Online research in philosophy

The current article characterizes three types of emotional experiences: purposefulness, sentimentalism, and sensitivity. By characterizing these types of emotions, we will show that the concept ‘emotional intelligence’ combines purposefulness and efficiency together with sensitivity and spontaneity—an unlikely combination. Moreover, we will present the difficulties related to coping and emotional regulating, which are also part of emotional intelligence. The need to control our emotions stems from the fact that we are social beings who are supposed to behave and feel according to accepted social norms, and from the need to cope with problems that are not emotional in nature.

Emotions, I will argue, involve two kinds of feeling: bodily feeling and feeling towards. Both are intentional, in the sense of being directed towards an object. Bodily feelings are directed towards the condition of one's body, although they can reveal truths about the world beyond the bounds of one's body – that, for example, there is something dangerous nearby. Feelings towards are directed towards the object of the emotion – a thing or a person, a state of affairs, an action or an event; such emotional feelings involve a special way of thinking of the object of the emotion, and I draw an analogy with Frank Jackson's well-known knowledge argument to show this. Finally, I try to show that, even if materialism is true, the phenomenology of emotional feelings, as described from a personal perspective, cannot be captured using only the theoretical concepts available for the impersonal stance of the sciences.

Israel Scheffler's "In Praise of the Cognitive Emotions" (1977, 1991) extends earlier analyses of the role of emotions in rational undertakings. It shows that some emotions – "rational passions," "perceptive feelings," "theoretical imagination" and "cognitive emotions" – are essentially cognitive in origin and may serve cognitive purposes. Though it analyszes the interplay of emotion and cognition, cognition is the focus and the emotions that are examined revolve about it. This prompts us to wonder about the effect of a "Copernican revolution." If emotion were to be put in the center, would there also be cognitions which are essentially emotional in origin and/or serve emotional purposes? Here we explore the possibility of "informed expression," "emotional cognizance" and "emotional cognitions," drawing primarily from aesthetic, religious, spiritual, and ethical experience.

There has been a recent renaissance in civics and moral education in the Asia-Pacific region. The need to incorporate the notion of emotional literacy into such programmes is discussed and results from the analysis of the influence that emotional literacy has on problem behaviours in Malaysian secondary school students are presented. Results indicated that emotional literacy, measured in terms of emotional intelligence, was linked to internalising and externalising problem behaviours. Emotional literacy also served as a moderating factor between parental monitoring and externalising problem behaviours. The need for developing emotional literacy programmes utilising the pedagogy of multiliteracies is discussed.

This paper consists in a critical review of Peter Goldie's book, The Emotion. A Philosophical Exploration (Oxford: Oxford University Press, 2000). Goldie is right to distinguish between long-term emotions and emotional experiences. And he is also right to reject the view that emotions are reducible to 'feelingless' states plus some extra feelings. However, Goldie's own account in terms of "feeling towards" is problematic. Goldie would have been better advised to claim that emotional experiences are necessarily emotional representations of something as being F (disgusting, attractive, admirable, etc.), that is, that emotional experiences are apprehensions or representations of evaluative features.

The James–Lange theory considers emotional feelings as perceptions of physiological body changes. This approach has recently resurfaced and modified in both neuroscientific and philosophical concepts of embodiment of emotional feelings. In addition to the body, the role of the environment in emotional feeling needs to be considered. I here claim that the environment has not merely an indirect and thus instrumental role on emotional feelings via the body and its sensorimotor and vegetative functions. Instead, the environment may have a direct and non-instrumental, i.e., constitutional role in emotional feelings; this implies that the environment itself in the gestalt of the person–environment relation is constitutive of emotional feeling rather than the bodily representation of the environment. Since the person–environment relation is crucial in this approach, I call it the relational concept of emotional feeling. After introducing the relational concept of emotional feeling, the present paper investigates the neurophilosophical question whether current neuroimaging data on human emotion processing and anatomical connectivity are empirically better compatible with the “relational” or the “embodied” concept of emotional feeling. These data lend support to the empirical assumption that neural activity in subcortical and cortical midline regions code the relationship between intero- and exteroceptive stimuli in a relational mode, i.e. their actual balance, rather than in a translational mode, i.e., by translating extero- into interoceptive stimulus changes. Such intero-exteroceptive relational mode of neural coding may have implications for the characterization of emotional feeling with regard to phenomenal consciousness and intentionality. I therefore conclude that the here advanced relational concept of emotional feeling may be considered neurophilosophically more plausible and better compatible with current neuroscientific data than the embodied concept as presupposed in the James–Lange theory and its modern neuroscientific and philosophical versions.

This commentary explores the use of interaction between moral heuristics and emotional intelligence (EI). The main insight presented is that the quality of moral decisions is very sensitive to emotions, and hence this may lead us to a better understanding of the role of emotional abilities in moral choices. In doing so, we consider how individual differences (specifically, EI) are related to moral decisions. We summarize evidence bearing on some of the ways in which EI might moderate framing effects in different moral tasks such as “the Asian disease problem” and other more real-life problems like “a divorce decision.”.

How are we to distinguish between appropriate emotional responses that reveal morally salient reasons and inappropriate emotional responses that reflect our prejudices? It is often assumed that reason – considered as distinct from emotion – will make the distinction. I argue that this view is false, and that the process by which emotional responses are vetted involves ‘emotional self-awareness’. By this, I mean feeling an emotion, being aware of so doing, and feeling some usually subtle emotional response, often of calm or anxiety, to it, together with a general readiness to feel and acknowledge what emotions one has. Registering and exploring feelings of anxiety that arise in emotional self-awareness helps enable us to detect when emotions and thoughts are inappropriate. Deliberation that is not emotionally open in this way is therefore at an epistemic disadvantage. Furthermore, the attempt to remain unemotional when evaluating one’s emotions can be produced or co-opted by anxiety about one’s feelings of precisely the kind that indicates one’s emotional responses and thoughts are being distorted.

Some films scare us; some make us cry; some thrill us. Some of the most interesting films, however, leave us suspended between feelings – both joyous and sad, or angry and serene. This paper attempts to explain how this can happen and why it is important. I look closely at one film that creates and exploits these conflicted responses. I argue that cases of conflict in film illuminate a pair of vexing questions about emotion in film: (1) To what extent are emotional responses rational, or in need of rationalization?; and (2) What relationship is there between emotional response and value (moral, filmic, or otherwise)? Conflict, I argue, can be revealing, and can help us better understand emotional responses to narrative film1 in general. The paper is divided into four sections. First, I sketch a theory of emotional engagement that makes sense of the notion of a “conflicted emotional response” to a film. Second, I turn to a particular case of a film that produces this sort of conflict, Fritz Lang’s M (1931), and show that the conflict engendered by that film is both more significant and less unusual than it may appear. In the final two sections, I argue that there is no need to rationalize or make consistent such mixed emotional responses, and that there is real moral, aesthetic, and cognitive value to be had from such conflict.