For a long time the dominant view on the nature of blame was that to blame someone is to have an emotion toward her, such as anger, resentment or indignation in the case of blaming someone else and guilt in the case of self-blame. Even though this view is still widely held, it has recently come under heavy attack. The aim of this paper is to elaborate the idea that to blame is to have an emotion and to (...) defend the resulting emotion account of blame. (shrink)

In this study William Lyons presents a sustained and coherent theory of the emotions, and one which draws extensively on the work of psychologists and physiologists in the area. Dr Lyons starts by giving a thorough and critical survey of other principal theories, before setting out his own 'causal-evaluative' account. In addition to giving an analysis of the nature of emotion - in which, Dr Lyon argues, evaluative attitudes play a crucial part - his theory throws light on the (...) motivating role of emotions in our lives, our attitudes towards our emotions and our responsibility for them. (shrink)

We develop a version of a direct perception account of emotion recognition on the basis of a metaphysical claim that emotions are individuated as patterns of characteristic features. On our account, emotion recognition relies on the same type of pattern recognition as is described for object recognition. The analogy allows us to distinguish two forms of directly perceiving emotions, namely perceiving an emotion in the absence of any top-down processes, and perceiving an emotion in a way (...) that significantly involves some top-down processes ; and, in addition, an inference-based evaluation of an emotion. Our model clarifies the epistemology of emotion recognition. (shrink)

According to the perceptual theory of emotions, emotions are perceptions of evaluative properties. The account has recently faced a barrage of criticism recently by critics who point out varies disanalogies between emotion and paradigmatic perceptual experiences. What many theorists fail to note however, is that many of the disanalogies that have been raised to exclude emotions from being perceptual states that represent evaluative properties have also been used to exclude high-level properties from appearing in the content of perception. This (...) suggests that emotions are perceptions of high level properties and perceptual theorists can marshal the arguments used by proponents of high-level perception to defend the perceptual theory. This paper therefore defends an account of emotion as high-level perception. (shrink)

A novel approach to the crucial role emotion plays in virtuous action What must a person be like to possess a virtue in full measure? What sort of psychological constitution does one need to be an exemplar of compassion, say, or of courage? Focusing on these two examples, Emotion and Virtue ingeniously argues that certain emotion traits play an indispensable role in virtue. With exemplars of compassion, for instance, this role is played by a modified sympathy trait, (...) which is central to enabling these exemplars to be reliably correct judges of the compassionate thing to do in various practical situations. Indeed, according to Gopal Sreenivasan, the virtue of compassion is, in a sense, a modified sympathy trait, just as courage is a modified fear trait. While he upholds the traditional definition of virtue as a species of character trait, Sreenivasan discards other traditional precepts. For example, he rejects the unity of the virtues and raises new questions about when virtue should be taught. Unlike orthodox virtue ethics, moreover, his account does not aspire to rival consequentialism and deontology. Instead Sreenivasan repudiates the ambitions of virtue imperialism. Emotion and Virtue makes significant contributions to moral psychology and the theory of virtue alike. (shrink)

David Nivison has argued that Mèngzǐ 孟子 postulates only one source of moral motivation, whereas Mèngzǐ’s rival thinkers such as Gàozǐ 告子 or the Mohist Yí Zhī 夷之 additionally postulate “maxims” or “doctrines” that are produced by some sort of moral reasoning. In this essay I critically examine this interpretation of Nivison’s, and alternatively argue that moral emotions in Mèngzǐ, basically understood as concern-based construals, are often an insufficient source of moral action, and an additional source of moral motivation, specifically (...) a conviction or judgment of what is the right thing to do in a certain situation in question, is often necessary for one to complete a moral action. This implies that Mèngzǐ should be interpreted to postulate two sources of moral motivation just as his rival thinkers do, namely moral emotion on one hand and judgment and practical reasoning on the other. (shrink)

