The capacity of a work of fictional literature to elicit emotional responses is part of what is valuable about it, and having emotional responses is part of appreciating it. These claims are not very controversial; perhaps they are even common sense. But philosophy rushes in where common sense fears to tread, raising questions and looking for explanations.Are the emotions we have in appreciating fictional works of art, what I call art emotions, of the same sort as those which (...) occur in ‘real life’? Which emotions are appropriate to the work, and why: what justifies having one emotion rather than another? And why should we think emotionally responding to fiction is desirable, something which should be respected and encouraged, rather than looked at as a little weird or a waste of time? (shrink)

Why is it that we respond emotionally to plays, movies, and novels and feel moved by characters and situations that we know do not exist? This question, which constitutes the kernel of the debate on »the paradox of fiction«, speaks to the perennial themes of philosophy, and remains of interest to this day. But does this question entail a paradox? A significant group of analytic philosophers have indeed thought so. Since the publication of Colin Radford's celebrated paper »How Can We (...) Be Moved by the Fate of Anna Karenina?« (1975), the number of proposals to solve, explain, reformulate, dismiss or even revitalize this apparent paradox has continued to proliferate. In line with recent developments in the philosophy of emotion, in this paper I will argue against the sustainability of the paradox, claiming that the only reasonable way to continue our discussions about it consists in using it as a heuristic tool to shed light on problems regarding our involvement with fiction. Against this background, I will then focus on one of the problems related to how our emotional responses to fiction contribute to our appreciation of it. The paper is divided into three main sections. The first section shows the parallel evolution of the paradox of fiction and the analytic philosophy of emotion. Here I claim that, although the paradox is epistemically flawed, since one of its premises is rooted in a limited view on the emotions typical of early cognitiv-ism, the discussions it provokes are still epistemically useful. As Robert Stecker (2011, 295), among others, has pointed out, the paradox was formulated during the heyday of cognitive theories of the emotions in which emotion necessarily requires belief. Today, however, only few authors would endorse this premise. If emotion does not always require belief (as the majority of authors in the contemporary debate admit), let alone belief about the existence of the object towards which it is directed, then there is no reason to speak of a paradox. From this first conclusion, however, it does not follow that the paradox is completely without use from the epistemic point of view. A glimpse at the topics touched on during the discussions about how to solve, reformulate, or negate the paradox reveals their value in shedding light on the interrelation between emotion and fiction. The second section elaborates a phenomenologically inspired cognitive account of the emotions by focusing on their cognitive bases, their influence on Emotion in the Appreciation of Fiction 205 cognitions, and their cognitive function. In this model, emotions are responsible for indicating values, for showing what matters to us, and for being appropriate to their objects. My claim is that this view applies not only to reality, but also to our involvement with fiction. In the final section I draw on this account to focus on one kind of appreciation of fiction which necessarily requires our emotional involvement. Following an idea put forward by Susan Feagin (1996, 1), I employ the concept of »appre-ciation« to refer to a set of abilities exercised with the aim of extracting value from the work. There is a long tradition in aesthetics that condemns any focus on the emotions in the appreciation of art and fiction, and defends the necessity of aesthetic appreciation without emotional influence. To refer to this negative attitude towards the emotions, I will borrow an expression coined by Susan Feagin (2013, 636), who refers to »the intellectualized view of appreciation«. Against this widespread view, I will argue that some aspects of the fiction can only be appreciated with the help of our emotions. The cognitive approach developed in the previous section can explain how the emotions might in fact play a significant role in the appreciation of art and fiction. Attention will be paid to three activities involved in appreciation, for all of which emotion is crucial: processing relevant information about the fictional world, understanding aspects of it, and becoming acquainted with the values it presents. My aim here is to argue that there are particular aspects of the fictional world that can only be appreciated if recipients have the appropriate emotions. (shrink)

In this paper, I develop an account of appreciation. I argue that appreciation is an epistemic emotion in which the subject grasps the object in an affective way. The “grasping” and “feeling” components implies that in appreciation, we make sense of the object by having cognitive control over it, are motivated to maintain the valuable epistemic state of understanding, and experience the “aha” or “eureka” moment. This account offers a unified account of the many types of (...) class='Hi'>appreciation, including the aesthetic, the moral, and the epistemic. In all these cases, appreciation requires some other first-order emotions as prerequisite. (shrink)

BackgroundModern literary appreciation seems to be reading literary works phenomenally. In fact, appreciation is not a general reading, which has an important difference from general reading. It is the identification and appreciation of literary works and a complex spiritual activity for people to feel, understand, and imagine literary and artistic works. At the same time, literary appreciation is also a cognitive activity, an aesthetic activity, and a re-creation activity.MethodIn this paper, the machine learning algorithm was creatively (...) used to classify the emotions of figures in modern literary works, to analyze the emotions of the figures that the writer wanted to depict in modern literary works.ResultsExperimental results verify the accuracy of the emotion classification method through experiments, which is helpful for us to better understand the emotion expression in modern literary works. (shrink)

When emotions are mentioned in the literature on mental competence, it is generally because they are thought to influence competence negatively; that is, they are thought to impede or compromise the cognitive capacities that are taken to underlie competence. The purpose of the present discussion is to explore the possibility that emotions might play a more positive role in the determination of competence. Using the MacArthur Treatment Competence Study as an example, it is argued that appreciation, a (...) central theoretical concept in many contemporary approaches to competence, has important emotive components that are seldom sufficiently recognized or acknowledged. If true, this means that some leading contemporary accounts of competence need to be revised in order to make more adequate provision for the positive contribution of emotion. (shrink)

