Evaluative theories in psychology and philosophy of emotion

2021 ◽  
Author(s):  
Fabrice Teroni
Keyword(s):  
Philosophy Of Emotion

Rasāsvāda: A Comparative Approach to Emotion and the Self

2021 ◽  
Vol 26 ◽  
pp. 115-139
Author(s):  
Sthaneshwar Timalsina ◽  
Keyword(s):  
The Self ◽  
Comparative Approach ◽  
Underlying Assumption ◽  
Systematic Philosophy ◽  
Philosophy Of Emotion ◽  
The Relationship ◽  
Rasa Theory

This paper explores the philosophy of emotion in classical India. Although some scholars have endeavored to develop a systematic philosophy of emotion based on rasa theory, no serious effort has been made to read the relationship between emotion and the self in light of rasa theory. This exclusion, I argue, is an outcome of a broader presupposition that the 'self' in classical Indian philosophies is outside the scope of emotion. A fresh reading of classical Sanskrit texts finds this premise baseless. With an underlying assumption that emotion and self are inherently linked, this paper explores similarities between the Indian and Chinese approaches.

Fear and Its Opposites in the History of Emotions

Facing Fear ◽  
2012 ◽  
Author(s):  
Max Weiss
Keyword(s):  
Eighteenth Century ◽  
Cultural Analysis ◽  
Fear Response ◽  
History Of Emotions ◽  
Weimar Germany ◽  
History Of ◽  
Philosophy Of Emotion ◽  
Historical Moment ◽  
Anxiety And Fear

This book examines the “problem” of fear in its intellectual, social, and political incarnations. It situates fear in world-historical terms, thus breaking new ground in the historical and cultural analysis of emotions. Each contributor is specifically concerned with a discrete historical moment, thereby emphasizing the variability and contingency of fears past, present, and future. Examples of such moments are the experience of fear among eighteenth-century rebels, priests, and colonial administrators in Peru; the universal fear response evoked by the Thirty Years War; and the technologically mediated experiences of anxiety and fear collectively felt by cinemagoers in Weimar Germany. This introduction discusses some of the lineaments of the history and philosophy of emotion as it pertains to the problem of fear, highlighting counterpoints or analogues to fear such as comfort, assurance, and hope.

Emotion, Value, and the Ambiguous Honor of a Handbook

2011 ◽  
Vol 8 (2) ◽  
pp. 273-285
Author(s):  
Remy Debes
Keyword(s):  
Personal Identity ◽  
Philosophy Of Emotion

AbstractScholars take note: the philosophy of emotion is staking its claim. Peter Goldie's new Oxford Handbook of Philosophy of Emotion (OHPE) is undoubtedly the most significant collection of original philosophical essays on emotion to date. It spans a broad range of topics from the nature of mind and reason to personal identity and beauty. It also boasts an incredible set of prestigious authors. But more than that – it bears testimony to its own legitimacy.

scholarly journals Multimodality of the category EMOTIONS in art discourse: a fractal semiotics perspective

2018 ◽  
Keyword(s):  
Visual Arts ◽  
Emergence Time ◽  
Cognitive Mechanisms ◽  
The Core ◽  
Evidence Framework ◽  
Philosophy Of Emotion ◽  
Heuristic Device ◽  
Fractal Representation ◽  
Art And Language

