Laelius (Epistles 25.5–6; see Edwards, G&R 54, 1997). The point is an important one. Kaster sees little shift in the way verecundia and pudor, or indeed his five emotions generally, are understood throughout the period he covers (roughly [End Page 138] 200... (shrink)

A prominent view of phenomenal consciousness combines two claims: (i) the identity conditions of phenomenally conscious states can be fully accounted for in terms of these states’ representational content; (ii) this representational content can be fully accounted for in non-phenomenal terms. This paper presents an argument against this view. The core idea is that the identity conditions of phenomenally conscious states are not fixed entirely by what these states represent (their representational contents), but depend in part on how they represent (...) (their representational attitudes or modes). The argument highlights the myriad liabilities and difficulties one must accrue when one tries to appeal only to what phenomenally conscious states represent in accounting for their phenomenal individuation. (shrink)

Congenital amusia in its most common form is a disorder characterized by a musical pitch processing deficit. Although pitch is involved in conveying emotion in music, the implications for pitch deficits on musical emotion judgements is still under debate. Relatedly, both limited and spared musical emotion recognition was reported in amusia in conditions where emotion cues were not determined by musical mode or dissonance. Additionally, assumed links between musical abilities and visuo-spatial attention processes need further investigation in congenital amusics. (...) Hence, we here test to what extent musical emotions can influence attentional performance. Fifteen congenital amusic adults and fifteen healthy controls matched for age and education were assessed in three attentional conditions: executive control, alerting, and orienting while music expressing either joy, tenderness, sadness, or tension was presented. Visual target detection was in the normal range for both accuracy and response times in the amusic relative to the control participants. Moreover, in both groups, music exposure produced facilitating effects on selective attention that appeared to be driven by the arousal dimension of musical emotional content, with faster correct target detection during joyful compared to sad music. These findings corroborate the idea that pitch processing deficits related to congenital amusia do not impede other cognitive domains, particularly visual attention. Furthermore, our study uncovers an intact influence of music and its emotional content on the attentional abilities of amusic individuals. The results highlight the domain-selectivity of the pitch disorder in congenital amusia, which largely spares the development of visual attention and affective systems. (shrink)