In our everyday psychologising, emotions figure large. When we are trying to explain and predict what a person says and does, that person’s emotions are very much among the objects of our thoughts. Despite this, emotions do not figure large in our philosophical reconstruction of everyday psychological practice—in philosophical accounts of the rational production and control of behaviour. Barry Smith has noted this point: We frequently mention people’s emotional sates when assessing how they behave, when trying to (...) understand why they say and do the things they say and do, and when deciding how to deal with them. A large part of our awareness of others and our ability to make sense of them depends on their emotional make-up and our appreciation of how this affects their thoughts and actions. All of this is missing from the standard accounts of folk psychology, and the key question is why? (2002, 111-2). Before beginning to answer to Smith’s question, I want to say more to characterise the approach in philosophical psychology which he is questioning. There are many detailed philosophical accounts of the rational production and control of behaviour. My aim here isn’t to examine these details, but to characterise a certain species of philosophical psychology—one which holds that one can explain the rational production and control of behaviour in terms of a narrow set of mental state types: belief, desire (and perhaps a few others: perception or intention). Hence my label for this species: ‘Humean psychology’. The orthodox Humean view is that rational agency can be explained adequately by appeal to the agent’s beliefs and desires. So, to borrow an example from Davidson (1978), we can explain a person’s adding salt to the stew by citing her desire that the will stew taste better and her belief that if.. (shrink)

Classical Confucian thought is full of discussion of human emotions, reflecting a preoccupation with the inner life-how one ought to feel 'on the inside', as it were. Yet alongside these passages are others that seem, by contrast, to be concerned with matters external to one's emotions and psychology: how one ought to dress, speak, walk, and talk. Yet passages such as these, which draw attention to details of individual expression and comportment, are not at all tangential when it (...) comes to understanding the Confucian perspective on emotions. On the contrary, I argue that they reveal a sophisticated view of emotional life, one that illuminates how our outer appearance and comportment profoundly shape both how we feel and how others around us feel. Looking at emotions in this fashion-both inside and out-gives us not only a deeper appreciation of early Confucian thought but also can serve as a resource for us to reevaluate the way we understand emotions today. {Translated into Korean by Yonghwan Chung}. (shrink)

Theory of Mind (ToM) may be defined as the ability to understand the mental states, such as beliefs, desires, intentions, and emotions, of others. Impairment of ToM ability leads to disorders with pathologies in social skills, such as autism spectrum disorder and schizophrenia. In addition to differences in ToM ability among patient populations, there is variation between neurotypical individuals. Unfortunately, ToM tasks are usually developed for children or patients with cognitive disorders and cannot detect variations in healthy adults. As (...) an alternative tool, humor may be used. Humor plays a role in social communication and requires many different cognitive functions. Humor is believed to represent complex high-order cognitive processes. There are numerous types of humor; the most complex type is considered ToM humor, where an understanding of social/emotional content is necessary. Given the need for a ToM assessment test suitable for healthy adult populations, we developed a test for measuring humor comprehension and appreciation, with and without ToM content (ToM-HCAT). The present ToM-HCAT test is a performance test consisting of cartoons. The test measures perceived funniness, reaction time to perceived funniness decision, and meaning inference. Cartoons were selected after pilot studies involving 44 participants. Subscales were constituted according to expert views and confirmed by confirmatory factor analysis ( N = 135). Goodness of fit values for the final 35-item test were acceptable to excellent: GFI = 0.97; AGFI = 0.97; NFI = 0.97; RFI = 0.97, and SRMR = 0.067. Both categories were internally consistent (α 1 = 0.84, α 2 = 0.94). External validity was assessed against autistic traits. One hundred and three participants completed the Autism Spectrum Quotient and were grouped by +0.5 standard deviations from the mean as high in autistic traits. The meaning-inference scores of the subscale with the ToM cartoons were significantly lower ( p = 0.034) for the high autistic traits group, providing evidence of external validity. In conclusion, we developed and validated a test for assessment of ToM by humor comprehension and appreciation. We believe that the present test will be useful for the detection of variations in ToM ability in the healthy adult population. (shrink)

Loss of insight is a prominent clinical manifestation of behavioral variant frontotemporal dementia , but its characteristics are poorly understood. Twelve bvFTD patients were compared with 12 Alzheimer’s disease patients on a structured insight interview of cognitive insight and emotional insight . Compared to the AD patients, the bvFTD patients were less aware and less concerned about their disorder, and they had less appreciation of its effects on themselves and on others. After corrective feedback , the bvFTD patients were (...) just as aware of their disorder as the AD patients but remained unconcerned and unappreciative of its effects. These findings suggest that lack of insight in bvFTD is not due to “anosognosia,” or impaired cognitive and executive awareness of disease, but to “frontal anosodiaphoria,” or lack of emotional concern over having bvFTD and its impact on themselves and others. (shrink)

The emotions play a crucial role in our apprehension of meaning, value, or significance — and their felt quality is intimately related to the sort of awareness they provide. This is exemplified most clearly by cases in which dispassionate cognition is cognitively insufficient, because we need to be emotionally agitated in order to grasp that something is true. In this type of affective experience, it is through a feeling of being moved that we recognize or apprehend that something is (...) the case. And that is why our emotions are epistemically indispensable: namely, because they give us access to significant truths. In this essay, I explain how the phenomenally felt character of an emotion is intimately linked with its intentionality. Intellectual activity divorced from affective feeling is profoundly lacking — not only in its qualitative feel, but also in its epistemic import, or its ability to inform us about matters of significance. A better appreciation of how the living body is involved in affective experience should help us to understand the distinctive kind of embodied cognition that emotional responses involve. It also ought to resolve confusions about phobic responses and other “recalcitrant” emotions, which are not divorced from cognition as many have claimed. (shrink)

Traditionally, philosophers have focused on whether and how emotions threaten autonomy, insofar as they lie outside the sphere of rational agency. That is, they have conceptualized emotional vulnerability as passivity. Second, they have considered how emotions are insensitive to rational judgment, focusing on cases in which emotions are dissonant or recalcitrant. Third, in recognizing the motivational force of emotions, philosophers have tracked their negative impact on rational deliberation. Indeed, emotions are often contrastive elements in rational (...) deliberation. They appear to defeat deliberative judgments about what to do, survive rational deliberation or preempt the very possibility of rational deliberation. But there are more interesting cases in which it is apparent that emotions bear a rather complicated relation to autonomy. Love and shame provide powerful examples of the ambivalences and complexities of such a relation. In analyzing such complexities, my aim is to present a case for appreciating various dimensions of vulnerability and, correspondingly, for exposing the importance of emotional vulnerability for agential autonomy. This view is rooted in a general account of agential autonomy marked by mutual respect and recognition of others, as a normative response to constitutive vulnerability, understood as the capacity to affect and be affected by others as well as by external agentive and non-agentive causes. (shrink)

Moral experience comes in many flavors. Some philosophers have argued that there is nothing common to the many forms moral experience can take. In this paper, I argue that close attention to the phenomenology of certain key emotions, combined with a clear distinction between essentially and accidentally moral experiences, suggests that there is a group of (essentially) moral emotions which in fact exhibit significant unity.

