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Peter Goldie [78]Peter L. Goldie [1]
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Peter Goldie
Manchester
  1. The Emotions: A Philosophical Exploration.Peter Goldie - 2000 - Oxford University Press.
    Peter Goldie opens the path to a deeper understanding of our emotional lives through a lucid philosophical exploration of this surprisingly neglected topic. Drawing on philosophy, literature and science, Goldie considers the roles of culture and evolution in the development of our emotional capabilities. He examines the links between emotion, mood, and character, and places the emotions in the context of consciousness, thought, feeling, and imagination. He explains how it is that we are able to make sense of our own (...)
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  2. The Mess Inside: Narrative, Emotion, and the Mind.Peter Goldie - 2012 - Oxford University Press.
    Narrative thinking -- Narrative thinking about one's past -- Grief : a case study -- Narrative thinking about one's future -- Self-forgiveness : a case study -- The narrative sense of self -- Narrative, truth, life, and fiction.
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  3. Emotions, Feelings and Intentionality.Peter Goldie - 2002 - Phenomenology and the Cognitive Sciences 1 (3):235-254.
    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 (...)
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  4. Empathy: Philosophical and Psychological Perspectives.Amy Coplan & Peter Goldie (eds.) - 2011 - Oxford University Press UK.
    Empathy has for a long time, at least since the eighteenth century, been seen as centrally important in relation to our capacity to gain a grasp of the content of other people's minds, and predict and explain what they will think, feel, and do; and in relation to our capacity to respond to others ethically. In addition, empathy is seen as having a central role in aesthetics, in the understanding of our engagement with works of art and with fictional characters. (...)
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  5. Seeing What is the Kind Thing to Do: Perception and Emotion in Morality.Peter Goldie - 2007 - Dialectica 61 (3):347-361.
    I argue that it is possible, in the right circumstances, to see what the kind thing is to do: in the right circumstances, we can, literally, see deontic facts, as well as facts about others’ emotional states, and evaluative facts. In arguing for this, I will deploy a notion of non‐inferential perceptual belief or judgement according to which the belief or judgement is arrived at non‐inferentially in the phenomenological sense and yet is inferential in the epistemic sense. The ability to (...)
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  6.  91
    Getting Feelings Into Emotional Experiences in the Right Way.Peter Goldie - 2009 - Emotion Review 1 (3):232-239.
    I argue that emotional feelings are not just bodily feelings, but also feelings directed towards things in the world beyond the bounds of the body, and that these feelings (feelings towards) are bound up with the way we take in the world in emotional experience.
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  7.  66
    Anti-Empathy.Peter Goldie - 2011 - In Amy Coplan & Peter Goldie (eds.), Empathy: Philosophical and Psychological Perspectives. Oxford University Press. pp. 302.
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  8.  81
    On Personality.Peter Goldie - 2004 - Routledge.
    Warm, sensitive, creative, outgoing, cheeky, creepy. Scan any personal ads page and it's clear that to get a life you need a personality first. It is also a notion with a long and often bizarre history: in early Greece and medieval Europe, it was thought to depend on the balance of bile in the body. On Personality is a thoughtful and stimulating look under the skin of this widely-used but little understood phenomenon. Peter Goldie points out that we rely on (...)
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  9. Grief: A Narrative Account.Peter Goldie - 2011 - Ratio 24 (2):119-137.
    Grief is not a kind of feeling, or a kind of judgement, or a kind of perception, or any kind of mental state or event the identity of which can be adequately captured at a moment in time. Instead, grief is a kind of process; more specifically, it is a complex pattern of activity and passivity, inner and outer, which unfolds over time, and the unfolding pattern over time is explanatorily prior to what is the case at any particular time. (...)
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  10. Emotion, Feeling, and Knowledge of the World.Peter Goldie - 2004 - In Robert C. Solomon (ed.), Thinking About Feeling: Contemporary Philosophers on Emotions. Oxford University Press.
    There is a view of the emotions (I might tendentiously call it ‘cognitivism’) that has at present a certain currency. This view is of the emotions as playing an essential role in our gaining evaluative knowledge of the world. When we are angry at an insult, or afraid of the burglar, our emotions involve evaluative perceptions and thoughts, which are directed towards the way something is in the world that impinges on our well-being, or on the well-being of those that (...)
     