This article focuses on revealing the ontological peculiarities of the multimodal nature of the verbally represented category EMOTIONS in the ecology of art discourse. On the grounds of philosophy of emotion, psychology of art, cognitive theories of emotion and B. Mandelbrot’s theory of fractals to complement the linguocognitive, cognitive-discursive and semiotics approaches, we elaborate an integrative evidence framework of the fractality of the category EMOTIONS in the circumflex of its conceptual components JOY, SADNESS, INTEREST, SURPRISE, ANGER, FEAR, DISGUST as natural fractals, actualized in modern art discourse in matrices of their conceptual features EXPERIENCE STIMULUS, APPRAISAL, EMERGENCE TIME, DIRECTION. A special emphasis has been laid on both the essence of art discourse, implying discourses on art and art as discourse, being an environment of conceptualizing and verbalizing aesthetic emotions, and on the role of the cognitive mechanisms of metaphors and metonymies in multimodal objectivizations of the category EMOTIONS fractals in discourses of visual arts and music (installations and tone painting). The relation between emotion, cognition, semiotics, art and language has been specified. As a result of the analysis based on the core multimodal research concepts of modes, semiotic resource, modal affordance and intersemiotic relations we have found out that verbalized category EMOTIONS conceptual ingredients are anchored in art perception, acquiring their fractal representation in clusters of modalities. The latter comprise the alethic, deontic, axiological, temporal, spatial, epistemic ones, getting recursively realized verbally, visually, aurally, linked with synesthesia, including chromesthesia, ideasthesia, spatial sequence, triggered by conceptualized and verbalized feeling experience response. With this work we demonstrate the value of fractal semiotics approach as a heuristic device to study multimodal categories.

In Pursuit of Emotional Modes

2017 ◽  
Author(s):  
Fabrice Teroni
Keyword(s):  
William James ◽  
Turning Points ◽  
The Body ◽  
Recent History ◽  
History Of ◽  
Philosophy Of Emotion ◽  
Emotion Theory ◽  
Psychological Mode

This chapter focuses on fundamental trends in the philosophy of emotion since the publication of William James’ seminal and contentious view. James is famous for his claim that undergoing an emotion comes down to feeling (psychological mode) specific changes within the body (content). Philosophers writing after him have also attempted to analyse emotional modes in terms of other psychological modes (believing, desiring, and perceiving) and to adjust their contents accordingly. The discussion is organized around a series of contrasts that have played fundamental roles in shaping these approaches to the emotions. These contrasts are those between emotions and feelings, between specific and unspecific phenomenology, and between dependent and independent modes. Focus on these contrasts enables a review of some dramatic turning points in the recent history of theorizing about the emotions; it also serves to bring to light fundamental constraints bearing on emotion theory.

Affective Arrangements and Disclosive Postures

2018 ◽  
Vol 2018 (2) ◽  
pp. 177-196
Author(s):  
Jan Slaby
Keyword(s):  
Affect Studies ◽  
Local Setting ◽  
Affective Intentionality ◽  
Philosophy Of Emotion ◽  
Affective Intensity

In this paper, I explore links between the phenomenology-inspired philosophy of emotion, especially discussions of affective intentionality and situated affectivity, and those strands of work in the field of cultural affect studies that take their inspiration fromSpinoza and Deleuze. As bridges between these fields, I propose the concepts ‘disclosive posture’ and ‘affective arrangement’. ‘Disclosive posture’ condenses insights from phenomenological work on affectivity, especially those pertaining to what Heidegger calls Befindlichkeit. ‘Affective arrangement’ is a descendant of Deleuze and Guattari’s term agencement. It refers to heterogeneous ensembles of elements coalescing into a sphere of heightened affective intensity in a local setting. I develop this notion into a tool for analyzing situated affectivity. As it does not yet figure prominently within debates in the philosophy of emotion, I will outline what is meant by ‘affective arrangement’ in some detail. Throughout, I discuss a productive tension between these two conceptual strands.

Living like common people: emotion, will, and divine passibility

2009 ◽  
Vol 45 (4) ◽  
pp. 373-393
Author(s):  
ANASTASIA SCRUTTON
Keyword(s):  
Emotional Experience ◽  
Common People ◽  
Divine Omnipotence ◽  
Recent Philosophy ◽  
Philosophy Of Emotion

AbstractThis paper explores the perennial objection to passibilism (conceived as susceptibility to or capacity for emotion) that an omnipotent being could not experience emotions because emotions are essentially passive and outside the subject's control. Examining this claim through the lens of some recent philosophy of emotion, I highlight some of the ways in which emotions can be chosen and cultivated, suggesting that emotions are not incompatible with divine omnipotence. Having concluded that divine omnipotence does not exclude emotional experience in general, I go on to address an objection to the idea that God experiences the emotions involved in suffering in particular, suggesting one possible way of arguing that God's suffering is chosen while also maintaining the authenticity of divine suffering.

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