Contemporary accounts on fictional emotions, i.e., emotions experienced towards objects we know to be fictional, are mainly concerned with explaining their rationality or lack thereof. In this context dominated by an interest in the role of belief, questions regarding their phenomenal quality have received far less attention: it is often assumed that they feel “similar” to emotions that target real objects. Against this background, this paper focuses on the possible specificities of fictional emotions’ qualitative feel. It (...) starts by presenting what I call the “phenomenological question” about the qualitative feel of fictional emotions (section 1) and by showing that this is irreducible to questions about their cognitive, intentional, evaluative, and embodied nature (section 2). Drawing on some insights from early phenomenologists, the next two sections elaborate criteria to distinguish between real and sham emotions on the one side (section 3) and between genuine and non-genuine emotions on the other (section 4). Finally, I apply this orthogonal distinction to the particular case of fictional emotions (section 5). The paper argues that fictional emotions are neither sham emotions nor quasi-emotions, but full-fledged emotional experiences, despite them displaying the distinctive phenomenology of emotions experienced as non-genuine. In the particular case of fictional emotions, they are non-genuine because our psychology is in fact in a state dominated by aesthetic enjoyment. (shrink)

The debate about how to solve the paradox of fiction has largely been a debate between Kendall Walton and the so-called thought theorists. In recent years, however, Jenefer Robinson has argued, based on her affective appraisal theory of emotion, for a noncognitivist solution to the paradox as an alternative to the thought theorists’ solution and especially to Walton's controversial solution. In this article, I argue that, despite appearances to the contrary, Robinson's affective appraisal theory is compatible with Walton's solution, at (...) the core of which lies the thesis that there are quasi-emotions. Moreover, since Robinson's theory is compatible with Walton's solution, I show how it can be used as a model to empirically test whether quasi-emotions exist. (shrink)

Contrary to the emotions we feel in everyday contexts, the emotions we feel for fictional characters do not seem to require a belief in the existence of their object. This observation has given birth to a famous philosophical paradox (the ‘paradox of fiction’), and has led some philosophers to claim that the emotions we feel for fictional characters are not genuine emotions but rather “quasi-emotions”. Since then, the existence of quasi-emotions has been (...) a hotly debated issue. Recently, philosophers and psychologists have proposed to solve this debate by using empirical methods and experimentally studying differences between ‘real’ and ‘fictional’ emotions. In this paper, our goal is to assess the success of these attempts. We begin by surveying the existing empirical literature and stressing the methodological problems that plague most studies that might seem relevant to the debate, before focusing on recent studies that avoid this pitfall. We then argue that, due to conceptual problems, these studies fail to be relevant to the philosophical debate and emphasize new directions for future empirical research on the topic. (shrink)

The situational context within which an activity takes place, as well as the personality characteristics of individuals shape the types of strategies people choose in order to regulate their emotions, especially when confronted with challenging or undesirable situations. Taking self-regulation as the framework to study emotions in relation to learning and performing chamber music canon repertoire, this quasi-experimental and intra-individual study focused on the self-rated emotional states of a professional classical cellist during long-term sustained practice across 100-weeks. (...) This helped to develop greater awareness of different emotions and how they vary over artistic events. Data analysis included traditional psychometric measurements to test the internal consistency of the time series data as well as the relationship between variables. The study mapped the cellist’s flexible regulation of 17 different positive and negative emotions empirically linked to learning and achievement while practicing within the social context of performing music publicly at a high level. Findings arising from the study help with understandings of how to support musicians to maximize their artistic potential by reducing emotion dysregulation and strengthening the types of adaptive methods that enable them to manage their own emotions. (shrink)

Quasi things come and go and we cannot wonder where they've been (starting from the wind) -- Quasi-things assault and resist us: feelings as atmospheres -- Quasi things are felt (though not localized): the isles of the felt-body -- Quasi-things are proofs of existence: pain as the genesis of the subject -- Quasi-things affect us (also indirectly): vicarious shame -- Quasi-things communicate with us: from the gaze to the portrait (and back) -- Quasi-things (...) are the more effective the vaguer they are: twilightness. (shrink)

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 (...) class='Hi'>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. (shrink)

(written in 2017) According to Dorothea Debus (2007), all emotional aspects related to an act of remembering are present and new emotional responses to the remembered past event. This is a common conception of the nature of the emotional aspect of personal memories, if not explicitly defended then at least implicitly accepted in the literature. In this article, I first criticize Debus’ arguments and demonstrate that she does not give us valid reasons to believe that all the emotional aspects related (...) to a memory are present and new emotional responses to that past event. I then criticize Debus’ thesis tout court for being a direct consequence of assuming a particular conceptualization of the nature of emotions: emotions as physiological changes. Finally, based on a different conceptualization of emotions that focuses on their relational nature, I propose an alternative framework for analyzing the different possible emotional aspects of our personal memories. This leads me to conclude, contrary to Debus, that some emotional aspects of our memories are not occurrent emotions but are better conceived as quasi-emotions. (shrink)

This chapter lays out the paradox of fiction as it relates to the Star Wars films in three claims: we have genuine and rational emotional responses to the fictional characters and events in Star Wars; we must believe these characters and events really exist; and nobody believes these fictional characters and events in Star Wars exist. While many fans like to talk as if the characters and events in Star Wars are real, none of us actually believe that Luke's heroic (...) journey is real. The illusion theory claims that the fictional work creates in us the illusion that the characters and situations depicted actually exist. One observation that the thought theory makes is that we often have emotional reactions to imaginary situations. The pretend theory says that the emotions we experience while watching Star Wars are not genuine emotions. Rather, they're quasi‐emotions. (shrink)

If, as argued in some simulationist accounts, empathy aims at grasping the phenomenal richness of the other’s experience and resonating with it, it is difficult to explain our empathy with emotions that we have never experienced ourselves. According to a long philosophical tradition, imagination is constrained by experience. We have to be acquainted with the qualitative feel of the other’s experience in order to imagine it. A critical view of simulationist accounts would claim that if we cannot imagine how (...) the other feels because we are not acquainted with it, empathy cannot take place. Contrary to such criticism, this paper takes a moderately optimistic view of the simulationist claim. It develops a model to explain how we imagine the other’s emotions by drawing on phenomenal concepts, affective memories, and imaginative scaffoldings. I argue that this model can explain how we empathize with the other’s emotions regardless of whether these are familiar or novel to us. However, in the latter case, the imagined phenomenal quality is not identical but probably only similar to the other’s emotion. This similarity suffices for us to speak about empathy. (shrink)