Global climate change has been characterised as the crisis of reason (Val Plumwood), imagination (Amitav Ghosh) and language (Elizabeth Rush), to mention some. The ‘everything change’, as Margaret Atwood calls it, arguably also impacts on how we aesthetically perceive, interpret and appreciate nature. This article looks at philosophical theories of nature appreciation against global environmental change. The article examines how human-induced global climate change affects the ‘scientific’ approaches to nature appreciation which base aesthetic judgment on scientific knowledge and (...) the competing ‘non-scientific’ approaches which emphasise the role of emotions, imagination and stories in the aesthetic understanding of environment. The author claims that both approaches are threatened by global climate change and cannot continue as usual. In particular, he explores aesthetic imagination in contemporary times when our visions about environment are thoroughly coloured by worry and uncertainty and there seems to be little room for awe and wonder, which have traditionally characterised the aesthetic experience of nature. Finally, he proposes that art could stimulate environmental imagining in this age of uncertainty. (shrink)

This paper investigates what I call aesthetic emotions in the “traditional” sense going back to Burke and Kant. According to Kant, aesthetic pleasure is disinterested, and so maybe for Kant aesthetic emotions would be too, for Kant, but emotions by their very nature cannot be disinterested. After dismissing the idea that aesthetic emotions are a special kind of distanced emotions or refined emotions, I extract from the writings of Clive Bell, Peter Kivy, and Peter (...) Lamarque the view that aesthetic emotions are positive, pleasurable, consummatory emotions—emotions of appreciation—which are noninstrumental and which take as their intentional objects the intrinsic qualities of an artwork, more particularly, its formal interrelationships and the way that the overall formal structure of an artwork molds its content. (shrink)

In this paper, I consider the potential implications of the observation that epistemic judgment seems to be less emotional than moral judgment. I argue that regardless of whether emotions are necessary for blame, blaming emotions do play an important epistemic role in the moral domain. They allow us to grasp propositions about moral blameworthiness and thereby to appreciate their significance in a special way. Further, I argue that if we generally lack blaming emotions in the epistemic domain, (...) then we are unable to grasp propositions about epistemic blameworthiness. As a result, regardless of one’s theory of epistemic blame, there emerges a tension between the claim that we are epistemically blameworthy for our epistemic failings and the claim that we do not feel epistemic blaming emotions. (shrink)

Many psychological scientists and behavioral neuroscientists affirm that “emotion” influences thinking, decision-making, actions, social relationships, well-being, and physical and mental health. Yet there is no consensus on a definition of the word “emotion,” and the present data suggest that it cannot be defined as a unitary concept. Theorists and researchers attribute quite different yet heuristic meanings to “emotion.” They show considerable agreement about emotion activation, functions, and regulation. The central goal of this article is to alert researchers, students, and other (...) consumers of “emotion” research to the multiple meanings or aspects that distinguished scientists attribute to ”emotion,” increase appreciation of its interesting and challenging complexity, and sharpen perspectives on “emotion” and the associated body of literature that is of critical significance to science and society. (shrink)

