Online research in philosophy

Abstract In a recent paper Richard Barrett criticises Solomon (and the so?called cognitivists in general) for dismissing irrational emotions as marginal and atypical. This paper argues that Barrett's criticism is unwarranted. Two explanations are suggested for his misconception of Solomon's view (and, more generally, of the cognitive view) on irrational emotions. First, Barrett mistakenly conceives the reconciliation of emotion and reason as a conciliation of emotion and rationality in an evaluative or normative sense. Secondly, Barrett disregards the difference between the cognitive conception of (ir)rationality and his own definition of (ir)rationality in terms of coping. Some implications of the argument for the education of (moral) emotions are spelled out.

Attempts to explain emotional responses to fiction such as Jenefer Robinson's use of research into the psychology of emotions. Robinson argues that triggers for emotion are much the same way whether a stimulant is real or imaginary. This does not explain the influence of our foreknowledge and continuing judgments during emotional episodes. We know beforehand and all along that the people and events we respond to in fiction are not real. Robinson's difficulty comes from her dependence on an input-output model of the emotions. Research on mental processing improves on this by revealing a relationship between at least two types of processes: data-driven processing and hypothesis-driven processing (otherwise known as schema processing). It is this relationship that accounts for the emotional response to fiction.

There are some seemingly clear cases of the use of the concepts of rationality and irrationality in talk about the emotions. Even in such contexts, it is argued here, while not entirely wrong-headed, the use is much less clearly appropriate, upon reflection, than many of us seem to believe. The paper starts with a conception of the emotions which emphasizes the way we construe the world (or some aspect of the world) while we experience them and because of what it is to experience them. According to this approach, an emotion’s appropriateness is simply a function of the features of the relevant part of the world actually being in the way specified by a proper analysis of that emotion. It is then argued that this analysis is not favorable to using the concept of rationality in the sorts of cases that interest us.

The problem of fiction and emotion is the problem of how we can be moved by the contemplation of fictional events and the plight of fictional characters when we know that the former have not occurred and the latter do not exist. I will give a general sketch of the philosophical treatment of the issue in the present day, and then turn to the eighteenth century for a solution as effective as the best that are presently on offer. The solution is to be found in the account of ideal presence given by Henry Home, Lord Kames.

How is it that we can be moved by what we know does not exist? In this paper, I examine the so-called 'paradox of fiction', showing that it fatally hinges on cognitive theories of emotion such as Kendall Walton's pretend theory and Peter Lamarque's thought theory. I reject these theories and acknowledge the concept-formative role of genuine emotion generated by fiction. I then argue, contra Jenefer Robinson, that this 'éducation sentimentale' is not achieved through distancing, but rather through the engagement of our emotions. Literature does this, I claim, by its uniquely perspicuous presentations of emotional concepts, and the cognitive pleasure that such 'presentations' prompt in us.

In this urbane and witty book, Ronald de Sousa disputes the widespread notion that reason and emotion are natural antagonists.

In this essay I want to offer an analysis of the structure of the fictional emotions that we have reading novels. I shall start with a presentation of the structure of emotions in general and their relation to aesthetic fiction. Afterwards, I shall offer a critical review of the current positions on fictional emotions. The aim of this section is to question the presuppositions that dominate the current debate on fictional emotions in particular and on emotions in general. Finally, I shall develop my own account on this issue. The thesis that I am going to defend is that fictional emotions possess doxastic and practical rationality and that they are full fledged emotional experiences the reality of which we should not doubt, even though they show some peculiarities.

Key Words: Fictional emotion, quasi-emotion, doxastic rationality, practical rationality, assumption.

n this essay I want to offer an analysis of the structure of the fictional emotions that we have reading novels. I shall start with a presentation of the structure of emotions in general and their relation to aesthetic fiction. Afterwards, I shall offer a critical review of the current positions on fictional emotions. The aim of this section is to question the presuppositions that dominate the current debate on fictional emotions in particular and on emotions in general. Finally, I shall develop my own account on this issue. The thesis that I am going to defend is that fictional emotions possess doxastic and practical rationality and that they are full fledged emotional experiences the reality of which we should not doubt, even though they show some peculiarities.

Key Words: Fictional emotion, quasi-emotion, doxastic rationality, practical rationality, assumption.