Emotion-Focused Training for Emotion Coaching is based on Emotion-focused Therapy findings and was developed to help participants deepen their emotional skills. The goal was to examine the efficacy of a 12-week EFT-EC group program the level of emotion intelligence, self-compassion and self-criticism in a student population. A quasi-experiment with no control group was conducted with pre- and post-measurements using The Self-compassion scale, the Forms of Self-Criticising/attacking & Self-Reassuring Scale, and the Trait Emotional Intelligence Questionnaire – short form. The EFT-EC (...) participants were128 students. The EFT-EC intervention had a significant effect on self-criticism and self-control latent scores as reported at post-measurement. The structural equation model with latent variables was not an adequate fit for the rest of the subscales. These results are promising and suggest that interventions intended to enhance emotion skills can also reduce self-criticism even when not directly addressing it. (shrink)

How can we experience real emotions when viewing a movie or reading a novel or watching a play when we know the characters whose actions have this effect on us do not exist? This is a conundrum that has puzzled philosophers for a long time, and in this book Robert Yanal both canvasses previously proposed solutions to it and offers one of his own. First formulated by Samuel Johnson, the paradox received its most famous answer from Samuel Taylor Coleridge, (...) who advised his readers to engage in a "willing suspension of disbelief." More recently, philosophers have argued that we are irrational in emoting toward fiction, or that we do not emote toward fiction but rather toward factual counterparts, or that we do not have real but only quasi-emotion toward fiction, generated by our playing games of make-believe. All of these proposed solutions are critically reviewed. Finding these answers unsatisfactory, Yanal offers an alternative, providing a new version of what has been dubbed "thought theory." On this theory, mere thoughts not believed true are seen as the functional equivalent of belief at least insofar as stimulating emotion is concerned. The emoter's disbelief in the actuality of components of the thoughts must be rendered relatively inactive. Such emotion is real and typically has the character of being richly generated yet unconsummated. The book extends this theory also to resolving other paradoxes arising from emotional response to fiction: how we feel suspense over what comes next in a story even when we are re-reading it for a second or third time; and how we take pleasure in narratives, such as tragedy, that excite unpleasant emotions such as fear, pity, or horror. (shrink)

There is an important debate in the philosophy of mind that has roots in the phenomenological tradition, namely: what are the primitive forms of consciousness, that is, what are the fundamental ingredients or aspects of consciousness. This paper wants to contribute to partially answering this general question by providing an answer to a required sub-question within this question: is emotional phenomenology fundamental? I will answer in the affirmative and will offer an argument focused on contemplative emotions elicited by fiction. (...) Another type of contemplative emotions, namely, esthetic emotions, have been invoked in the literature but I will argue that the phenomenology of emotions elicited by fiction, given their continuity and sameness in kind with the phenomenology of garden variety emotions, are more dialectically efficient vis-à-vis the debate on the irreducibility of emotional phenomenology. (shrink)

In this essay I examine the conceptual relation between emotions and their corresponding evaluations, desires, behavior and goals. Such conceptual relation is of the utmost importance in order to account for the unity or oneness of emotion, for if the different aspects of emotion are linked conceptually, then to have one such aspect would imply having all the others. After I discuss how emotions are related to their corresponding evaluations, desires and behavior, I show how each aspect of (...) emotion is related to the others. Next, I argue that indeed there is such conceptual or quasi-conceptual relation between emotions, evaluations and conative or desiderative states. However, while intentional behavior in terms of actions is conceptually related to some emotions, other times the emotion-specific desires are either non-forward-looking, and thus do not give rise to intentional actions, or they may be overridden, and the resultant behavioral manifestations are not conceptually related to emotion. Next, I argue that emotions are eudaimonistic, in the sense that they are essentially concerned with important goals, concerns and attachments that comprise our conception of the good life and well-being. Finally, I examine the conceptual relation between emotions and their respective goals, and argue that while emotions logically presuppose such goals, the reverse is not the case. (shrink)

This paper investigates the emotive (or expressive) meaning of words commonly referred to as “loaded” or “emotive,” which include slurs, derogative or pejorative words, and ethical terms. We claim that emotive meaning can be reinterpreted from a pragmatic and argumentative perspective, which can account for distinct aspects of ethical terms, including the possibility of being modified and its cancellability. Emotive meaning is explained as a defeasible and automatic or automatized evaluative and intended inference commonly associated with the use of specific (...) terms, which can be represented and assessed considering its logical structure and its defeasibility conditions. This automatic inference is conceived as part of the connotation of an ethical term, and is not necessarily stable. By means of quasi-definitions, it is possible to modify the emotive meaning while maintaining the descriptive one, automaticizing the inferences drawn from an ethical word. Through examples drawn from the recent US presidential campaign, we show how re-contextualization and emotive contexts can affect emotive meaning. (shrink)

The aim of this article is to explore the implications of a specific type of anger — termed here ‘civic’ anger — with regard to the place of emotions and their relation to regimes of justification in the framework of Boltanski and Thévenot’s sociology of critical capacity. Drawing upon interviews with a sample of Israeli philanthropic mega-donors, it will highlight the distinctive features and context-bound operation of civic anger as a type of moral and political emotion that has not (...) yet received its due conceptualization. In the case at hand here, civic philanthropic anger will be shown to correspond to a cultural configuration that included regimes of justification equivalent to those already identified by Boltanski and Thévenot (mainly ‘civic’ and ‘industrial’), but also allowed a distinctive cluster of emotions to develop into an additional, ‘quasi’ regime of justification (‘benevolence’). As such, it points to ways in which a renewed sociology of morality needs enlist the fecund idea of regimes of justification, but also draw more systematic theoretical and empirical attention to the variable and multifaceted relation between emotions and justifications in practices of moral interpretation. (shrink)

There is little research on the effectiveness of self-leadership programs (SLPs) in graduate education based on the progress in emotional competences development (ECD), and only a few of the studies incorporate its relationship with personality traits (PTs). This article studies the differentiated impact of an optional SLP, which has eight workshops with a learner-centered and experiential approach, depending on PTs. With a quasi-experimentalex post factodesign, students' scores in EDC were analyzed according to their PT extremes:introversion, antagonism, lack of direction, (...) neuroticism, andclosed to experience. ANCOVA tests, with ECD pretest as a co-variable, were applied for each PT. The results indicated that the SLP presented a differentiated impact in ECD in four of the five PTs: neuroticism, introversion, antagonism, and lack of direction. These findings can be a key element for the participating students in SLPs because self-leadership requires self-knowledge. ECD can contribute to more integral learning in the graduate education experience, enhancing the preparation for the world of work. (shrink)