Jenefer Robinson believes that feelings can play an important role in the critical evaluation of artworks. In this paper, I want to put some pressure on two important notions in her theory: emotional understanding and affective empathy. I will do this by focusing on the nature of self-conscious emotions. My strategy will be, firstly, to demonstrate the difficulty that Robinson’s two step theory of emotions has in accommodating higher cognitive emotional responses to art. Secondly, I will discuss how (...) the tight connection to the ‘self’ involved in self-conscious emotions makes it difficult to take the emotional perspective of another person as empathy requires. From here, I suggest that Peter Goldie’s feeling-towards and his critique of perspective-shifting may give a better understanding of the role of emotions in the appreciation of art, particularly in the case of reflective emotions. This issue will be explored through a discussion of the expression of autobiographical nostalgia in the work of the avant-garde filmmaker Jonas Mekas. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Secret History of Emotion: From Aristotle's ‘Rhetoric’ to Modern Brain ScienceMichael J. HydeThe Secret History of Emotion: From Aristotle's ‘Rhetoric’ to Modern Brain Science. Daniel M. Gross. Chicago: University of Chicago Press, 2006. Pp. x + 194. $35.00, Hardcover.The twofold goal of this book is clearly stated by its author: "to reconstitute by way of critical intellectual history a deeply nuanced, rhetorical understanding of emotion that prevailed (...) until the triumph of psychophysiology; second, to show by way of literary and philosophical example how this rhetorical perspective helps us read anew the emotional complex of modernity, whether early or late" (8). Gross' appreciation of the function of emotion emphasizes a phenomenological orientation that is inspired by Martin Heidegger's unpublished 1924 lecture course on Aristotle's Rhetoric. Gross recently co-edited with Ansgar Kemmann a book of original essays dedicated to a critical assessment of this lecture course (Gross and Kemmann 2006). In concluding her contribution to the book, the well-known Renaissance scholar Nancy S. Struever maintains that the course "remains, arguably, the best twentieth-century reading of Aristotle's Rhetoric" (Struever 2006: 127). Gross advances this reading with his creative and insightful assessment of his topic.This advance unfolds as Gross, abiding by phenomenology's well-known critique of the matter, takes issue with the reductive psychophysiology of emotion that Descartes first proposed and that informs latter-day sciences of the mind and the brain. Gross turns to the research program of the distinguished cognitive scientist Antonio Damasio as a way of arguing "how brain science of emotion goes awry when it blunders into social fact" (29). The reductionism of science, in other words, misses the forest for the trees. Admitting that Damasio is open to inquiries outside the boundaries of neurobiology, Gross nevertheless takes particular issue with Damasio's model for such a project: Edward O. Wilson's, Consilience: The Unity of Knowledge. Indeed, Wilson never gives rhetoric a nod when he acknowledges the worth of the humanities in his book.This slight, coming from Wilson, Damasio, and other scientists, fuels Gross's enthusiasm for turning to Aristotle's analysis of the pathe in book two of the Rhetoric. With Aristotle's discussion of "anger" in mind, for example, Gross emphasizes how we live in "a contoured world of emotional investments, where some people have significantly more liabilities than others" (3). [End Page 326]The point warrants elaboration: "The contours of our emotional world have been shaped by institutions such as slavery and poverty that simply afford some people greater emotional range than others, as they are shaped by publicity that has nothing to do with the inherent values of each human life and everything to do with technologies of social recognition and blindness" (4). Gross links this Aristotelian based social-psychological insight with such early modern philosophers, psychologists, and cultural critics as Thomas Hobbes, David Hume, William Perfect, and then with such contemporary intellectuals as Judith Butler. Gross' discussion of this linkage enables him to argue a key point in his overall project: the constitutive power of emotions depends not on how the social passions originate in a moral sense equally shared by all, but rather on the "uneven distribution" of these passions in our social and political lives.Gross makes much of how the rhetoric of this uneven distribution is at work in such particular cases as Aristotle's apathetic slave, Seneca's angry tyrant, Hobbes's resentful preacher, Sarah Fielding's humble hero, and Adam Smith's compassionate spectator. Gross's intellectual acumen shines as he weaves together these cases and expands on their implications for developing a rhetorical understanding of emotion. For example, in chapter three ("Virtues of Passivity in the English Civil War"), Gross offers a critical assessment of Michael Walzer's classic The Revolution of the Saints: A Study in the Origins of Radical Politics in order to show how the emotional makeup of passivity, too often "relegated to a diminished femininity" (87), not only informs the virtue of humility, but also helps it serve rhetorically "the most dramatic revolutionary ends" (110). Additional extended case studies emphasize the specific emotions of apathy, pride, pity... (shrink)

This paper explores Moritz Geiger’s work on the role of emotions in aesthetic appreciation and shows its potential for contemporary research. Drawing on the main tenets of Geiger’s phenomenological aesthetics as an aesthetics of value, the paper begins by elaborating his model of aesthetic appreciation. I argue that, placed in the contemporary debate, his model is close to affective models which make affective states responsible for the apprehension of the aesthetic value of an artwork, though Geiger also (...) makes important concessions to the intellectualist. Indeed, like proponents of the affective model, Geiger argues that a work’s aesthetic values are extracted by means of an affective state though the affective state in question is neither an emotion nor a feeling but a “liking”. In fact, like the intellectualist, he considers that a focus on the emotions might on certain occasions interfere in the aesthetic appreciation of the artwork. Next, I reconstruct Geiger’s distinction between surface and depth effects in terms of a distinction between two types of emotional responses to artworks. It is argued that Geiger’s distinction offers a powerful tool to distinguish those emotions that are intrinsically related to aesthetic values from those that are not and that this distinction can be useful to understand how different kinds of emotions contribute to aesthetic appreciation. I proceed to examine the historical sources of Geiger’s distinction between surface and depth effects in Theodor Lipps’s aesthetics and compare Geiger’s account with the works of other early phenomenologists working on values. In the final part, I illustrate the place of Geiger’s model in the contemporary discussion by means of an example. (shrink)

In our everyday psychologising, emotions figure large. When we are trying to explain and predict what a person says and does, that person’s emotions are very much among the objects of our thoughts. Despite this, emotions do not figure large in our philosophical reconstruction of everyday psychological practice—in philosophical accounts of the rational production and control of behaviour. Barry Smith has noted this point: We frequently mention people’s emotional sates when assessing how they behave, when trying to (...) understand why they say and do the things they say and do, and when deciding how to deal with them. A large part of our awareness of others and our ability to make sense of them depends on their emotional make-up and our appreciation of how this affects their thoughts and actions. All of this is missing from the standard accounts of folk psychology, and the key question is why? (2002, 111-2). Before beginning to answer to Smith’s question, I want to say more to characterise the approach in philosophical psychology which he is questioning. There are many detailed philosophical accounts of the rational production and control of behaviour. My aim here isn’t to examine these details, but to characterise a certain species of philosophical psychology—one which holds that one can explain the rational production and control of behaviour in terms of a narrow set of mental state types: belief, desire (and perhaps a few others: perception or intention). Hence my label for this species: ‘Humean psychology’. The orthodox Humean view is that rational agency can be explained adequately by appeal to the agent’s beliefs and desires. So, to borrow an example from Davidson (1978), we can explain a person’s adding salt to the stew by citing her desire that the will stew taste better and her belief that if.. (shrink)