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  11.  96
    Towards a Virtue Theory of Art.Peter Goldie - 2007 - British Journal of Aesthetics 47 (4):372-387.
    In this paper I sketch a virtue theory of art, analogous to a virtue theory of ethics along Aristotelian lines. What this involves is looking beyond a parochial conception of art understood as work of art, as product, to include intentions, motives, skills, traits, and feelings, all of which can be expressed in artistic activity. The clusters of traits that go to make up the particular virtues of art production and of art appreciation are indeed virtues in part because, when (...)
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  12. Emotion, Reason and Virtue.Peter Goldie - 2004 - In Dylan Evans & Pierre Cruse (eds.), Emotion, Evolution, and Rationality. Oxford University Press. pp. 249--267.
  13. Thick Concepts and Their Role in Moral Psychology.Chloë Fitzgerald & Peter Goldie - 2012 - In Robyn Langdon & Catriona Mackenzie (eds.), Emotions, Imagination, and Moral Reasoning. Psychology Press.
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  14.  50
    The Aesthetic Mind: Philosophy and Psychology.Elisabeth Schellekens & Peter Goldie (eds.) - 2011 - Oxford University Press.
    The Aesthetic Mind breaks new ground in bringing together empirical sciences and philosophy to enhance our understanding of aesthetics and the experience of art.
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  15. One's Remembered Past: Narrative Thinking, Emotion, and the External Perspective.Peter Goldie - 2003 - Philosophical Papers 32 (3):301-319.
    Abstract Narrative thinking has a very important role in our ordinary everyday lives?in our thinking about fiction, about the historical past, about how things might have been, and about our own past and our plans for the future. In this paper, which is part of a larger project, I will be focusing on just one kind of narrative thinking: the kind that we sometimes engage in when we think about, evaluate, and respond emotionally to, our own past lives from a (...)
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  16. Virtues of Art and Human Well-Being.Peter Goldie - 2008 - Aristotelian Society Supplementary Volume 82 (1):179-195.
    What is the point of art, and why does it matter to us human beings? The answer that I will give in this paper, following on from an earlier paper on the same subject, is that art matters because our being actively engaged with art, either in its production or in its appreciation, is part of what it is to live well. The focus in the paper will be on the dispositions—the virtues of art production and of art appreciation—that are (...)
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  17. Explaining Expressions of Emotion.Peter Goldie - 2000 - Mind 109 (433):25-38.
    The question is how to explain expressions of emotion. It is argued that not all expressions of emotion are open to the same sort of explanation. Those expressions which are actions can be explained, like other sorts of action, by reference to a belief and a desire; however, no genuine expression of emotion is done as a means to some further end. Certain expressions of emotion which are actions can also be given a deeper explanation as being expressive of a (...)
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  18. Understanding Emotions: Mind and Morals.Peter Goldie - 2002 - Brookfield: Ashgate.
  19.  87
    Virtues of Art.Peter Goldie - 2010 - Philosophy Compass 5 (10):830-839.
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  20.  70
    The Narrative Sense of Self.Peter Goldie - 2012 - Journal of Evaluation in Clinical Practice 18 (5):1064-1069.
  21. How We Think of Others' Emotions.Peter Goldie - 1999 - Mind and Language 14 (4):394-423.
  22.  36
    Misleading Emotions.Peter Goldie - 2008 - In Georg Brun, Ulvi Dogluoglu & Dominique Kuenzle (eds.), Epistemology and Emotions. Ashgate Publishing Company. pp. 149--165.
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  23.  63
    Love for a Reason.Peter Goldie - 2010 - Emotion Review 2 (1):61-67.
    According to Bob Solomon, love is a human emotion, with a complex intentional structure, having its own kind of reasons. I will examine this account, which, in certain respects, tends to mask the deep and important differences between love and other emotions.
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  24. Who's Afraid of Conceptual Art?Peter Goldie & Elisabeth Schellekens - 2009 - Routledge.
    What is conceptual art? Is it really a kind of art in its own right? Is it clever – or too clever? Of all the different art forms it is perhaps conceptual art which at once fascinates and infuriates the most. In this much-needed book Peter Goldie and Elisabeth Schellekens demystify conceptual art using the sharp tools of philosophy. They explain how conceptual art is driven by ideas rather than the manipulation of paint and physical materials; how it challenges the (...)
     