I discuss recent work by Ernst Fehr and his collaborators on cooperation and reciprocity. (i) Their work demonstrates conclusively the reality and importance of non-self-interested motivations. (ii) It allows for a useful distinction between trust and blind trust. (iii) It points to a category of quasi-moral norms, distinct both from social norms and moral norms. (iv) It demonstrates how social interactions can generate irrational belief formation. (v) It shows the potential of punishment for sustaining social norms and for overcoming (...) the second-order free rider problem as well as obstacles to group selection. (vi) It offers a provocative experimental basis for the ‘warm-glow’ explanation of altruistic behavior. I conclude by suggesting some experiments that might allow for further developments of the theory. (shrink)

In keeping with the focus of this special section, we concentrate initially on some of the problems of autonomist Marxist concepts such as `immaterial labour', `affective labour' and `precarity' for understanding work in the cultural industries. We then briefly review some relevant media theory (John Thompson's notion of mediated quasi-interaction) and some key recent sociological research on cultural labour (especially work by Andrew Ross and Laura Grindstaff, the latter drawing on Hochschild's concept of emotional labour), which we believe may (...) be more useful than autonomist concepts in developing empirically informed critique. The main body of the article then consists of an ethnographic account of working on one particular television programme, an account that aims to build on these theoretical debates. We analyse how the power to provide exposure or not to individuals in the talent show genre in contemporary television (a feature that derives from the symbolic power of producers to make texts that are then circulated to massive numbers of people) and disputes between commissioners and independent producers about how best to go about doing so (an organizational issue) are registered in the form of stress, anxiety and sometimes poor working relations among project teams of young television researchers (a matter of working conditions and experiences). We especially focus on how additional pressures are borne by these workers because of the requirements to undertake emotional labour, involving the handling of strong emotions on the part of talent show contributors, and to maintain good working relations in short-term project work, requirements generated by the need to ensure future employment. Ultimately, then, we support the view that creative work is `precarious' — but we go beyond the generalizations involved in concepts such as immaterial labour and affective labour to show the specific ways in which precariousness is registered and negotiated in the lives of young workers in one industry. (shrink)

Emotions are part of our culture ; particular emotions like resentment andguilt are part of specific cultural heritages. On the other hand, moral judgementsand imperatives have the appearance of objectivity. There lies - or so it seems -a conflict, even a contradiction. Statements like "Slavery is unjust" may beasserted, agreements may be reached concerning what they claim or express,and they may occur as antecedents in conditionals such as "If slavery is unjust,then it must be abolished". When it is (...) claimed that slavery is unjust or that it iswrong to harm others, it is thereby claimed that it is so objectively. We mean bythis (among other things) that it is so independently of the moral emotionsanyone may feel with respect to slavery or the infliction of pain.It will be argued here that there are grounds to believe that emotions must beevaluated cognitively and that they do have cognitive significance, value andcontent. In this cognitive or quasi-cognitive perspective, the appropriatecharacter of an emotion is akin to the truth of a proposition : just as the truth of aproposition may be evaluated in terms of the justifications we are able toprovide in its favour, the correctness of emotions may be evaluated relatively tocognitive bases and classes of available warrants. Some emotions may be ruledout as incorrect or inapproriate, just as some propositions may be rejected asunjustified or in need of a warrant. The parallel relies on the controversial notionof non-propositional forms of moral justification. The notion may be construedin a variety of ways, the most promising construals being, I believe, thoseprovided by the perceptual model.I shall focus on the following point. Moral judgements and imperatives areexpressed with the usual resources of natural languages. These typically includepredicates like "unjust" and "wrong", and deontic sentential operators like"must" and "should". Moral emotions, on the other hand, may be expressed bybodily movements and facial expressions. Although it may be argued thatemotions do not bear the cognitive marks of objectivity when expressed in thisway, there is no reason to think that a reformed language of ethics, i.e. a purelanguage of emotions, free of all the linguistic or symbolic marks of truth,assertability and objectivity, would thereby be free of normative input, or evenbe inadequate to express normative claims. I shall argue that once nonpropositionalforms of justifications are taken into account, the reformingstrategy of emotivists and neo-emotivists is indeed ineffective. (shrink)

Kendall Walton’s _Mimesis as make believe_ (1990) is a pivotal text in understanding the receiver’s role during aesthetic experience. Within his theory, aesthetic emotions have a specific importance, and they are considered as quasi-emotions. In this essay, Walton’s account, will be criticised, as it is based on the inappropriate and inconsistent concept of quasi-emotions. Firstly, quasi-emotions entail a mimetic and dualistic perspective on real and fictional words. Moreover, quasi-emotions make Walton’s theory (...) relevant to understand only artistic fruition, and not aesthetic experience. (shrink)

What would it mean for an emotion to successfully “recognize” something about an object toward which it is directed? Although the notion of "emotional recognition" is central to Rick Furtak’s _Knowing Emotions_, the text does not provide an account of this concept that enables us to assess the extent to which a given emotional response is recognitive. This article draws from the text to articulate a novel account of emotional recognition. According to this account, emotional recognition can be assessed not (...) only in terms of the “accuracy” of an emotional construal in a strictly epistemological sense, but also in terms of the quasi-ethical ideal of responding emotionally to what we encounter in ways that are “specific,” “deep," and “balanced.". (shrink)

The goal of this dissertation is to demonstrate that construals of our emotional responses to fictions as irrational or merely pseudo-emotional are not the only explanations available to us, and that necessary and sufficient conditions for an emotional response to a fiction can be established without abandoning either its intentionality or the assignment of a causal role to our beliefs. ;Colin Radford's claim that our emotional responses to fictions are irrational and inconsistent is challenged in two ways. First, distinctions can (...) be drawn between our reactions to fiction and indisputably irrational emotional reactions which preclude arriving at Radford's conclusion via an argument from analogy. Further, the conditions for rationality put forward in several analyses of emotion, ranging from that of David Hume to that of Ronald de Sousa, are not violated by our emotional responses to fictions. ;Kendall Walton's contention that such affective reactions are merely quasi-emotions is contested on the ground that the absence of the existentially committed beliefs which Walton allies with all genuine emotional responses does not demonstrate an absence of cognitive content. Existentially uncommitted evaluative beliefs, thoughts, and even beliefs about the world can be linked to our emotional experience of fictions, and can serve a function necessary to the identification of the emotion, a function which Walton assigns to the existentially committed belief. ;In our experience of fictions, the objects of our emotion are various. However, a direct response to a fictional entity or event is characterized in terms of Peter Lamarque's account: as a response to the content of a thought, a response to what has been thought or imagined rather than to the thought itself. The roles played both by evaluative beliefs and beliefs about what can occur in the world are investigated and found to constitute necessary conditions for an emotional response to a fiction. An account of the role of the imagination, which borrows from Boruah, David Novitz, and Susan Feagin, provides another condition which, together with the two preceding, appears sufficient for such a response. (shrink)