Experiences with art have been of longstanding concern for phenomenologists, yet the psychological question of the appearing of art appreciation has not been addressed. This article attends to this lack, exemplifying the merits of a phenomenological psychological investigation based on three semi-structured interviews conducted with museum visitors. The interviews were subjected to meaning condensation as well as to descriptions of the first aesthetic reception, the retrospective interpretation, and the “horizons of expectations” included in the meeting with art. The findings (...) show that art appreciation appears as variations in experiential forms comprised of gratifying experiences of beauty, challenges to the understanding, and bodily-informed alterations of the emotions. The phenomenological psychology of actual, lived experience can embrace the phenomenological theories of art appreciation by Heidegger and Merleau-Ponty, yet highlight the psychological importance of experiences with art. (shrink)

ver since the traditional criteria for medical decision-making capacity (understanding, appreciation, reasoning, evidencing a choice) were formulated, they have been criticized for not taking sufficient account of emotions or values that seem, according to the critics and in line with clinical experiences, essential to decision-making capacity. The aim of this paper is to provide a nuanced and structured overview of the arguments provided in the literature emphasizing the importance of these factors and arguing for their inclusion in competence (...) evaluations. Moreover, a broader reflection on the findings of the literature is provided. Specific difficulties of formulating and measuring emotional and valuational factors are discussed inviting reflection on the possibility of handling relevant factors in a more flexible, case-specific, and context-specific way rather than adhering to a rigid set of operationalized criteria. (shrink)

This article pursues two central goals. First, I seek to advance the sustained study of occupational identity as a pivotal mechanism for organizing work and, thus, as a productive means of integrating the aims of two scholarly movements: 1) the ‘dislocation’ of organization and 2) the renewed emphasis on work in organization studies. Specifically, I propose the study of evolving relations between occupational image discourse and role communication, and my analysis of US commercial airline pilots enacts the potential of such (...) research. The analysis demonstrates how contemporary pilots draw on the deliberate historical construction of airline pilots as elite, fatherly professionals to make sense of their work, explicitly invoking gender discourse as a rational and emotional warrant for their labor and, in so doing, implicitly articulating sexuality, race, and class discourses. Accordingly, the second major goal of the article is to promote inquiry into how discourses of difference function to organize occupational identity and, thus, to produce the division and hierarchy of labor. With this move, I seek to bring a more constitutive view of discourse and communication, as well as a focus on intersection and interplay among discourses of difference, to the study of occupational identity and segregation. (shrink)

This simulating book gathers five lectures that ask questions of the broadest general intellectual interest: What is religion? Do other peoples have the same emotional states as we do? Why do humans make use of body imagery? In Circumstantial Deliveries, Rodney Needham shows that the comparative study of societies may furnish the answers. Circumstantial Deliveries challenges the methodology and substance of many conventional ideas about human nature and calls for more radical and comparative analyses. For instance, the author discredits the (...) notion that to primitive peoples the colors red, white, and black symbolize blood, semen, and feces, respectively, arguing that an extensive comparative study of primitive societies discovered no such relationship. These essays sound a common theme: "If a deeper appreciation of the value of life can be had from reading Crime and Punishment, or if a more acute assessment of the springs of action can be acquired from Hamlet, then in principle it should be conceded that like benefits may be derived from a sympathetic observation of other men engaged in their daily affairs.". (shrink)

Although the arousal of disgust is now widely acknowledged to be an appropriate response to certain works of art, controversy remains regarding whether to consider this emotion an actual zone of appreciative enjoyment. This paper presents several solutions to the so-called paradox of aversion and argues for a brand of aesthetic disgust that produces an experience that can be savored despite its difficult and unpleasant qualities.

Aesthetics is a normative domain. We evaluate artworks as better or worse, good or bad, great or grim. I will refer to a positive appraisal of an artwork as an aesthetic appreciation of that work, and I refer to a negative appraisal as aesthetic depreciation. (I will often drop the word “aesthetic.”) There has been considerable amount of work on what makes an artwork worthy of appreciation, and less, it seems, on the nature of appreciation itself. These (...) two topics are related, of course, because they nature of appreciation may bear on what things are worthy of that response, or at least on what things are likely to elicit it. So I will have some things to say about the latter. But I want to focus in this discussion on appreciation itself. When we praise a work of art, when we say it has aesthetic value, what does our praise consist in? This is a question about aesthetic psychology. I am interested in what kind of mental state appreciation is. What kind of state are we expressing when we say a work of art is “good”? This question has parallels in other areas of value theory. In ethics, most notably, there has been much attention lavished on the question of what people express when they refer to an action as “morally good.” One popular class of theories, associated with the British moralists and their followers, posits a link between moral valuation and emotion. To call an act morally good is to express an emotion toward that act. I think this approach to morality is right on target (Prinz, 2007). Here I want to argue that an emotional account of aesthetic valuation is equally promising. There are important differences between the two domains, but both have an affective foundation. I suspect that valuing of all kinds involves the emotions. Here I will inquire into the role of emotions in aesthetic valuing. I will not claim that artworks express emotions or even that they necessarily evoke emotions.. (shrink)

In the following essay, I argue for an alternative anthropocentrism that, eschewing failed appeals to traditional moral principle, takes (a) as its point of departure the cognitive, perceptual, emotive, somatic, and epistemic conditions of our existence as members of Homo sapiens, and (b) one feature of our experience of/under these conditions particularly seriously as an avenue toward articulating this alternative, the capacity for aesthetic appreciation. To this end, I will explore, but ultimately reject philosopher Allen Carlson's ecological aesthetics, and (...) I will adopt with modification aspects of the work of Ronnie Hawkins, Val Plumwood, and Donna Haraway. My central claim is that, equipped with a better understanding of our interdependent relationship to/within human and nonhuman nature, an understanding made especially available to those who occupy situations imbued by subjugation, we can come to understand our human-centeredness not as a justification of entitlement, but as an opportunity for critical self-reflection upon those actions which endanger the ecological conditions of human and nonhuman being. I suggest, then, that developing criteria for an aesthetic appreciation ground in such a centeredness can make a vital contribution to a more ecologically defensible moral and political activism. (shrink)

What is aesthetic appreciation? In this paper, I approach this question in an indirection fashion. First, I introduce the Kantian notion of moral worthy action and an influential analysis of it. Next, I generalise that analysis from the moral to the aesthetic domain, and from actions to affects. Aesthetic appreciation, I suggest, consists in an aesthetically worthy affective response. After unpacking the proposal, I show that it has non-trivial implications while cohering with a number of existing insights concerning (...) the nature of appreciation and the constraints to which it is subject. In closing, I note some limitations on the analogy between aesthetic appreciation and morally worthy action. (shrink)