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  25. Thick Concepts and Emotion.Peter Goldie - 2008 - In Daniel Callcut (ed.), Reading Bernard Williams. Routledge.
  26.  12
    I—Peter Goldie: Virtues of Art and Human Well-Being.Peter Goldie - 2008 - Aristotelian Society Supplementary Volume 82 (1):179-195.
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  27.  6
    I—V Irtues of A Rt and H Uman W Ell-B Eing.Peter Goldie - 2008 - Aristotelian Society Supplementary Volume 82 (1):179-195.
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  28.  53
    Conceptual Art, Social Psychology, And Deception.Peter Goldie - 2004 - Postgraduate Journal of Aesthetics 1 (1):32-41.
    Some works of conceptual art require deception for their appreciation—deception of the viewer of the work. Some experiments in social psychology equally require deception— deception of the participants in the experiment. There are a number of close parallels between the two kinds of deception. And yet, in spite of these parallels, the art world, artists, and philosophers of art, do not seem to be troubled about the deception involved, whereas deception is a constant source of worry for social psychologists. Intuitively, (...)
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  29. Narrative, Emotion, and Perspective.Peter Goldie - 2003 - In Matthew Kieran & Dominic Lopes (eds.), Imagination, Philosophy, and the Arts. Routledge. pp. 54--68.
     
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  30. Imagination and the Distorting Power of Emotion.Peter Goldie - 2005 - Journal of Consciousness Studies 12 (8-10):127-139.
    _In real life, emotions can distort practical reasoning, typically in ways that it is_ _difficult to realise at the time, or to envisage and plan for in advance. This fea-_ _ture of real life emotional experience raises difficulties for imagining such expe-_ _riences through centrally imagining, or imagining ‘from the inside’. I argue_ _instead for the important psychological role played by another kind of imagin-_ _ing: imagining from an external perspective. This external perspective can draw_ _on the dramatic irony involved (...)
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  31. Emotion.Peter Goldie - 2007 - Philosophy Compass 2 (6):928–938.
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  32. Wollheim on Emotion and Imagination.Peter Goldie - 2006 - Philosophical Studies 127 (1):1-17.
  33.  23
    Loss of Affect in Intellectual Activity.Peter Goldie - 2012 - Emotion Review 4 (2):122-126.
    In this article I will consider how loss of affect in our intellectual lives, through depression for example, can be as debilitating as loss of affect elsewhere in our lives. This will involve showing that there are such things as intellectual emotions, that their role in intellectual activity is not merely as an aid to the intellect, and that loss of affect changes not only one’s motivations, but also one’s overall evaluative take on the world.
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  34. Introduction.Peter Goldie & Elisabeth Schellekens - 2007 - In Peter Goldie & Elisabeth Schellekens (eds.), Philosophy and Conceptual Art. Oxford University Press.
     