Can we build ‘moral robots’? If morality depends on emotions, the answer seems negative. Current robots do not meet standard necessary conditions for having emotions: they lack consciousness, mental states, and feelings. Moreover, it is not even clear how we might ever establish whether robots satisfy these conditions. Thus, at most, robots could be programmed to follow rules, but it would seem that such ‘psychopathic’ robots would be dangerous since they would lack full moral agency. However, I will (...) argue that in the future we might nevertheless be able to build quasi-moral robots that can learn to create the appearance of emotions and the appearance of being fully moral. I will also argue that this way of drawing robots into our social-moral world is less problematic than it might first seem, since human morality also relies on such appearances. (shrink)

This article argues that the quantitative and quasi-experimental approach to evaluating public participation exercises is deficient in at least two respects. First, casting participants in instrumental terms excludes that participants have an experience and that this may be dramatic and emotional. If people are to be invited, even obliged, to participate, then this experience should be considered in event evaluation. Second, current evaluation frameworks tend not to be sensitive to what actually happened in terms of the actions of participants (...) and how these influenced the proceedings and outcome, thus ignoring that such events are fora where positions, values, decisions, and so forth are constructed and constrained rather than simply reported. This article considers the possible contribution of dramaturgical, discourse and conversation analytic, and ethnographic and phenomenological approaches to evaluating participation exercises and illustrates their potential with data gathered during the U.K. “GM Nation?” public debate. (shrink)

The purpose of this article is to suggest that the fictionalist’s emotions toward religious discourse could be better supported than the current literature allows. By ‘fictionalist’ I mean those of whom interpret religious discourse as useful fiction. The threefold structure of the article will argue that: (1) the concept of aliefs has been falsely equated with the concept of imagining, (2) the fictionalist ought to adopt a hybrid theory of emotions rather than a cognitive appraisal and, (3) if (...) (1) and (2) are accepted, then key issues concerning the genuineness and appropriateness of emotions toward fictional entities can be overcome. I will conclude that something significant is at stake here, and that is whether or not the fictionalist’s emotions are deemed ‘real’ or not. Thus, to provide the best defence of the fictionalist’s emotions is to: (A) separate that which has been lumped together, that is: quasi emotions and alief-evoked emotions (B) argue for the hybrid account of emotions and, (C) defend the genuine and appropriate nature of fictional emotions. (shrink)

Cognitivism about the emotions is the view that emotions involve judgments (or quasi-judgmental cognitive states) that we could, in principle, articulate without reference to the emotions themselves. D’Arms and Jacobson (2003) argue that no such articulation is available in the case of “possessive” emotions, such as pride and guilt, and, so, cognitivism (in regard to such emotions, at least) is false. This article proposes and defends a cognitivist account of our partiality to the objects (...) of our pride. I argue that taking pride in something requires judging that your relation to that thing indicates that your life accords with some of your personal ideals. This cognitivist account eschews glossing pride in terms of one’s “possession” of what one is proud of and, so, escapes D’Arms and Jacobson’s critique. I motivate this account by critically assessing the most sophisticated possession-based account of pride in the literature, found in Gabriele Taylor (1985). (shrink)

This paper examines the use and meaning of the body-part terms or quasi-body part terms associated with Japanese emotions. The terms analyzed are kokoro, mune, hara, ki, and mushi. In Japanese kokoro is regarded as the seat of emotions. Mune (roughly, ‘chest’) is the place where Japanese believe kokoro is located. Hara (roughly, ‘belly’) can be used to refer to the seat of ‘thinking’, for example in expression of anger-like feelings which entail a prior cognitive appraisal. The (...) term ki (roughly, ‘breath’) is also used for expressions dealing with emotions, temperament, and behaviour; among these, ki is mostly frequently used for referring to mental activity. Mushi — literally, a ‘worm’ which exists in the hara ‘belly’ — is also used for referring to specific emotion expressions. The tool for semantic analysis employed in this paper is the “Natural Semantic Metalanguage” method developed by Anna Wierzbicka and colleagues. This metalanguage enables us to explicate concepts by means of simple words and grammar (easily translated across languages), and clarifies the similarities and dissimilarities between the components involved in semantically similar terms. The data used for analysis are from various sources; published literature both in Japanese and English, newspaper/magazine articles, film scripts, comic books, advertisements, dictionaries, and popular songs. (shrink)

Imagination has played a major role in theories of numerous aesthetic phenomena: it figures in accounts of the interpretation of art, of our emotional responses to art, and even of what art is, to name but a few topics. But imagination seemingly has a role to play also in aesthetic theorising itself, in particular in aesthetic thought experiments. Thought experiments in general pose an epistemic puzzle: how can a merely imagined scenario yield knowledge? In the paper, I have a look (...) at a special version of this puzzle that some thought experiments in aesthetics occasion. Many thought experiments in aesthetics—e.g. Kendall Walton’s guernica-experiment, or Arthur Danto’s imagined eight-hour long film of the title page of Tolstoy’s War and Peace—involve making judgements regarding the aesthetic properties of merely imagined works of art. But according to a widely accepted principle in aesthetics, one has to be acquainted with a work— seen it, heard it, and so on—in order to be able to judge its aesthetic qualities. But no one has ever seen Danto’s merely imagined film of Tolstoy’s book. So how are we in a position to judge its aesthetic properties? I propose a solution to the puzzle by elaborating on Tamar Gendler’s notion of “quasi-observation,” which she holds to be a common element of thought experimenting. As a coda, I also give a sketch of how aesthetic thought experiments are not only a tool for theorising about art, but often also figure in the production of art. (shrink)

While in the movies or reading a novel, how can we feel terrified by monsters, ghosts, and fictional serial killers? And how can we feel sad or outraged by depictions of cruelty? After all, we know that the imagined threats that we fear do not exist and, therefore, pose no real threat to us; and we know that the instances of cruelty that bring tears to our eyes have not happened. And yet, the fear, the sadness, or the outrage experienced (...) in our imaginations feels very real. This is the so-called paradox of "fictional emotions." This and related paradoxes have become recalcitrant problems for a purely representational approach to the imagination that tries to accommodate the imagination in a belief-desire psychology, explaining our imaginings as mental states that are similar to beliefs or desires in some ways but not others—as "quasi-beliefs" or "quasi-desires." This representational approach can be seen, for example, in Kendall Walton's influential account of the imagination as "make-believe," or in Shaun Nichols and Stephen Stich's boxological account of the imagination as a "pretend box," which is in close interaction with the suspiciously similar "belief box". (shrink)