The literature on the venerable aesthetic category of the sublime often provides us with lists of sublime phenomena — mountains, storms, deserts, volcanoes, oceans, the starry sky, and so on. But it has long been recognized that what matters is the experience of such objects. We then find that one of the most consistent claims about this experience is that it involves an element of fear. Meanwhile, the recognition of the sublime as a category of aesthetic appreciation implies that (...) attraction, admiration or pleasure is also present.1However, there is also a sense of fear and attraction when we watch car chases or fights. Neither of these is an occasion for the sublime so much as a visceral sort of excitement.2 As .. (shrink)

Is it not surprising that we look with so much pleasure and emotion at works of art that were made thousands of years ago? Works depicting people we do not know, people whose backgrounds are usually a mystery to us, who lived in a very different society and time and who, moreover, have been ‘frozen’ by the artist in a very deliberate pose. It was the Classical Greek philosopher Aristotle who observed in his Poetics that people could apparently be moved (...) even by the imitation of a person or an act. And although we are usually well aware that it is a simulacrum, not a real situation, it nevertheless sometimes seems as if we ourselves are standing there on the stage or in the painting, so intense and emotional is our response, even though we are just spectators. Aristotle concludes from this that we have intellectual capacities which allow us put ourselves in another’s place and consequently to react to simulated situations as though they are actually happening to us, here and now. In this process, he contends, observation, memory, imagination and emotions are crucial elements. In the past it was not customary to invoke human mental faculties to explain our response to works of art. The Ancient Greeks, after all, knew little about the human body or brain and usually referred to the extended world of the gods in their endeavours to comprehend the ‘inner world’ of human beings. In our time the situation is completely different—such an allusion to the brain no longer surprises us. Whether it is about the mystery of the consciousness, the question of free will or accounts of bizarre psychological aberrations or disorders, we have become accustomed to references to parts of the brain, to images of brain scans, to reports about neural networks and the like. However, because there are so many factors that play a part in our appreciation of works of art we need a complex explanation for it, and it is not enough to look only at certain properties of the brain that are determined by evolution. Those properties are shared by every human being, and so are rather useless in explaining people’s different reactions to the same work of art. Evidently the brains of individuals differ so much that they make it possible for people to respond differently to one and the same artwork. This, of course, raises questions concerning the painted emotions that can be seen in this exhibition. Virtually everyone, after all, is fascinated by such paintings and usually recognizes the emotions they represent. The reactions to these painted emotions are also often similar. This is probably why artworks like this are generally highly valued, then and now, here and elsewhere: from the enigmatically smiling Egyptian Queen Nefertiti and the startled Rembrandt to a seemingly despairing African mask. Aristotle observed that in the theatre players imitate actions that are associated with emotions in a number of ways and that these emotions are shared in a particular fashion by the playwright, the actors and the audience. The audience may even be carried away by these emotions to such an extent that they are in a sense purged of them and can subsequently leave the theatre relieved. Are such emotional reactions perhaps related to the fact that emotions are universal and that brains respond similarly to them? Is this why we can so readily identify painted emotions? May we therefore also assume that the properties of the brain determined by evolution help us to explain these emotions? In answering these questions we shall discuss a number of insights into emotions in psychology and brain science and explore some theories about the possible function of emotions and their expression. (shrink)

미적 감정주의는 미적 가치평가가 감정 반응에 근거한다는 생각이다. 이 글에서 나는 미적 감정주의에 기초하여 미적 감정이 있다고 주장하는 두 관점인 환원주의와 수정주의를 비판적으로 검토한다. 경이 환원주의는 비인지주의 감정 이론을 전제하고 미적 감상이 경이 감정으로 환원된다고 주장한다. 다수 감정 환원주의는 인지주의나 비인지주의를 전제하지 않고 미적 감상이 다수의 감정으로 이루어진 한 부류로 환원된다고 주장한다. 반면 수정주의는 감상 감정인 미적 감정이 별도의 감정적 기능인 완성적 기능을 갖기에 독자적인 감정 유형으로 분류돼야 한다고 주장한다. 그러나 환원주의는 개념 예술 감상을 적절하게 설명하지 못한다는 문제를 가진다. 이에 (...) 더해, 경이 환원주의는 재조정을 통해 미적 경이의 지향적 대상을 구성하는 데 취약하고, 다수 감정 환원주의는 미적 가치평가의 근거가 감정이 아닌 다른 반응이나 태도일 가능성을 간과하는 문제를 가진다. 한편 수정주의는 감정의 완성적 기능과 정감적 평가가 개념적으로 충돌하는 문제를 드러내며, 직접 경험 원칙에서 벗어나는 예술 감상 사례를 설명하지 못한다. 그러므로 나는 환원주의와 수정주의가 모두 성공적이지 않다고 결론 내린다. (shrink)

Existing scientific concepts of group or shared or collective emotion fail to appreciate several elements of collectivity in such emotions. Moreover, the idea of shared emotions is threatened by the individualism of emotions that comes in three forms: ontological, epistemological, and physical. The problem is whether or not we can provide a plausible account of ?straightforwardly shared? emotions without compromising our intuitions about the individualism of emotions. I discuss two philosophical accounts of shared emotions (...) that explain the collectivity of emotions in terms of their intentional structure: Margaret Gilbert's plural subject account, and Hans Bernhard Schmid's phenomenological account. I argue that Gilbert's view fails because it relegates affective experience into a contingent role in emotions and because a joint commitment to feel amounts to the creation of a feeling rule rather than to an emotion. The problems with Schmid's view are twofold: first, a phenomenological fusion of feelings is not necessary for shared emotions and second, Schmid is not sensitive enough to different forms of shared concerns. I then outline my own typology that distinguishes between weakly, moderately, and strongly shared emotions on the basis of the participants? shared concerns of different degree of collectivity, on the one hand, and the synchronization of their emotional responses, on the other hand. All kind of shared emotions in my typology are consistent with the individualism of emotions, while the question about ?straightforward sharing? is argued to be of secondary importance. (shrink)

