Discuss how our memory transports us back to an emotion.
Sociologists investigate how emotion shapes and is shaped by social interaction.
The emotion aroused will be the emotion that would be aroused by the object represented.
Poetry is not a turning loose of emotion, but an escape from emotion; it is not the expression of personality, but an escape from personality.
Philosophically, emotion is a central feature of Dewey’s critique of traditional epistemology and metaphysics.
Substantive irrationality can be argued for with respect to both emotion types and emotion tokens.
There is no other way to be conscious of an emotion; to express an emotion is to be conscious of it.
Another problem for Dewey: if the self disappears in experience then how can the object arouse emotion in the self or have emotion attached to it?
This last point suggests that there is such a thing as an ‘aesthetic emotion’, but it ‘is not a specific kind of emotion pre-existing to the expression of it’ (117).
Have them look up the full range of different emotions, define each emotion, put it into a sentence and write about how that emotion might show itself during family lockdown.
Our discussion of this topic will focus on two types of research: the role of emotion in moral reasoning generally, and the role of one specific emotion—disgust—in moral judgments.
But as she delved into the neuroscience literature she became convinced that reasoning and emotion were inseparable: just as too much emotion could cause irrational thinking, so could too little.
The difficulty with this claim, as Rorty (1980) argues, is that the word, ‘emotion,’ does not seem to pick out a homogeneous collection of mental states, and so various theories claiming that love is an emotion mean very different things.
Part of the problem seems to be the rather simple account of what an emotion is that Brown and Hamlyn use as their starting point: if love is an emotion, then the understanding of what an emotion is must be enriched considerably to accommodate love.
Scarantino (2014, 2015) draws a distinction between an emotion and an episode of emotion, with the emotion corresponding to what causes a change in action readiness and the episode of emotion corresponding to the actual change of action readiness.
What this means is that, when I have an emotional response like anger to an imagined situation, I feel the same emotion that I would normally feel only I am not inclined to act on this emotion, say, by yelling or responding in an angry way, as I would be if the emotion was a full-fledged emotion.
The only way of expressing emotion in the form of art is by finding an “objective correlative”; in other words, a set of objects, a situation, a chain of events which shall be the formula for that particular emotion; such that, when the external facts, which must terminate in sensory experience, are given, the emotion is immediately evoked.
Aquinas, Saint Thomas | architecture, philosophy of | creation and conservation | Edwards, Jonathan | emotion | emotion: in the Christian tradition | empathy | epistemology | evolution | God: concepts of | intentionality | James, William | Murdoch, Iris | phenomenology | Plotinus | religion: epistemology of | religious diversity | religious experience | Ryle, Gilbert | Scheler, Max
This multi-dimensional heterogeneity has led some to conclude that folk emotion categories do not designate natural kinds, either with respect to the generic category of emotion (Rorty 1980b, 2003; Griffiths 1997; Russell 2003; Zachar 2006; Kagan 2007, 2010) or with respect to specific emotion categories such as anger, fear, happiness, disgust, and so on (Scarantino 2012; Barrett 2006, 2017).
action-based theories of perception | bodily awareness | consciousness | decision-making capacity | definitions | desire | emotion: 17th and 18th century theories of | emotion: in the Christian tradition | emotion: medieval theories of | empathy | envy | fitting attitude theories of value | frame problem | Indian Philosophy (Classical): concept of emotion | intentionality | intentionality: phenomenal | love | moral sentimentalism | natural kinds | pleasure | practical reason | rationality: instrumental | self-deception | social construction: naturalistic approaches to
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action-based theories of perception | bodily awareness | consciousness | decision-making capacity | definitions | desire | emotion 17th and 18th century theories of | emotion in the Christian tradition | emotion medieval theories of | empathy | envy | fitting attitude theories of value | frame problem | Indian Philosophy Classical concept of emotion | intentionality | intentionality phenomenal | love | moral sentimentalism | natural kinds | pleasure | practical reason | rationality instrumental | self-deception | social construction naturalistic approaches to