Emotion, Social Theory, and Social Structure takes sociology in a new direction. It examines key aspects of social structure by using a fresh understanding of emotions categories. Through that synthesis emerge new perspectives on rationality, class structure, social action, conformity, basic rights, and social change. As well as giving an innovative view of social processes, J. M. Barbalet's study also reveals unappreciated aspects of emotions by considering fear, resentment, vengefulness, shame, and confidence in the context of social structure. While (...) much has been written on the social consequences of excessive or pathological emotions, this book demonstrates the centrality of emotions to routine operations of social interaction. Dr Barbalet also re-evaluates the nature of social theory, for once the importance of emotions to social processes becomes clear, the intellectual constitution of sociology, and therefore its history, must be rethought. (shrink)

The aim of this paper is to propose a systematic classification of emotions which can also characterize their nature. The first challenge we address is the submission of clear criteria for a theory of emotions that determine which mental phenomena are emotions and which are not. We suggest that emotions as a subclass of mental states are determined by their functional roles. The second and main challenge is the presentation of a classification and theory of emotions that can account for (...) all existing varieties. We argue that we must classify emotions according to four developmental stages: 1. pre-emotions as unfocussed expressive emotion states, 2. basic emotions, 3. primary cognitive emotions, and 4. secondary cognitive emotions. We suggest four types of basic emotions (fear, anger, joy and sadness) which are systematically differentiated into a diversity of more complex emotions during emotional development. The classification distinguishes between basic and non-basic emotions and our multi-factorial account considers cognitive, experiential, physiological and behavioral parameters as relevant for constituting an emotion. However, each emotion type is constituted by a typical pattern according to which some features may be more significant than others. Emotions differ strongly where these patterns of features are concerned, while their essential functional roles are the same. We argue that emotions form a unified ontological category that is coherent and can be well defined by their characteristic functional roles. Our account of emotions is supported by data from developmental psychology, neurobiology, evolutionary biology and sociology. (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 address an ignored topic in the literature on self-deception—instances in which one is self-deceived about their emotions. Most discussions of emotion and self-deception address either the contributory role of emotion to instances of self-deception involving beliefs or assume what I argue is an outdated view of emotion according to which emotions just are beliefs or some other type of propositional attitude. In order to construct an account of self-deception about emotion, I draw (...) a distinction between two variants of self-deception about emotion: cognitively motivated self-deception and phenomenologically motivated self-deception. After providing an account of each variant, I discuss the importance of the role that perception plays in cases of self-deception about emotion. I conclude with a comment on the relevance of this discussion for contemporary debates in moral theory. (shrink)

Drawing on a rich digitalized corpus of early modern texts, Hans-Juergen Diller argues that the concepts expressed by the English words >passion emotion emotion passion emotion<. But there are two concepts of a concept. According to the first, the meaning of a word expressing a concept is not sharply distinguished from the complete discourse in which it figures. According to the second, meaning is more narrow. For instance, it is restricted to the explicit definition an author provides. (...) I show that Descartes provides an explicit definition of passion and emotion in purely physical, a-moral terms. So Diller's method is not apt to trace concepts in the second, more restricted sense which Descartes himself has in mind. (shrink)

Recent empirical and philosophical research challenges the view that reason and emotion necessarily conflict with one another. Philosophers of science have, however, been slow in responding to this research. I argue that they continue to exclude emotion from their models of scientific reasoning because they typically see emotion as belonging to the context of discovery rather than of justification. I suggest, however, that recent work in epistemology challenges the authority usually granted the context distinction, taking reliabilism as (...) my example. Emotion may be seen as playing a reliable role in the formation, which for the reliabilist also means the justification of scientific beliefs. (shrink)

The long debate -- Aesthetics and ethics : basic concepts -- A conceptual map -- Autonomism -- Artistic and critical practices -- Questions of character -- The cognitive argument : the epistemic claim -- The cognitive argument : the aesthetic claim -- Emotion and imagination -- The merited response argument.

