The Emotions: A Philosophical Introduction

The emotions are at the centre of our lives and, for better or worse, imbue them with much of their significance. The philosophical problems stirred up by the existence of the emotions, over which many great philosophers of the past have laboured, revolve around attempts to understand what this significance amounts to. Are emotions feelings, thoughts, or experiences? If they are experiences, what are they experiences of? Are emotions rational? In what sense do emotions give meaning to what surrounds us? The Emotions: A Philosophical Introduction introduces and explores these questions in a clear and accessible way. The authors discuss the following key topics: the diversity and unity of the emotions the relations between emotion, belief and desire the nature of values the relations between emotions and perceptions emotions viewed as evaluative attitudes the link between emotions and evaluative knowledge the nature of moods, sentiments, and character traits. Including chapter summaries and guides to further reading, The Emotions: A Philosophical Introduction is an ideal starting point for any philosopher or student studying the emotions. It will also be of interest to those in related disciplines such as psychology and the social sciences.

Form Justified Emotions to Justified Evaluative Judgements

Are there justified emotions? Can they justify evaluative judgements? We first explain the need for an account of justified emotions by emphasizing that emotions are states for which we have or lack reasons. We then observe that emotions are explained by their cognitive and motivational bases. Considering cognitive bases first, we argue that an emotion is justified if and only if the properties the subject is aware of constitute an instance of the relevant evaluative property. We then investigate the roles of motivational bases. Finally, we argue that justified emotions are sufficient for justified evaluative judgements.

In What Sense Are Emotions Evaluations?

Abstract: In this chapter, we first introduce the idea that emotions are evaluations. Next, we explore two approaches attempting to account for this idea in terms of attitudes that are alleged to become emotional when taking evaluative contents. According to the first approach, emotions are evaluative judgments. According to the second, emotions are perceptual experiences of evaluative properties. We explain why this theory remains unsatisfactory insofar as it shares with the evaluative judgement theory the idea that emotions are evaluations in virtue of their contents. We then outline an alternative – the attitudinal theory of emotions. It parts with current theorizing about the emotions in elucidating the fact that emotions are evaluations not in terms of what they represent, but in terms of the attitude subjects take towards what they represent. We explore what sorts of attitudes emotions are and claim that they are felt bodily attitudes.

Emotions and Values

There are close links between emotions and values, or at least this is what our ordinary ways of talking suggest. For many, if not all, types of emotion it is thus possible to find a corresponding evaluative term, one often derived from the name of the emotion in question. These are for example evaluative terms such as ‘shameful’, ‘offensive, ‘annoying’, ‘dangerous’, ‘contemptible’, ‘admirable’, ‘amusing’, ‘exciting’, ‘boring’, and the like. Starting perhaps from these linguistic observations, the philosophical task is of course to elucidate the nature of the links between emotions and values, and attempts at doing so have traditionally revolved around the following three questions: first, what is the role of emotions in elucidating the nature of value? For example, should dangerousness be understood in term of the fear response? Second, what is the role of emotions in our getting access to values? For example, what may be the role of fear in becoming aware that a given animal is dangerous? Third, what value do emotions have? For example, is fear of special value because it helps behaving appropriately towards its object? We hall take up these questions in turn and survey the most important answers they have received in the literature. As we shall discover, answering the first question amounts to surveying a variety of theories according to which there is an ontological relation between values and emotions since the former should be elucidated in terms of the latter (Sec. 1). Addressing the second question consists in reviewing theories according to which there is an intentional relation between emotions and values because the former are apprehensions of value or evaluations (Sec. 2). Grappling with the third question, we shall explore some reasons for thinking that emotions can exemplify values (Sec. 3).

Sharing vs. caring--the relative impact of sharing decisions versus managing emotions on patient outcomes

To assess the relative impact of cognitive and emotional aspects of shared decision making (SDM) on patient outcomes.

Emotions, Arousal, and Frontal Alpha Rhythm Asymmetry During Beethoven's 5th Symphony

Music is capable of inducing emotional arousal. While previous studies used brief musical excerpts to induce one specific emotion, the current study aimed to identify the physiological correlates of continuous changes in subjective emotional states while listening to a complete music piece. A total of 19 participants listened to the first movement of Ludwig van Beethoven's 5th symphony (duration: ~7.4 min), during which a continuous 76-channel EEG was recorded. In a second session, the subjects evaluated their emotional arousal during the listening. A fast fourier transform was performed and covariance maps of spectral power were computed in association with the subjective arousal ratings. Subjective arousal ratings had good inter-individual correlations. Covariance maps showed a right-frontal suppression of lower alpha-band activity during high arousal. The results indicate that music is a powerful arousal-modulating stimulus. The temporal dynamics of the piece are well suited for sequential analysis, and could be necessary in helping unfold the full emotional power of music.