Instances of epistemic injustice elicit resistance, anger, despair, frustration or cognate emotional responses from their victims. This sort of response to the epistemic injustices that accompanied historical systems of oppression such as colonialism, for example, is normal. However, if their victims have internalised these oppressive situations, we could get the counterintuitive response of appreciation. In this paper, I argue for the phenomenon of appreciative silencing to make sense of instances like this. This is a form of epistemic silencing that (...) happens when the accepted hegemonic intuitions of the oppressed are formed/influenced by the ideologies of the oppressors over time. Here, we have a resilient, oppressive and hegemonic epistemic system. Put together, it creates a variant of epistemic injustice and silencing that is obscure since its victims are neither resistant nor aware of the injustice they face but are appreciative. (shrink)

This project aims to examine whether music has an emotional nature. I use the ancient Chinese text Music Has No Grief or Joy to construct three arguments for the illusion view, according to which music has no emotional nature and the emotional appearances of music are illusory. These arguments highlight representational inconstancy, expressive incapability, and evocative underdetermination as three ways to problematize the idea that music has an emotional nature. I draw on the Confucian tradition to formulate three responses to (...) the illusion view from representational reliability, expressive sincerity, and evocative appropriateness. These responses are shown to be inadequate. To examine the illusion view in detail, I adopt a comparative approach to structure a dialogue between ancient Eastern philosophy and contemporary Western philosophy. Nine arguments are constructed from three prominent approaches in contemporary Western musical aesthetics on the evocation, expression, and representation of emotion. I argue that each of these arguments reads emotion into music. Nevertheless, three insights emerge from the comparative discussion. The autonomy of emotional enjoyment, the possibility of emotional communication, and the function of emotional language in musical experiences call for explanations. I argue that the illusion view are amenable to these insights. The illusion view allows us to claim full ownership of emotional responses, have emotional communication by recognizing intended emotional meanings in music, and appreciate the practical value of emotional language in music industry and education. I formulate a possible objection on the basis of Charles Swann’s musical experience in Marcel Proust’s novel, according to which music has emotional agency in the formation of an emotion. This objection can be met and Swann’s musical experience can be integrated into the illusion view. The illusion view turns out to be experientially richer than it might appear at first. This project liberates musical listening and philosophical thinking from beliefs entrenched in the emotional illusion of music. (shrink)

Despite the growing appreciation of the relevance of affect to cognition, analogy researchers have paid remarkably little attention to emotion. This paper discusses three general classes of analogy that involve emotions. The most straightforward are analogies and metaphors about emotions, for example "Love is a rose and you better not pick it." Much more interesting are analogies that involve the transfer of emotions, for example in empathy in which people understand the emotions of others by (...) imagining their own emotional reactions in similar situations. Finally, there are analogies that generate emotions, for example analogical jokes that generate emotions such as surprise and amusement. (shrink)

Carolyn Korsmeyer has offered some compelling arguments for the role of disgust in aesthetic appreciation. In the course of this project, she considers and holds up for justifiable criticism the account of emotional conversion proposed by David Hume in “Of Tragedy”. I will consider variant interpretations of Humean conversion and pinpoint a proposal that may afford an explanation of the ways in which aesthetic absorption can depend on and be intensified by the emotion of disgust.

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be (...) preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:"But I Don’t Feel It":Values and Emotions in the Assessment of Competence in Patients With Anorexia NervosaJochen Vollmann (bio)Keywordscompetence assessment, mental capacity, informed consent, psychiatry, anorexia nervosaThe respect of the self-determination of patients obliges physicians to obtain the patient's consent before providing medical treatment. One important condition for a valid informed consent is the patient's competence to make autonomous health care decisions. Therefore, a proper assessment of competence (...) to make health care decisions is crucial particularly in patients with mental disorders (Vollmann 2000; Helmchen and Vollmann 2001). In recent years, several empirical studies on the assessment of competence in patients suffering from different mental disorders have been performed using the MacArthur Competence Assessment Tool-Treatment (MacCAT-T; Grisso and Appelbaum1998). This assessment tool is based on legal standards of competence such as understanding, reasoning, appreciation, and expressing a choice. Since its first publication, the MacCAT-T has been widely accepted as a "gold standard" of competence assessment in the psychiatric literature. In recent years the MacCAT-T has been applied to patients suffering from depression, schizophrenia, dementia, angina pectoris, and normal controls (for overview, see Welie [2001] and Bauer and Vollmann [2002]).Tan and her colleagues (2006) use the MacCAT-T the first time to assess competence to make treatment decisions in patients with anorexia nervosa. Coming from clinical practice, the authors have noticed that the MacCAT-T might not work in this group of patients. Therefore, they use semi-structured interviews in addition to the MacCAT-T to identify aspects of thinking that might be relevant to the issue of competence to refuse treatment. They use grounded theory techniques for a qualitative analysis of the data as well as five brief, self-administered questionnaires to ascertain levels of psychopathology.The results of the study show that anorexia nervosa can have complex and variable effects on concentration, beliefs, and thought processing without affecting the ability to perform well on the MacCAT-T. At the same time, participants also report a change in their value system as well as in their personal identity. The authors argue that the results of their studies suggest that the competence to refuse treatment might be compromised in [End Page 289] people with anorexia nervosa in ways that are not captured by the MacCAT-T. This is an interesting finding in patients with anorexia nervosa, because in all other studies with patients suffering from mental disorders such as dementia, depression, and schizophrenia, the MacCAT-T identified more patients as limited in their competence to make health care decisions in comparison with other methods of competence assessment such as clinical judgment (Vollmann et al. 2003). The authors argue on the basis on their qualitative, semistructured interviews that anorexia nervosa–specific difficulties with a thought process and the change of values are missed by the MacCAT-T.Furthermore, Tan and her associated could not find a relationship between the participants' scores on the psychopathological scales, the MacCAT-T scores, and their difficulties expressed during the qualitative interviews, although the small size of the study precludes statistical analysis. In an earlier study, clinical dementia scales but not neuropsychological testing correlated with formal (MacCAT-T) and clinical assessment of competence. Therefore, psychopathological factors might play a different role in different subgroups of patients suffering from different mental problems. However, the idea of an objective neuropsychological model of competence assessment, again, finds no support in the presented empirical data.The qualitative data from patients with anorexia nervosa underline the problem of the cognitive bias of the MacCAT-T assessment and the illusion of value-free categories. It has been argued that the cognitive focus for the MacCAT-T is in itself a normative convention and that the MacCAT-T is missing the complexity of the process to make health care decisions in real life. Therefore, values and emotions should be considered in addition to cognitive functions in assessing competence to make health care decisions (Breden and Vollmann 2004; see also "Mental capacity" 2004). Although many authors agree that the cognitive approach of capacity assessment is important but not sufficient for the assessment of competence to make health care decisions, it remains an... (shrink)

