One of Sartre's most important pieces of writing, Sketch for a Theory of the Emotions not only anticipates but argues many of the ideas to be found in his famous Being and Nothingness.
One of Sartre's most important pieces of writing, Sketch for a Theory of the Emotions not only anticipates but argues many of the ideas to be found in his famous Being and Nothingness.
Philosopher, novelist, dramatist and existentialist Jean-Paul Sartre is one of the greatest writers of all time. He was fascinated by the role played by the emotions in human life and placed them at the heart of his philosophy. This brilliant short work - which contains some of the principal ideas later to appear in his masterpiece Being and Nothingness - is Sartre at his best: insightful, engaging and controversial. Far from constraining one's freedom, as we often think, Sartre argues that emotions are fundamental to it and that an emotion is nothing less than 'a transformation of the world'. With a new foreword by Sebastian Gardner.
Why attractive things work better and other crucial insights into human-centered design Emotions are inseparable from how we humans think, choose, and act. In Emotional Design, cognitive scientist Don Norman shows how the principles of human psychology apply to the invention and design of new technologies and products. In The Design of Everyday Things, Norman made the definitive case for human-centered design, showing that good design demanded that the user's must take precedence over a designer's aesthetic if anything, from light switches to airplanes, was going to work as the user needed. In this book, he takes his thinking several steps farther, showing that successful design must incorporate not just what users need, but must address our minds by attending to our visceral reactions, to our behavioral choices, and to the stories we want the things in our lives to tell others about ourselves. Good human-centered design isn't just about making effective tools that are straightforward to use; it's about making affective tools that mesh well with our emotions and help us express our identities and support our social lives. From roller coasters to robots, sports cars to smart phones, attractive things work better. Whether designer or consumer, user or inventor, this book is the definitive guide to making Norman's insights work for you.
Widely regarded as the standard reference in the field, this handbook comprehensively examines all aspects of emotion and its role in human behavior. The editors and contributors are foremost authorities who describe major theories, findings, methods, and applications. The volume addresses the interface of emotional processes with biology, child development, social behavior, personality, cognition, and physical and mental health. Also presented are state-of-the-science perspectives on fear, anger, shame, disgust, positive emotions, sadness, and other distinct emotions. Illustrations include seven color plates.
Life, on a day to day basis, is a sequence of emotional states: hope, disappointment, irritation, anger, affection, envy, pride, embarrassment, joy, sadness and many more. We know intuitively that these states express deep things about our character and our view of the world. But what are emotions and why are they so important to us? In one of the most extensive investigations of the emotions ever published, Robert Roberts develops a novel conception of what emotions are and then applies it to a large range of types of emotion and related phenomena. In so doing he lays the foundations for a deeper understanding of our evaluative judgments, our actions, our personal relationships and our fundamental well-being. Aimed principally at philosophers and psychologists, this book will certainly be accessible to readers in other disciplines such as religion and anthropology.
Leading philosophers offer a rich survey of the development of our understanding of the emotions, discussing major thinkers from antiquity to the 20th century. Thinking about the Emotions is a fascinating and illuminating study of how philosophers have grappled with this intriguing part of our nature as beings who feel as well as think and act.
In Emotions and Reasons, Patricia Greenspan offers an evaluative theory of emotion that assigns emotion a role of its own in the justification of action. She analyzes emotions as states of object-directed affect with evaluative propositional content possibly falling short of belief and held in mind by generalized comfort or discomfort.
I should say first of all that the only emotions I propose expressly to consider here are those that have a distinct bodily expression. That there are feelings of pleasure and displeasure, of interest and excitement, bound up with mental operations, but having no obvious bodily expression for their consequence, would, I suppose, be held true by most readers. Certain arrangements of sounds, of lines, of colours are agreeable, and others the reverse, without the degree of the feeling being sufficient to quicken the pulse or breathing, or to prompt to movements of either the body or the face. Certain sequences of ideas charm us as much as others tire us. It is a real intellectual delight to get a problem solved, and a real intellectual torment to have to leave it unfinished. The first set of examples, the sounds, lines, and colours, are either bodily sensations, or the images of such. The second set seem to depend on processes in the ideational centres exclusively. Taken together, they appear to prove that there are pleasures and pains inherent in certain forms of nerve-action as such, wherever that action occur. The case of these feelings we will at present leave entirely aside, and confine our attention to the more complicated cases in which a wave of bodily disturbance of some kind accompanies the perception of the interesting sights or sounds, or the passage of the exciting train of ideas. Surprise, curiosity, rapture, fear, anger, lust, greed, and the like, become then the names of the mental states with which the person is possessed. The bodily disturbances are said to be the "manifestation" of these several emotions, their "expression" or "natural language;" and these emotions themselves, being so strongly characterized both from within and without, may be called the standard emotions. --William James