Classical Culture and Society is a new series from Oxford that emphasizes innovative, imaginative scholarship by leading scholars in the field of ancient culture. Among the topics covered will be the historical and cultural background of Greek and Roman literary texts; the production and reception of cultural artifacts; the economic basis of culture; the history of ideas, values, and concepts; and the relationship between politics and/or social practice and ancient forms of symbolic expression. Interdisciplinary approaches and original, broad-ranging research form (...) the backbone of this series, which will serve classicists as well as appealing to scholars and educated readers in related fields. Emotion, Restraint, and Community examines the ways in w hich emotions, and talk about emotions, interacted with the ethics of the Roman upper classes in the late Republic and early Empire. By considering how various Roman forms of fear, dismay, indignation, and revulsion created an economy of displeasure that shaped society in constructive ways, the book casts new light both on the Romans and on cross-cultural understanding of emotions. (shrink)

The aim of this article is to present trust as a meta-emotion, such that it is an emotion that precedes first-order emotions. It examines how trust can be considered a meta-emotion by establishing criteria for identifying trust as a meta-emotion. How trust plays out differently in aesthetic and ordinary contexts can provide another mode for investigating meta-emotions. The article illustrates how it is possible to recognize these meta-emotions in narratives. Finally, it presents one of the aims (...) of trust, sharing knowledge between agents, when someone who provides testimony shares knowledge in an epistemic trust process with others. It shows a relationship construction between subjects and objects thanks to the trust, a meta-emotion that represents emotional ties between subjects to achieve another emotion. (shrink)

What kind of mental phenomenon is romantic love? Many philosophers, psychologists, and ordinary folk treat it as an emotion. This chapter argues the category of emotion is inadequate to account for romantic love. It examines major emotion theories in philosophy and psychology and shows that they fail to illustrate that romantic love is an emotion. It considers the categories of basic emotions and emotion complexes, and demonstrates they too come short in accounting for romantic love. (...) It assesses the roles of culture and evolution in shaping the romantic love phenomenon and evaluates the ways in which the norms of rationality that are applied to standard emotions fail to apply to love. It considers the category of sentiments and argue that despite coming close, it does not adequately capture the nature of romantic love. Finally, the chapter makes a case for love being best characterized as a syndrome. (shrink)

This paper argues that an emotion is a state of affectively perceiving its intentional object as falling under a "thick affective concept" A, a concept that combines cognitive and affective aspects in a way that cannot be pulled apart. For example, in a state of pity an object is seen as pitiful, where to see something as pitiful is to be in a state that is both cognitive and affective. One way of expressing an emotion is to assert (...) that the intentional object of the emotion falls under the thick affective concept distinctive of the emotion. I argue that the most basic kind of moral judgment is is this category. It has the form "That is A" (pitiful, contemptible, rude, etc.). Such judgments combine the features of cognitivism and motivational judgment internalism, an advantage that explains why we find moral weakness problematic in spite of its ubiquity. I then outline a process I call "thinning" the judgment, which explains how moral strength, weakness, and apathy arise. I argue that this process is necessary for moral reasoning and communication, in spite of its disadvantage in disengaging the agent's motivating emotion from the judgment. (shrink)

Instead of arguing about whether moral judgments are based on emotion or reason, moral psychologists should investigate the reliability of moral judgments by checking rates of framing effects in different kinds of moral judgments under different conditions by different people.

This article explores how Anglo-American financial firms since the 1980s have operated and acted in an increasingly deregulated, risky, and uncertain arena. I look at these firms and their actions with a particular focus on “temporality” and requisite “emotion-rules,” where variations in emotion-rules correspond with organizational definitions of uncertainty. Firms impose specific emotion-rules, depending on national policies, official duties, and interpretations of each risk. In finance, caveat emptor (i.e., buyer or lender distrust) is an emotion-rule set (...) in screening policies and data collection for credit risks and risks of fraud by personnel, and it gives rise to actual emotions. I argue that three time-orientations are significant in creating emotion-rules. If a past, present, or a long-term future is deployed to construct a future, that creates and frames an institution’s attempts to manage uncertainty. Looking exclusively at Anglo-American corporate finance policies and strategies (often deemed the international “one best way”), six modes of certainty constructions are presented. Each is assessed against the dispositions and emotional strategies required in highly-skilled careers, in specific organizational settings. The relative influence of individual perspectives, institutional rules and general typologies of social action is assessed and found to comprise one past view, three present views, and one future-oriented perspective towards the future. Implications are outlined for emotion-rules relevant to financial careers and office. (shrink)