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  35. Narrative Thinking, Emotion, and Planning.Peter Goldie - 2009 - Journal of Aesthetics and Art Criticism 67 (1):97-106.
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  36.  85
    Dramatic Irony, Narrative, and the External Perspective.Peter Goldie - 2007 - Royal Institute of Philosophy Supplement 60:69-84.
    There is a frequently asked philosophical question about our ability to grasp and to predict the thoughts and feelings of other people, an ability that is these days sometimes given the unfortunate name of ‘mentalising’ or ‘mind-reading’–I say ‘unfortunate’ because it makes appear mysterious what is not mysterious. Some philosophers and psychologists argue that this ability is grounded in possession of some kind of theory or body of knowledge about how minds work. Others argue that it is grounded in our (...)
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  37.  40
    Life, Fiction, and Narrative.Peter Goldie - 2011 - In Noel Carroll & John Gibson (eds.), Narrative, Emotion, and Insight. Penn State University. pp. 8.
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  38.  93
    Intellectual Emotions and Religious Emotions.Peter Goldie - 2011 - Faith and Philosophy 28 (1):93-101.
    What is the best model of emotion if we are to reach a good understanding of the role of emotion in religious life? I begin by setting out a simple model of emotion, based on a paradigm emotional experience of fear of an immediate threat in one’s environment. I argue that the simple model neglects many of the complexities of our emotional lives, including in particular the complexities that one finds with the intellectual emotions. I then discuss how our dispositions (...)
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  39.  29
    The Oxford Handbook of Philosophy of Emotion.Peter Goldie (ed.) - 2009 - Oxford University Press.
    This Handbook presents thirty-one state-of-the-art contributions from the most notable writers on philosophy of emotion today. Anyone working on the nature of emotion, its history, or its relation to reason, self, value, or art, whether at the level of research or advanced study, will find the book an unrivalled resource and a fascinating read.
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  40. What Emotions Really Are: The Problem of Psychological Categories. [REVIEW]Peter Goldie - 1998 - British Journal for the Philosophy of Science 49 (4):642-648.
     
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  41.  40
    XII. Narrative and Perspective; Values and Appropriate Emotions: Peter Goldie.Peter Goldie - 2003 - Royal Institute of Philosophy Supplement 52:201-220.
    To the realists.—You sober people who feel well armed against passion and fantasies and would like to turn your emptiness into a matter of pride and ornament: you call yourselves realists and hint that the world really is the way it appears to you. As if reality stood unveiled before you only, and you yourselves were perhaps the best part of it … But in your unveiled state are not even you still very passionate and dark creatures compared to fish, (...)
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  42.  18
    There Are Reasons and Reasons.Peter Goldie - 2007 - In Daniel D. Hutto & Matthew Ratcliffe (eds.), Folk Psychology Re-Assessed. Kluwer/Springer Press. pp. 103--114.
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  43.  56
    Narratives and Narrators: A Philosophy of Stories: Book Reviews. [REVIEW]Peter Goldie - 2011 - British Journal of Aesthetics 51 (3):335-338.
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  44.  6
    The Life of the Mind: Commentary on “Emotions in Everyday Life”.Peter Goldie - 2004 - Social Science Information 43 (4):591-598.
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  45.  53
    Recreative Minds: Imagination in Philosophy and Psychology. [REVIEW]Peter Goldie - 2004 - Philosophy 79 (2):331-335.
  46. Understanding Emotions: Mind and Morals.Peter Goldie - 2004 - Philosophical Quarterly 54 (214):196-199.
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  47. Conceptual Art and Knowledge.Peter Goldie - 2007 - In Peter Goldie & Elisabeth Schellekens (eds.), Philosophy and Conceptual Art. Oxford University Press. pp. 157.
     
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  48. Emotion, Personality and Simulation.Peter Goldie - 2002 - In Understanding Emotions: Mind and Morals. Brookfield: Ashgate.
     
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  49.  46
    Moral Emotions and Intuitions. By Sabine Roeser. (Basingstoke: Palgrave Macmillan, 2011. Pp. Xvii + 207. Price £55.).Peter Goldie - 2012 - Philosophical Quarterly 62 (246):204-206.
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  50. Philosophy and Conceptual Art.Peter Goldie & Elisabeth Schellekens - 2008 - Journal of Aesthetics and Art Criticism 66 (2):203-205.
     
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