Despite their apparent familiarity, emotions are an extremely subtle and complex topic, historically neglected of study by philosophers and scientists. In recent decades, however, research in the emotions has grown considerably. This new four volume collection is a broad philosophical examination of basic concepts and essential issues but also takes an interdisciplinary approach that combines philosophical analysis with other types of scientific research (such as psychology, anthropology, history, sociology, and brain sciences).
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.
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.
Philosophy, Music and Emotion explores two issues which have been intensively debated in contemporary philosophy: the nature of music's power to express emotion, and the nature of emotion itself. It shows how closely the two topics are related and provides a radically new account of what it means to say that music 'expresses emotion'. Geoffrey Madell maintains that most current accounts of musical expressiveness are fundamentally misguided. He attributes this fact to the influence of a famous argument of the nineteenth-century critic Hanslick, and also to the dominant 'cognitivist' approach to the nature of emotion, which sees the essence of emotion to be the entertaining of evaluative judgements and beliefs of a certain sort, an account very much in accord with Hanslick's position. Such an approach results either in the unpersuasive view that musical expressiveness is somehow akin to human expressive gesture, or in the view that music arouses feelings which have no specific object and, unavoidably, no necessary connection with the music.The book argues that the 'cognitivist' account of the nature of emotion is quite false and that it needs to be replaced with a conception of emotions as states of feeling towards - states of intentional feeling - whose objects are often evaluatively characterised states of affairs; however, in the context of the emotions that are aroused by music these objects are always musical events or states. Central to this bold analysis of emotion is a new account of two closely connected mental states, those of desire and of pleasure, and of what role these states have in human motivation and value.
Peter Goldie opens the path to a deeper understanding of our emotional lives through a lucid philosophical exploration of this surprisingly neglected topic. He illuminates the phenomena of emotion by drawing not only on philosophy but also on literature and science. He 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 such related phenomena as consciousness, thought, feeling, and imagination. He explains how it is that we are able to make sense of our own and other people's emotions, and how we can explain the very human things which emotions lead us to do. A key theme of The Emotions is the idea of a personal perspective or point of view, contrasted with the impersonal stance of the empirical sciences. Goldie argues that it is only from the personal point of view that thoughts, reasons, feelings, and actions come into view. He suggests that there is a tendency for philosophers to over-intellectualize the emotions, and investigates how far it is possible to explain emotions in terms of rationality. Over-intellectualizing can also involve neglecting the centrality of feelings, and Goldie shows how to put them where they belong, as part of the intentionality of emotional experience, directed towards the world from a point of view. Goldie argues that the various elements of emotional experience—including thought, feeling, bodily change, and expression—are tied together in a narrative structure. To make sense of one's emotional life one has to see it as part of a larger unfolding narrative. The narrative is not simply an interpretative framework of a life: it is what that life is. Goldie concludes by applying these ideas in a close study of one particular emotion: jealousy. This fascinating book gives an accessible but penetrating exploration of a subject that is important but mysterious to all of us. Any reader interested in emotion, and its role in our understanding of our lives, will find much to think about here.
This volume explores emotion in medieval and early modern thought, and opens a contemporary debate on the way emotions figure in our cognitive lives. Thirteen original essays explore the key themes of emotion within the mind; the intentionality of emotions; emotions and action; and the role of emotion in self-understanding and social situations.
The emotions present deep philosophical problems that have preoccupied philosophers such as Aristotle, David Hume and William James. This book is an ideal introduction to the philosophy of the emotions and will be of interest to those in related disciplines such as psychology and political theory.
William Lyons presents a survey of psychological and physiological theories on emotions. Once the background is established, Lyons analyses his own theory, which throws light on the motivating role of emotions in our lives, our attitudes towards our emotions and our responsibility for them.
This book traces the genealogy of early Chinese conceptions of emotions, as part of a broader inquiry into evolving conceptions of self, cosmos and the political order. It seeks to explain what was at stake in early philosophical debates over emotions and why the mainstream conception of emotions became authoritative.
Gut Reactions is an interdisciplinary defense of the claim that emotions are perceptions in a double sense. First of all, they are perceptions of changes in the body, but, through the body, they also allow us to literally perceive danger, loss, and other matters of concern. This proposal, which Prinz calls the embodied appraisal theory, reconciles the long standing debate between those who say emotions are cognitive and those who say they are noncognitive. The basic idea behind embodied appraisals is captured in the familiar notion of a "gut reaction," which has been overlooked by much emotion research. Prinz also addresses emotional valence, emotional consciousness, and the debate between evolutionary psychologists and social constructionists.