Through an approach primarily inspired by the Aisthetik (Gernot Böhme) and the Neue Phänomenologie (Hermann Schmitz) I define the atmospheric perception as the first pathic impression and investigate the relationship between this kind of perception (possibly initially immersive, then reflective) and the expressive qualities of our lifeworld. Pathic aesthetics therefore ceases to be just a theory of works of art. It considers the perceiver as a being first of all emotionally and felt-bodily touched by atmospheric feelings widespread in her (lived) (...) space but these atmospheric feelings are also affordances, ontologically rooted in things and quasi-things of her lifeworld. By exploring how she unintentionally exposes herself to what happens in this lifeworld, man turns out to be not a “subject of something” but rather a “subject to something”: a human being who is “sovereign” to the extent she is free from the claim of rational autonomy imposed by the western Modernity. (shrink)

Norms are standards against which actions, dispositions of mind and character, states of affairs and so forth can be measured. They also govern our behaviour, make claims on us, bind us and provide reasons for action and thought that motivate us. J. L. Mackie argued that the intrinsic prescriptivity, or to-be-pursuedness, of moral norms would make them utterly unlike anything else that we know of. Therefore, we should favour an error theory of morality. Mackie thought that the to-be-pursuedness would have (...) to be built into mind-independent moral reality. One alternative, however, is that the to-be-pursuedness is built into our faculty of moral sensibility. There is a large body of empirical evidence demonstrating that the emotions play a central role in making moral judgments. I shall argue that this helps to explain how normative judgments are reliably and non-accidentally related to motivation. I shall also argue that emotional experience has the right structure and properties to provide us with a defeasible warrant for normative knowledge. The role of the emotions in our moral psychology does not obviously support anti-realism. Rather, emotional experience can be intentional, evaluative, evaluable, and quasi-perceptual. This makes emotional experience a plausible candidate for constituting a non-queer faculty of moral sensibility. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 36.1 (2003) 39-47 [Access article in PDF] Restraint and Emotion in Cicero's De Oratore Per Fjelstad In De Oratore Cicero has the revered orator Crassus ask, "Who then is the man who gives people a thrill? whom do they stare at in amazement when he speaks? who is interrupted by applause? who is thought to be so to say a god among men?" (1942a, III.53). Crassus, (...) who is asking his companions to think about emotional energy in speech, goes on, "It is those whose speeches are clear, explicit, and full, perspicuous in matter and language, and who in actual delivery achieve a sort of rhythm and cadence—that is, whose style I call 'ornate'."Several things are striking about the passage. First, it resolves its inquiry by invoking the concept of ornatus, a word widely used to translate the Greek idea of kosmos (DiLorenzo 1978). Cicero thus refers to a quality that joins the ideas of cosmic order, physical beauty, and earthly power. Second, the passage is delivered in the midst of Crassus's discussion of the fourth rhetorical canon, that referring to the elaboration of ideas in language, of selecting levels of style and modes of verbal embellishment. Third, the passage ranges across the entire field of rhetorical art, at least as indexed by the scope of the canons. The performative quality directly under discussion, that which gives people a thrill—initially associated with the Theophrastian virtues of style that Crassus has been enumerating, that is, clarity and explicitness—quickly is expanded to include copiousness of invention, perspicuity of language, and energetic beauty in delivery. Cicero's Crassus thus discusses a performative dynamic that appears to govern rhetoric as a whole.As the other characters in the dialogue discuss this quality of speech, which engages listeners emotionally and transforms their experience of the present, they bound beyond the preliminary categories of their analysis and describe a power of speech that is aesthetic and philosophical. As the [End Page 39] narrator of this dialogue, Cicero eventually associates the possibility of emotional transformation with a quality of performance we might identify as graceful or urbane. Cicero suggests that performative style can rise above particular details, conventions, and rules of standard rhetorical instruction. Ornate speech is, in sum, emotionally transformative. In detail, however, how does Cicero theorize this grand ability? What goals, resources, or models does he invoke?This essay argues that Cicero's theory of ornatus insists an orator display emotions relevant to the performance while responding to the need of listeners to hear emotional expression against a backdrop of relative calm. In developing this analysis, I claim that the dialogic format of De Oratore allows insight to emerge from juxtaposed perspectives, that Cicero's ideal of ornatus contains a limiting threshold for performative exuberance, and that his examples of emotional engagement illustrate the importance of context and aesthetic restraint. Theoretical tensions as sources for synthetic insight Theoretical tensions in Cicero's De Oratore are instructive. While Cicero's effort to reconcile Isocratean practice with Aristotelian teleology ultimately makes for a rough fit, the juxtaposition of those understandings within the dialogue also generates new insight, even about limits for rhetorical theory itself. Referring to this mode of theorizing as "ironic eloquence," Michael Leff holds that "through this merger of theory and practice, the rival conceptions of oratory as systematic art and oratory as synthetic practice coalesce within the text, the two perspectives interacting to produce a development that incorporates both" (1986, 323).A similar theoretical tension can be observed in De Oratore regarding the prospects and significance of emotional engagement in oratorical performance. In discussing the practices of emotional oratory Cicero draws on three distinct intellectual sources: a quasi-enthymematic model of emotional engagement, in which an orator need not share or display the sought-after emotional response; a mimetic theory of theatrical performance (that is, a typology of tonal and gestural "moods"); and a latent theory of "authenticity," according to which that which is being theatrically displayed is not "fakely" fictional, but somehow genuine.The conflicting theories suggest... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 36.1 (2003) 39-47 [Access article in PDF] Restraint and Emotion in Cicero's De Oratore Per Fjelstad In De Oratore Cicero has the revered orator Crassus ask, "Who then is the man who gives people a thrill? whom do they stare at in amazement when he speaks? who is interrupted by applause? who is thought to be so to say a god among men?" (1942a, III.53). Crassus, (...) who is asking his companions to think about emotional energy in speech, goes on, "It is those whose speeches are clear, explicit, and full, perspicuous in matter and language, and who in actual delivery achieve a sort of rhythm and cadence—that is, whose style I call 'ornate'."Several things are striking about the passage. First, it resolves its inquiry by invoking the concept of ornatus, a word widely used to translate the Greek idea of kosmos (DiLorenzo 1978). Cicero thus refers to a quality that joins the ideas of cosmic order, physical beauty, and earthly power. Second, the passage is delivered in the midst of Crassus's discussion of the fourth rhetorical canon, that referring to the elaboration of ideas in language, of selecting levels of style and modes of verbal embellishment. Third, the passage ranges across the entire field of rhetorical art, at least as indexed by the scope of the canons. The performative quality directly under discussion, that which gives people a thrill—initially associated with the Theophrastian virtues of style that Crassus has been enumerating, that is, clarity and explicitness—quickly is expanded to include copiousness of invention, perspicuity of language, and energetic beauty in delivery. Cicero's Crassus thus discusses a performative dynamic that appears to govern rhetoric as a whole.As the other characters in the dialogue discuss this quality of speech, which engages listeners emotionally and transforms their experience of the present, they bound beyond the preliminary categories of their analysis and describe a power of speech that is aesthetic and philosophical. As the [End Page 39] narrator of this dialogue, Cicero eventually associates the possibility of emotional transformation with a quality of performance we might identify as graceful or urbane. Cicero suggests that performative style can rise above particular details, conventions, and rules of standard rhetorical instruction. Ornate speech is, in sum, emotionally transformative. In detail, however, how does Cicero theorize this grand ability? What goals, resources, or models does he invoke?This essay argues that Cicero's theory of ornatus insists an orator display emotions relevant to the performance while responding to the need of listeners to hear emotional expression against a backdrop of relative calm. In developing this analysis, I claim that the dialogic format of De Oratore allows insight to emerge from juxtaposed perspectives, that Cicero's ideal of ornatus contains a limiting threshold for performative exuberance, and that his examples of emotional engagement illustrate the importance of context and aesthetic restraint. Theoretical tensions as sources for synthetic insight Theoretical tensions in Cicero's De Oratore are instructive. While Cicero's effort to reconcile Isocratean practice with Aristotelian teleology ultimately makes for a rough fit, the juxtaposition of those understandings within the dialogue also generates new insight, even about limits for rhetorical theory itself. Referring to this mode of theorizing as "ironic eloquence," Michael Leff holds that "through this merger of theory and practice, the rival conceptions of oratory as systematic art and oratory as synthetic practice coalesce within the text, the two perspectives interacting to produce a development that incorporates both" (1986, 323).A similar theoretical tension can be observed in De Oratore regarding the prospects and significance of emotional engagement in oratorical performance. In discussing the practices of emotional oratory Cicero draws on three distinct intellectual sources: a quasi-enthymematic model of emotional engagement, in which an orator need not share or display the sought-after emotional response; a mimetic theory of theatrical performance (that is, a typology of tonal and gestural "moods"); and a latent theory of "authenticity," according to which that which is being theatrically displayed is not "fakely" fictional, but somehow genuine.The conflicting theories suggest... (shrink)

