Philosophy, Music and Emotion explores two contentious issues in contemporary philosophy: the nature of music´s power to express emotion, and the nature of emotion itself. It shows how closely the two are related and provides a radically new account of what it means to say that music "expresses emotion." Geoffrey Madell maintains that most current accounts of musical expressiveness are fundamentally misguided. He attributes this fact to the influence of a famous argument of the nineteenth-century critic Hanslick, and also to (...) the dominant "cognitivist" approach to the nature of emotion, which sees the essence of emotion to be the entertaining of evaluative judgments and beliefs. This book argues that the cognitivist account of the nature of emotion is false and should be replaced with a conception of emotions as states of feeling. Central to this bold analysis is a new account of two closely connected mental states, desire and pleasure, and their role in human motivation. (shrink)
Patricia Churchland's Neurophilosophy argues for Eliminative Materialism, but it is vulnerable to criticism under the following heads: (1) It fails to offer a satisfactory account of the subjective quality of experience, and misinterprets arguments by Nagel and Jackson on subjectivity. (2) Its treatment of intentionality results in a most implausible denial of the immediate ?aboutness? of thoughts, and the view of the mental as essentially what it is interpreted to be cannot be sustained. (3) The attempt to counter the argument (...) that logical relations between the content of mental states cannot be reduced to causal relations obtaining at the level of neurobiology is unsuccessful. (4) The view that the prepositional attitudes of common?sense psychology are seriously flawed is not made out, and the claims that ?folk? psychology constitutes a theory, and one which could and ought to be eliminated, are both self?defeating. (shrink)