In this paper, with reference to Vito Acconci’s Following Piece (1969) and Sophie Calle’s Take care of yourself (2007), I show that some works of conceptual art rely on exemplification to convey ideas, and I defend the following claims about those works. In the first place, I argue that the kinds of events and of objects they present us with are relevant for appreciating the views the works convey. In the second place, siding with Elisabeth Schellekens (2007) and Peter Goldie (...) (2007), I argue, contra James Young (2001), that those artworks can yield experiential knowledge. In the third place, I argue that those artworks also possess probatory value. Finally, I maintain that those artworks can be valuable instruments for the education of the emotions. (shrink)

Integrating appreciative inquiry (AI) and pastoral care may help address the complex issues of commercial sexual exploitation and sex trafficking. This article explores the benefits of incorporating AI principles into pastoral care for survivors of commercial sexual exploitation and sex trafficking. Commercial sexual exploitation and trafficking involve exploitation, degradation, and violence, making them complex issues. By understanding the sex trade, we can recognise that prostitution is an act of exploitation. Some scholars believe that prostitution and human trafficking are interconnected, with (...) a focus on exploiting the poor, especially women and children. Commercial sexual exploitation can cause mental, emotional, and spiritual distress. Survivors require comprehensive aftercare to address their spiritual, self-esteem, and dignity needs. Organisational development-based AI is constructive and strength-based. Appreciative inquiry promotes positive development, community and individual strength, and resilience by re-contextualizing narratives and envisioning brighter futures. The use of AI could improve pastoral care and holistic rehabilitation. Pastoral caregivers using AI can promote reconciliation, development, and rehabilitation. Using strengths-based strategies, pastoral care practitioners can help survivors regain agency and purpose. Survivors receive spiritual support through the Appreciative Way, which combines contemplative spirituality and inquiry. Narrative exploration can help trauma survivors envision a bright future based on love and resilience. This study suggests that AI principles may benefit pastoral care recipients who have experienced commercial sexual exploitation and sex trafficking. Pastoral caregivers can help survivors regain dignity, calling, and well-being by implementing an appreciative healing approach.Contribution: The article sheds light on the dehumanising consequences of sex trafficking on vulnerable populations in South Africa, particularly women and children. This article aims to explain how AI concepts can be applied to Practical Theology. Specifically, this article will demonstrate how the Appreciative Way can be utilised in pastoral care for healing from sex trafficking trauma. (shrink)

ABSTRACTComputers are now able to automatically generate metaphors, but some automatically generated metaphors are more well received than others. In this article, we showed participants a series of “A is B” type metaphors that were either generated by humans or taken from the Twitter account “MetaphorIsMyBusiness”, which is linked to a fully automated metaphor generator. We used these metaphors to assess linguistic factors that drive metaphor appreciation and understanding, including the role of novelty, word frequency, concreteness, and emotional valence (...) of the topic and vehicle terms. We additionally assessed how these metaphors were understood in three languages, including English, Spanish, and Mandarin Chinese, and whether participants thought they had been generated by a human or a computer. We found that meaningfulness, appreciation, speed in finding meaning, and humanness ratings were reliably correlated with each other in all three languages, which we interpret to indicate a mor... (shrink)

The recent discovery of so-called “mirror-neurons” in monkeys and a corresponding mirroring “system” in humans has provoked wide endorsement of the claim that humans understand a variety of observed actions, somatic sensations, and emotions via a kind of direct representation of those actions, sensations, and emotions. Philosophical efforts to assess the import of such “mirrored understanding” have typically focused on how that understanding might be brought to bear on theories of mindreading, and usually in cases of action. By (...) contrast, this paper assesses mirrored understanding in cases of emotion and its import for theories of empathy and especially empathy in ethical contexts. In particular, this paper argues that the mirrored understanding claim is ambiguous and ultimately misleading when applied to emotion, partly because mirroring proponents fail to appreciate the way in which empathy might serve a distinct normative function in our judgments of what other people feel. The paper thus concludes with a call to revise the mirrored understanding claim, whether in neuroscience, psychology, or philosophy. (shrink)

The purpose of this paper is to examine the concept of Schadenfreude - the pleasure felt at another’s misfortune - and to argue that feeling it in the course of health care work, as elsewhere, is evidence of a deficient character. In order to show that Schadenfreude is an objectionable emotion in health care work, I first offer some conceptual remarks about emotions generally and their differential treatment in Kantian and Aristotelian thought. Second, I argue that an appreciation (...) of the rationality of the emotions is crucial to our self-understanding as persons in general and nurses in particular. Third, I present a critique of Portmann’s (2000, When Bad Things Happen to Other People. London: Routledge) defence of Schadenfreude with examples from both nursing and medical scenarios. Specifically, I show how his exculpation of the emotion in terms of low self-esteem and a commitment to justice are not compelling. I argue that we are active in the construction of our emotional experiences of Schadenfreude, how we may indeed ‘nurse’ the emotion, and thus become culpable for them in ethical terms. (shrink)