This paper examines the use and meaning of the body-part terms or quasi-body part terms associated with Japanese emotions. The terms analyzed are kokoro, mune, hara, ki, and mushi. In Japanese kokoro is regarded as the seat of emotions. Mune (roughly, ¿chest¿) is the place where Japanese believe kokoro is located. Hara (roughly, ¿belly¿) can be used to refer to the seat of ¿thinking¿, for example in expression of anger-like feelings which entail a prior cognitive appraisal. The (...) term ki (roughly, ¿breath¿) is also used for expressions dealing with emotions, temperament, and behaviour; among these, ki is mostly frequently used for referring to mental activity. Mushi ¿ literally, a ¿worm¿ which exists in the hara ¿belly¿ ¿ is also used for referring to specific emotion expressions. The tool for semantic analysis employed in this paper is the ¿Natural Semantic Metalanguage¿ method developed by Anna Wierzbicka and colleagues. This metalanguage enables us to explicate concepts by means of simple words and grammar (easily translated across languages), and clarifies the similarities and dissimilarities between the components involved in semantically similar terms. The data used for analysis are from various sources; published literature both in Japanese and English, newspaper/magazine articles, film scripts, comic books, advertisements, dictionaries, and popular songs. (shrink)

Because of the complexity of human emotional responses, invariants must be sought not in the responses themselves, but in their generating mechanisms. Lindquist et al. show that functional locationism is a theoretical dead end; their proposed mechanistic framework is a first step toward better models of emotional behavior. We caution, however, that emotions may still be quasi-natural perceptual types.

In this article I explore a tantalising definition of cinematic belief as a belief without belief by briefly considering the way in which film theory and film-philosophy have engaged with the question of belief in cinema. I also take into account Simon Critchley’s discussion of religious belief in The Faith of the Faithless (2012) within the context of anthropological studies of religion such as that by Émile Durkheim. In addition, I discuss Sigmund Freud’s 1927 reflection on religion in “The Future (...) of an Illusion”. I then show that this line of thought can be linked to the philosophical discussion around the so-called paradox of fiction and introduce the idea that belief can be understood itself as an emotion or mood. I argue in favour of the solution to the paradox that claims that emotions experienced in response to fictional entities are quasi-emotions but radicalise this claim by showing that this must imply that all emotions are in fact structured like quasi-emotions and that we do not require an essentialist understanding of emotion in the first place. Throughout I use the example of the various cinematic representations of the life of St Francis to flesh out the argument, including Roberto Rossellini’s Francesco, giullare di Dio / Francesco, God’s Jester / The Flowers of St Francis (1950) but particularly Franco Zeffirelli’s much maligned Brother Sun, Sister Moon (1972). (shrink)

Background: In recent decades, the amount of research on social and emotional learning programs in schools has increased significantly, showing a great number of positive student outcomes, including greater ability to perceive, understand and manage emotions, better attitudes about self and others, less aggressive and/or disruptive behavior, higher levels of psychological well-being and improvement in academic performance among others. The purpose of this research was the design and implementation of the OKAPI emotional education program. A multidimensional program based on (...) cooperative learning methodology. Methods: 86 students of Primary Education, from 3rd to 5th grade (45 students in the experimental unit and 41 in the control group). Results: The implementation of the OKAPI has a positive impact in academic achievement. Conclusion: This program shows the convenience of incorporating programs that can be integrated into the school life and can be applied by the teaching staff using both social emotional learning and school climate approaches. (shrink)

Background: Social, emotional, and behavioral problems in childhood are key predictors of persistent problem behaviors throughout the life courses of individuals. Early parental intervention training, as an important preventive measure, plays a critical role in improving the social, emotional, and behavioral development of children.Method: We conducted a systematic review and meta-analysis to analyze the intervention effects of the latest literature on Triple P, which is a multilevel system that provides treatment and prevention for children at risk of social, emotional, and (...) behavioral problems via parenting approaches to enhance the parenting knowledge, skills, and confidence of parents. Since the literature on Triple P from 1970 to 2012 has already been systematically reviewed, this study searched the literature from 2013 to 2020 from the Web of Science, EBSCO, ERIC, MEDLINE, CNKI, and Triple P Evidence-Base website using multiple search strategies. This study differs from the existing research by its inclusion criteria of studies that use experimental designs or quasi-experimental designs. A total of 37 studies were included in the final analysis, and STATA 16.0 was used for evaluation while RevMan 5.3 for risk of bias assessment.Results: The results show that Triple P can promote the social competence of children and prevent their emotional and behavioral problems to a certain extent. Simultaneously, the proximal effects on parents mainly included changing negative parenting styles, reducing parenting conflicts, and improving parenting efficacy and self-confidence. The distal effects on parents included reducing the psychological adjustment problems of parents, improving parent–child relationships, and reducing parent–child conflict. However, the meta-analysis results did not show a significant effect of Triple P on improving the marital relationship quality and satisfaction of parents. Components of the program intervention, including intervention level, service delivery format, service method, and program implementation setting, and the age of the children were crucial moderating factors on the outcomes of Triple P.Conclusion: This study systematically reviewed the latest Triple P intervention literature and found the significant effectiveness of Triple P on the SEB problems of children and parenting outcomes and the moderators of the effect size. (shrink)