This study investigated person perception in respect of variables associated with affect in music following motor synchronization to music. Participants were tested in a task involving stepping with a researcher to the beat of slow or fast music in major or minor mode, following which measures concerning the synchronised partner were collected. Significant effects were found only for the ‘likeability’ measure, modulated by gender, suggesting that variables associated with affect perception in music, such as mode and tempo appear relevant for (...) person perception in a synchronization task in ways that differ for men and women. The results of this ‘proof of concept’ study indicate the need for further research on the effect of motor synchronization based on ecologically valid musical interaction tasks. (shrink)

There seem to be two kinds of emotion the rists in the world. Some work very hard to show that emotions are essentially cognitive states. Others resist this suggestion and insist that emotions are noncognitive. The debate has appeared in many forms in philosophy and psychology. It never seems to go away. The reason for this is simple. Emotions have properties that push in both directions, properties that make them seem quite smart and properties that make them seem quite (...) dumb. They exemplify the base impulses of our animal nature while simultaneously branching out into the most human and humane reaches of our mental repertoires. Depending on where one looks, emotions can emerge as our simplest instincts or our subtlest achievements. This double nature makes emotions captivating, but also confounding. Researchers find themselves picking one side at the expense of the other, or packaging seemingly disparate components into unstable unions. I will defend a more integrative approach. For a more thorough treatment, see Prinz (forthcoming). (shrink)

Perceptual theories of emotion purport to avoid the problems of traditional cognitivism and noncognitivism by modelling emotion on perception, which shares the most conspicuous dimensions of emotion, intentionality and phenomenality. In this paper, I shall reconstrue and discuss four key arguments that perceptual theorists have presented in order to show that emotion is a kind of perception, or that there are close analogies between emotion and perception. These arguments are, from stronger to weaker claims: the (...) perceptual system argument; the argument from noninferential structure; the argument from epistemic role; and the argument from phenomenology. I argue that, while the arguments in favour of assimilating emotion to perception fail, the analogies between emotion and perception are not as close as perceptual theorists suggest even if some emotions resemble perception more than others, thanks to the two-levelled structure of emotional processing. (shrink)

In this paper I link two hitherto disconnected sets of results in the philosophy of emotions and explore their implications for the computational theory of mind. The argument of the paper is that, for just the same reasons that some computationalists have thought that cognition may be a natural kind, so the same can plausibly be argued of emotion. The core of the argument is that emotions are a representation-governed phenomenon and that the explanation of how they figure in (...) behaviour must as such be undertaken in those terms. I conclude with some interdisciplinary reflections in defence of the hypothesis that emotions might be more fundamental in the organization of behaviour than cognition; that, in effect, we may be emoters before we are cognizers . The aim of the paper is: (1) to introduce a number of promising results in philosophical and empirical emotion theory to a wider audience; and (2) to begin the task of organizing those results into a computational theoretical framework. (shrink)

