Online research in philosophy

Aristotle has famously made the claim that having the right emotion at the right time is an essential part of moral virtue. Why might this be the case? I consider five possible relations between emotion and virtue and argue that an adequate answer to this question involves the epistemic status of emotion, that is, whether the perceptual awareness and hence the understanding of the object of emotion is like or unlike the perceptual awareness of an unemotional awareness of the same object. If an emotional awareness does not have a unique character, then it is unlikely that emotions provide an understanding that is different from unemotional states of awareness: they are perhaps little more than “hot-blooded” instances of the same understanding. If, on the other hand, an emotional state involves a perceptual awareness that is unique to the emotion, then emotions are cognitively significant, providing an understanding of the object of the emotion that is absent in a similar but unemotional episode of awareness. I argue the latter and substantiate the claim that emotions are essential to moral virtue because they can be essential to a full understanding of the situations that they involve. In such cases, emotions are not merely a symptom of the possession of an adequate understanding, but are rather necessary for having an adequate understanding.

This review focuses on the theory of emotion outlined in Chapter 3 of Rolls's The brain and emotion. It is proposed that Rolls's emphasis on a relatively simple neurobiologically derived emotion scheme does not allow him to present a comprehensive account of emotion. Consequently, high-level cognitive processes, such as appraisal, end up being retained in the theory despite Rolls's skepticism about their utility. An argument is put forward that the concept of appraisal in the emotion literature is more than semantic convention and actually allows us to talk about multiple functional-level routes to the generation of emotion – a characteristic of the latest generation of theories in the cognition-emotion literature.

: This paper addresses the significance of William James's theory of emotion in contemporary emotion theory. While many of James's detractors have pointed to the problems with his definition of emotion, the bearing his theory of emotion generation would have on modern approaches in psychology suggests a different point of view.

The communication of emotion in music has with few exceptions, as L. B. Meyer´s Emotion and Meaning in Music (1956) and the contour theory (Kivy 1989, 2002), focused on music structure as representations of emotions. This implies a semiotic approach - the assumption that music is a kind of language that could be read and decoded. Such an approach is largely restricted to the conscious level of knowing, understanding and communication. We suggest an understanding of music and emotion based on action-perception theory - present moment perception, implicit knowledge and imitation. This theory does not demand consciousness or the use of signs. Neuroscientific findings (adaptive oscillators, mirror neurons) are in concordance with our suggestion. Recently these findings have generated articles on empathy – relevant to the understanding of music and emotion. Key words: empathy, implicit knowledge, imitation, entrainment, mirror neurons, perceptual learning.

This book combines the insights of enlightenment thinking and feminist theory to explore the significance of love in modern philosophy. The author argues for the importance of emotion in general, and love in particular, to moral and political philosophy, pointing out that some of the central philosophers of the enlightment were committed to a moralized conception of love. However, she believes that feminism's insights arise not from its attribution of special and distinctive qualities to women, but from its recognition of human vulernability.

Emotion is always someone's. An emotion is also, at least typically, about something and witnesses the value, or lack of value, in it. Some emotions, such as shame and pride, are actually about the self that has them. But self-concern can insinuate itself into every corner of the emotional life. This occurs when the centre of concern in emotion drifts from the ostensible objects of focus (I was sorry to hear your bad news) to the emotion itself, to the drama of it, to its feel, to the fact that one is having it. In an unobvious way, the world becomes backdrop, the self the omnipresent protagonist. The apparent ordering, the natural ordering of subject and object in emotion, is inverted. Emotion undergoes a kind of commodification. Yet this is paradoxical. For it isolates the self and subverts the communication and uptake of emotion by others. Narcissism is inimical to the social character of emotion.

Abstract: The spirited part, thumos, plays a complex and often disputed role in Plato's account of the soul. The doctrine of the soul as specifically tri-partitioned seems to depend on a substantial conception of thumos as fundamental and non-reducible. Building on John Cooper's contribution in the discussion of the topic, this article aims to show that the role of thumos is characterised by an indispensable, deep-rooted urge for dignified self-preservation. The view is supported by Plato's own examples, and discussed with regards to Myles Burnyeat's account of thumos as an essentially social phenomenon. The main claim is that in order to preserve the Platonist idea of thumos as fundamental one should discard Burnyeat's characterisation of thumos as unequivocally social, and instead advocate a view of thumos as concerned with a particular form of self-preservation, which Cooper's account suggests, but does not fully elaborate.