The present study examined a relational model of appraisal that specifies the situational and dispositional antecedents of appraised problem-focused coping potential, itself a hypothesised antecedent of the emotions of hope/challenge and resignation. The hypothesised relational antecedents of this appraisal were tested in a quasi-experiment in which individuals varying in self-perceived and objectively assessed math ability attempted to solve math problems on which difficulty was manipulated. Findings for the critical test problem largely conformed to predictions: Under difficult conditions, but (...) not easy ones, increasing math ability was generally associated with elevated appraisals of problem-focused coping potential, increased hope/challenge, reduced resignation, and increased likelihood of solving the problem. However, problem-focused coping potential, hope/challenge, and the likelihood of solving the problem were all lower, and resignation was higher, for the highest ability participants, than would be predicted from their ability levels. Comparable findings were not observed for appraisals of emotion-focused coping potential or its theoretically associated emotion of anxiety, providing evidence of discriminant validity for the examined model. The results of a mediational analysis supported the hypothesis that the effects of the quasi-experimental design on hope/challenge and resignation were mediated by their effects on appraised problem-focused coping potential, lending support to the proposition that appraisals play a causal role in emotion elicitation. (shrink)

Teaching is, to date, one of the most prone jobs to experiencing occupational stress and burnout. Owing to burnout’s negative personal, social, organizational and economic impacts, researchers, practitioners and education policy leaders are interested in developing practices and interventions aimed at preventing/reducing its prevalence. With teachers’ main professional demands to be of a social and emotional nature, interventions designed with a view to promote teachers’ social and emotional competence appears to be particularly promising, positively impacting teachers’ well-being and personal accomplishment (...) and contributing to a decrease in their psychological distress, namely emotional exhaustion. However, theoretical and empirically grounded interventions with ecological validity and specifically targeting teachers are still scarce. Thus, to bridge the previously identified gaps, the present study aimed to evaluate the efficacy and the quality of the intervention’s implementation of the A+, an online social and emotional learning intervention for elementary-school teachers. A quasi-experimental study was conducted with a total of 81 participants from three different school contexts. School clusters were similar in size, organizational structure and socioeconomic level, and as regards previous attendance at social and emotional learning interventions; however, they differed with regards to perceived organizational climate. Data on the efficacy of the A+ was collected across four waves using a set of self-report questionnaires that assessed proximal variables and distal variables, and analyzed through Robust Linear Mixed-Effects Models. Coefficient omegas suggested adequate reliability of the measures. Additionally, two trained observers completed an observation grid to evaluate the quality of the A+ implementation, with excellent inter-rater reliability. Results suggested that, over time, the A+ had positive impacts across proximal and distal variables favoring the experimental group. However, results differed across the school contexts. These findings were accompanied by good implementation quality indicators, namely high fidelity in the delivery of the A+ contents and high participants’ responsiveness. Despite its limitations, this study contributes to a growing body of research which reinforces the importance of investing in social and emotional learning interventions to prevent teachers’ burnout and improve their occupational health. Furthermore, it highlights the importance of implementation quality research as a component of program planning with a view to enhancing programs’ efficacy, as well as the need to adapt and consider context variables in research and practice. (shrink)

The phenomenon of multi-used stock photography in the news contradicts the photojournalism professional values of truthful and emotional depictions. This reality echoes other false images increasingly appearing in the media, including deepfakes and artificial intelligence. In the present study, a two (stock and staff photo) by two (positive and negative valence) quasi-experiment is conducted. The dependent variables include: 1) credibility; 2) self-reported arousal level; 3) emotional valence perceptions; 4) fixation duration; and 5) fixation count. Participants viewed staff photos as (...) more credible in both positive and negative valences. Negative photos were perceived as slightly less credible. Stock and staff photos were similarly arousing, received similar valence perceptions, and had similar gaze fixations and durations. Overall, participants perceived the genuine emotion portrayed truthfully in photojournalism as opposed to the faux emotion acted out in stock photos. (shrink)