Background. Studies on teacher emotion have steadily become more prominent. However, it has been observed that scholarship on teacher emotion has been dominated by contributions from Western societies. In the absence of a critical mass of empirical research generated from within the region such as Asia, lack of knowledge and capacity to inform policy and practice in teacher education and evaluation mechanism. Methods. The current study sought to mirror the patterns of knowledge production in teacher emotion in (...) terms of research topics, types and methods and how they have evolved over time in Asia between 1989 and 2018. By using a descriptive quantitative analysis approach, we review a corpus of 154 articles on teacher emotion published in peer-review journals in Asia. It began with a systematic search in seven widely used electronic databases for abstracts of potentially relevant studies. Results. As observed, the trend represents a sea change in the volume of publications in Asia although the overall volume of research is still relatively low. Results also identify that although quantitative methods were most commonly used, the findings reveal a more balanced distribution since 1993. Furthermore, the use of qualitative and mixed methods of research has undergone a marked increase in the past ten years. However, as the majority of articles were exploratory-oriented, intervention and experimental studies were largely lacking, which resulted in the ‘so-what’ story being missing. Conclusions. A functionalist perspective suggests that knowledge production in teacher emotion research in Asia is either at the late first stage or the emerging second stage. Recommendations have been provided based on the major results and challenges. (shrink)

Starting with a review of research on love as an emotion, with an emphasis on romantic love, it is argued that despite strong emotional correlates evidence is lacking to conclude that love would meet the criteria of basic emotions. Theoretical developments are proposed where love is conceived of as a combination of an objectless drive, a desire for love, and a mythical and scripted representation that offers the possibility of labeling the current core affect. I argue that the basic (...) motive for love is not so much the partner’s personal attributes, but rather the benefits of the transformative power of being in love. (shrink)

The dominant image of judicial authority is emotional detachment; however, judicial work involves emotion. This presents a challenge for researchers to investigate emotions where they are disavowed. Two projects, one in Australia and another in Sweden, use multiple sociological research methods to study judicial experience, expression, and management of emotion. In both projects, observational research examines judicial officers’ display of emotion in court, while interviews investigate judicial emotional experiences. Surveys in Australia identify emotions judicial officers generally find (...) important in their work; in Sweden, shadowing allows researchers to investigate individual judicial emotion experiences and expression. Evaluating the different methods used demonstrates the limitations and effectiveness of particular research designs, the value of multiple methods and the challenges for researching emotion. (shrink)

Emotion, Sense, Experience calls on historians of emotions and the senses to come together in serious and sustained dialogue. The Element outlines the deep if largely unacknowledged genealogy of historical writing insisting on a braided history of emotions and the senses; explains why recent historical treatments have sometimes profitably but nonetheless unhelpfully segregated the emotions from the senses; and makes a compelling case for the heuristic and interpretive dividends of bringing emotions and sensory history into conversation. Ultimately, we envisage (...) a new way of understanding historical lived experience generally, as a mutable product of a situated world-brain-body dynamic. Such a project necessarily points us towards new interdisciplinary engagement and collaboration, especially with social neuroscience. Unpicking some commonly held assumptions about affective and sensory experience, we re-imagine the human being as both biocultural and historical, reclaiming the analysis of human experience from biology and psychology and seeking new collaborative efforts. (shrink)

Researchers have theoretically proposed that humans decode other individuals' emotions or elementary cognitive appraisals from particular sets of facial action units (AUs). However, only a few empirical studies have systematically tested the relationships between the decoding of emotions/appraisals and sets of AUs, and the results are mixed. Furthermore, the previous studies relied on facial expressions of actors and no study used spontaneous and dynamic facial expressions in naturalistic settings. We investigated this issue using video recordings of facial expressions filmed unobtrusively (...) in a real-life emotional situation, specifically loss of luggage at an airport. The AUs observed in the videos were annotated using the Facial Action Coding System. Male participants ( n = 98) were asked to decode emotions (e.g., anger) and appraisals (e.g., suddenness) from facial expressions. We explored the relationships between the emotion/appraisal decoding and AUs using stepwise multiple regression analyses. The results revealed that all the rated emotions and appraisals were associated with sets of AUs. The profiles of regression equations showed AUs both consistent and inconsistent with those in theoretical proposals. The results suggest that (1) the decoding of emotions and appraisals in facial expressions is implemented by the perception of set of AUs, and (2) the profiles of such AU sets could be different from previous theories. (shrink)