Journal ArticleDOI
VI. Emotional Feelings and Intentionalism
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This paper argued that emotions are Janus-faced: their focus may switch from how a person is feeling deep inside her, to the busy world of actions, words, or gestures whose perception currently affects her.Abstract:
Emotions are Janus-faced: their focus may switch from how a person is feeling deep inside her, to the busy world of actions, words, or gestures whose perception currently affects her. The intimate relation between the ‘inside’ and the ‘outside’ seems to call for a redrawing of the traditional distinction of mental states between those that can look out to the world, and those that are, supposedly, irredeemably blind.read more
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Journal ArticleDOI
The case against unconscious emotions
TL;DR: In this article, a discussion of cognitivism leads to a consideration of work in experimental psychology that appears to establish the reality of emotional phenomena that tran scend conscious awareness.
Journal ArticleDOI
Aquinas on attachment, envy, and hatred in the summa theologica
TL;DR: The authors examined Aquinas's discussions of hatred in Summa Theologica I-II, Q. 29 and II-II and Q. 34, in order to retrieve an account of what contemporary theorists of the emotions call its cognitive contents.
Journal ArticleDOI
Affectively Driven Perception: Toward a Non-representational Phenomenology
TL;DR: In this article, the authors argue that the phenomenology of horizons can be explained by appealing to certain affective states or affect schemas that shape the intentional directedness of low-level perceptual experience and define its phenomenal character.
Book
The Emotional Mind: A Control Theory of Affective States
TL;DR: In this article, a control theory of the emotions and related affective states is developed, based on the basic principle of negative feedback control, which outlines a new fundamental kind of mental content called "valent representation".
Dissertation
Shared emotions in music
TL;DR: In this paper, the authors argue that music hijacks our simulative capacities and thus that recognising emotions in music is like recognizing emotions in people, and that musicians can use music to physically extend the cognition of their emotions.