There is an increasing demand by society that university students demonstrate competitive skills to enable them to achieve greater success when entering the workplace. Creativity and life satisfaction correlate positively with academic performance, productivity, and excellence in the working environment. The presence of creativity and emotional intelligence in the curriculum and teaching methods in Spanish universities, however, is surprisingly lacking. Studies that examine gender differences in these variables provide conflicting results. The purpose of our research is to analyse the changes (...) produced in both creativity and life satisfaction in university students by a positive emotional and creative intervention and explore individual differences by gender. The methodology used was a quasi-experimental pre- test/post- test design with experimental/control groups. Three hundred university students from the Community of Madrid completed three exercises that evaluated creativity and life satisfaction. The results show significantly higher results in creativity and life satisfaction in women, who continued to achieve high results after the intervention. Finally, we discuss the need for emotional and creative education in universities and focus on the employability and the guarantee of equal opportunities through the development of these competencies. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 76-79 [Access article in PDF] Response to Kingsley Price, "How Can Music Seem to be Emotional" Forest Hansen Lake Forest College Just as at the International Symposium in Philosophy of Music Education IV (PME-IV) in Birmingham, Kingsley Price has demonstrated his acute logical prowess and his alluring wit. Then as now he was addressing the question of how music can seem to (...) have feelings, how it is that we attribute merriment, joy, sorrow, sadness, and the like to passages of instrumental music. On that occasion he systematically dissected the general theory which explains such attributions by reference to feelings or emotions caused in the listener, and he more explicitly criticized the causal model theories of Peter Kivy, Jerrold Levinson, and Roger Scruton. He half-promised, then, that he would in time examine another kind of relevant theory-namely one that explains by showing that music means feelings.Now he has examined for us what is probably the strongest version of such a theory-that of Susanne Langer-and found it wanting. And he has left us in limbo by refusing to reveal his own true and best theory. Perhaps for that we must wait for PME-VI!By way of responding to Price, I want to point out two things in his argument which I find rather slippery, one perhaps not so important and one that I think is [End Page 76] quite important. Then I will make a quasi-defense of Langer's theory of meaning which may evade Price's criticism. Finally, I would like to hazard a guess as to the kind of position which Price might put forward if he were not so reticent.First, the point that is not so important. There has long been an amazing amount of uncertainly about what constitutes an emotion or a feeling, amazing because philosophers and subsequently psychologists have been reflecting on and doing mental and laboratory experiments in the area for a long, long time. Some take feeling to be the larger field of which emotions are a subset; others do the reverse. Some differentiate feelings or emotions or both in terms of related behavior, whereas others put them in the box of subjective experience. So my first comments are meant to be cautionary with respect to speaking about feelings or emotions.Price, for instance, speaks of love as a kind of emotion. I find that peculiar, especially in the way he describes Romeo's love as "continuous, not a succession of discrete moments" and as something that has a more or less clear beginning and end with no lapses in between. But there must be many times that Romeo does not experience the so-called emotion, when he is asleep, for instance, or doing nothing between acts. I love my wife Valerie, but when I am speaking now, and in most of my actions every day, I am not experiencing some set of feelings that combine to make the emotion "Forest's love of Valerie." Often what we call emotions are only intermittently experienced and are perhaps best understood as dispositions or attitudes or beliefs or commitments.My second, and I hope more telling, point is to note how Price is playful with the notion of "reality." He makes it sound as if the distinction between appearance and reality is something that can be quite clear and unambiguous, even if it is not so in particular situations like that of a person seeing a nonexistent oasis or of Lady Macbeth seeing a nonexistent spot on her hand. But note how Price so often gives us examples from the world, so to speak, of art. Lady Macbeth and Romeo do not exist as real people. Those who enact their parts do, of course, but the Lady Macbeth actor is not fooled about the spot on the hand, and the Romeo actor might quite dislike the Juliet actor and not even be sexually attracted to her. Unlike us poor mortals, Romeo and Juliet live and die again and again... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 76-79 [Access article in PDF] Response to Kingsley Price, "How Can Music Seem to be Emotional" Forest Hansen Lake Forest College Just as at the International Symposium in Philosophy of Music Education IV (PME-IV) in Birmingham, Kingsley Price has demonstrated his acute logical prowess and his alluring wit. Then as now he was addressing the question of how music can seem to (...) have feelings, how it is that we attribute merriment, joy, sorrow, sadness, and the like to passages of instrumental music. On that occasion he systematically dissected the general theory which explains such attributions by reference to feelings or emotions caused in the listener, and he more explicitly criticized the causal model theories of Peter Kivy, Jerrold Levinson, and Roger Scruton. He half-promised, then, that he would in time examine another kind of relevant theory-namely one that explains by showing that music means feelings.Now he has examined for us what is probably the strongest version of such a theory-that of Susanne Langer-and found it wanting. And he has left us in limbo by refusing to reveal his own true and best theory. Perhaps for that we must wait for PME-VI!By way of responding to Price, I want to point out two things in his argument which I find rather slippery, one perhaps not so important and one that I think is [End Page 76] quite important. Then I will make a quasi-defense of Langer's theory of meaning which may evade Price's criticism. Finally, I would like to hazard a guess as to the kind of position which Price might put forward if he were not so reticent.First, the point that is not so important. There has long been an amazing amount of uncertainly about what constitutes an emotion or a feeling, amazing because philosophers and subsequently psychologists have been reflecting on and doing mental and laboratory experiments in the area for a long, long time. Some take feeling to be the larger field of which emotions are a subset; others do the reverse. Some differentiate feelings or emotions or both in terms of related behavior, whereas others put them in the box of subjective experience. So my first comments are meant to be cautionary with respect to speaking about feelings or emotions.Price, for instance, speaks of love as a kind of emotion. I find that peculiar, especially in the way he describes Romeo's love as "continuous, not a succession of discrete moments" and as something that has a more or less clear beginning and end with no lapses in between. But there must be many times that Romeo does not experience the so-called emotion, when he is asleep, for instance, or doing nothing between acts. I love my wife Valerie, but when I am speaking now, and in most of my actions every day, I am not experiencing some set of feelings that combine to make the emotion "Forest's love of Valerie." Often what we call emotions are only intermittently experienced and are perhaps best understood as dispositions or attitudes or beliefs or commitments.My second, and I hope more telling, point is to note how Price is playful with the notion of "reality." He makes it sound as if the distinction between appearance and reality is something that can be quite clear and unambiguous, even if it is not so in particular situations like that of a person seeing a nonexistent oasis or of Lady Macbeth seeing a nonexistent spot on her hand. But note how Price so often gives us examples from the world, so to speak, of art. Lady Macbeth and Romeo do not exist as real people. Those who enact their parts do, of course, but the Lady Macbeth actor is not fooled about the spot on the hand, and the Romeo actor might quite dislike the Juliet actor and not even be sexually attracted to her. Unlike us poor mortals, Romeo and Juliet live and die again and again... (shrink)

Drawing from the grounded theory of work engagement, this research aims to explore three essential yet previously unexamined pathways—work meaningfulness, emotion regulation, and job competence in simultaneously transmitting the effects of mindfulness training to employee experience of work engagement. We employed a six-wave quasi-experimental design and recruited 129 employees to participate in the quasi-experiment, and tested our simultaneous mediating models using the structural equation modeling. Results showed that mindfulness facilitated employees’ work meaningfulness, emotion regulation, and job competence, which (...) in turn enhanced employee work engagement. By doing so, we add to the mindfulness literature by showing that the three essential psychological states are important machanims that link mindfulness to work engagement. Practicially, this research reveals that mindfulness training is an effective tool to influence employees’ psychological states, which ultimately develop their work engagement in the workplace. (shrink)

Objective:A growing body of evidence supports the effectiveness of body-oriented interventions in educational contexts, showing positive influences on social-emotional competence. Nevertheless, there is a lack of systematization of the evidence regarding preschool years. This is a two-part systematic review. In this first part, we aim to examine the effects of BOI on preschoolers' social-emotional competence outcomes.Data Sources:Searches were conducted in Pubmed, Scopus, PsycInfo, ERIC, Web of Science, Portal Regional da BVS and CINAHL.Eligibility Criteria:English, French and Portuguese language articles published between (...) January 2000 and October 2020, that evaluated the effects of BOI implemented in educational contexts on social-emotional competence of preschool children. Only randomized controlled trials or quasi-RCT were included.Data Extraction and Synthesis:Two reviewers independently completed data extraction and risk-of-bias assessment. The level of scientific evidence was measured through the Best Evidence Synthesis.Results:Nineteen studies were included. There was strong evidence that BOI do not improve anger/aggression, delay of gratification and altruism. Nevertheless, there was moderate evidence that BOI effectively improve other social-emotional outcomes, such as empathy, social interaction, social independence, general internalizing behaviors, and general externalizing behaviors. The lack of scientific evidence was compromised by the methodological quality of the studies.Conclusion:BOI effectively improve specific social-emotional competences of preschool children.Systematic Review Registration:PROSPERO, identifier CRD42020172248. (shrink)