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This title was first published in 2002: At the end of the 20th
century, the emotions ceased to be a neglected topic for
philosophical consideration. The editor suggests that this may, in
part, be due to a change in the way the subject is approached. The
emotions were characteristically thought of by philosophers as
states which give rise to perturbation in what might roughly be
called "right-thinking". The basic idea was that practical
reasoning, like theoretical reasoning, ought to be, and can be,
dispassionate. This means that either the emotions interfere with
"right-reasoning" in a way which is a proper object of study for
the biological sciences but not for the science of the mind, or
that the emotions become reducible to, and analyzable as,
collections of propositional attitudes which are themselves
assessable in terms of "right-reasoning".
This title was first published in 2002: At the end of the 20th
century, the emotions ceased to be a neglected topic for
philosophical consideration. The editor suggests that this may, in
part, be due to a change in the way the subject is approached. The
emotions were characteristically thought of by philosophers as
states which give rise to perturbation in what might roughly be
called "right-thinking". The basic idea was that practical
reasoning, like theoretical reasoning, ought to be, and can be,
dispassionate. This means that either the emotions interfere with
"right-reasoning" in a way which is a proper object of study for
the biological sciences but not for the science of the mind, or
that the emotions become reducible to, and analyzable as,
collections of propositional attitudes which are themselves
assessable in terms of "right-reasoning". The move away from this
idea is taken as an improvement in our philosophical approach to
the emotions by the authors. Following this, all of the papers in
the volume contribute to this philosophical approach, each
approaching the subject from a different angle.
Understanding Emotions presents eight original essays on the
emotions from leading contemporary philosophers in North America
and the U.K: Simon Blackburn, Bill Brewer, Peter Goldie, Dan Hutto,
Adam Morton, Michael Stocker, Barry Smith, and Finn Spicer. Goldie
and Spicer's introductory chapter sets out the key themes of the
ensuing chapters: surveying contemporary philosophical thinking
about the emotions, and raising challenges to a number of
prejudices that are sometimes brought to the topic from elsewhere
in the philosophy of mind and moral philosophy. Brewer, Hutto,
Goldie and Smith explore the conceptual and epistemological
problems of other minds that the emotions raise, and how the
emotions can be a source of knowledge of the world around us. The
chapters by Stocker, Blackburn and Morton are broadly concerned
with issues in morality: Stocker argues for the traditional
Aristotelian view that emotions reveal value and are constitutive
of value; Blackburn, from a more Augustinian perspective, argues
that the virtuous person, like the rest of us, will be emotional
but he or she will have the right emotions towards the right
objects; Morton questions the idea of emotions and narrative as
sources of self-understanding. An extensive bibliography completes
the book. Drawing together the arguments of leading contemporary
philosophers, focusing on issues in the philosophy of mind,
epistemology and moral philosophy, this book offers a wide and deep
understanding of the emotions, and will be of interest across the
philosophical spectrum to students and researchers of this
fascinating and important topic.
What is conceptual art? Is it really a kind of art in its own
right? Is it clever - or too clever? Of all the different art forms
it is perhaps conceptual art which at once fascinates and
infuriates the most. In this much-needed book Peter Goldie and
Elisabeth Schellekens demystify conceptual art using the sharp
tools of philosophy. They explain how conceptual art is driven by
ideas rather than the manipulation of paint and physical materials;
how it challenges the very basis of what we can know about art, as
well as our received ideas of beauty; and why conceptual art
requires us to rethink concepts fundamental to art and aesthetics,
such as artistic interpretation and appreciation. Including helpful
illustrations of the work of celebrated conceptual artists from
Marcel Duchamp, Joseph Kosuth and Piero Manzoni to Dan Perjovschi
and Martin Creed, Who's Afraid of Conceptual Art? is a superb
starting point for anyone intrigued but perplexed by conceptual art
- and by art in general. It will be particularly helpful to
students of philosophy, art and visual studies seeking an
introduction not only to conceptual art but fundamental topics in
art and aesthetics.
What is conceptual art? Is it really a kind of art in its own
right? Is it clever - or too clever? Of all the different art forms
it is perhaps conceptual art which at once fascinates and
infuriates the most. In this much-needed book Peter Goldie and
Elisabeth Schellekens demystify conceptual art using the sharp
tools of philosophy. They explain how conceptual art is driven by
ideas rather than the manipulation of paint and physical materials;
how it challenges the very basis of what we can know about art, as
well as our received ideas of beauty; and why conceptual art
requires us to rethink concepts fundamental to art and aesthetics,
such as artistic interpretation and appreciation. Including helpful
illustrations of the work of celebrated conceptual artists from
Marcel Duchamp, Joseph Kosuth and Piero Manzoni to Dan Perjovschi
and Martin Creed, Who's Afraid of Conceptual Art? is a superb
starting point for anyone intrigued but perplexed by conceptual art
- and by art in general. It will be particularly helpful to
students of philosophy, art and visual studies seeking an
introduction not only to conceptual art but fundamental topics in
art and aesthetics.
Understanding Emotions presents eight original essays on the
emotions from leading contemporary philosophers in North America
and the U.K: Simon Blackburn, Bill Brewer, Peter Goldie, Dan Hutto,
Adam Morton, Michael Stocker, Barry Smith, and Finn Spicer. Goldie
and Spicer's introductory chapter sets out the key themes of the
ensuing chapters: surveying contemporary philosophical thinking
about the emotions, and raising challenges to a number of
prejudices that are sometimes brought to the topic from elsewhere
in the philosophy of mind and moral philosophy. Brewer, Hutto,
Goldie and Smith explore the conceptual and epistemological
problems of other minds that the emotions raise, and how the
emotions can be a source of knowledge of the world around us. The
chapters by Stocker, Blackburn and Morton are broadly concerned
with issues in morality: Stocker argues for the traditional
Aristotelian view that emotions reveal value and are constitutive
of value; Blackburn, from a more Augustinian perspective, argues
that the virtuous person, like the rest of us, will be emotional
but he or she will have the right emotions towards the right
objects; Morton questions the idea of emotions and narrative as
sources of self-understanding. An extensive bibliography completes
the book. Drawing together the arguments of leading contemporary
philosophers, focusing on issues in the philosophy of mind,
epistemology and moral philosophy, this book offers a wide and deep
understanding of the emotions, and will be of interest across the
philosophical spectrum to students and researchers of this
fascinating and important topic.
Warm, sensitive, creative, outgoing, cheeky, creepy. Scan any
personal ads page and it's clear that to get a life you need a
personality first. It is also a notion with a long and often
bizarre history: in early Greece and medieval Europe, it was
thought to depend on the balance of bile in the body. On
Personality is a thoughtful and stimulating look under the skin of
this widely-used but little understood phenomenon. Peter Goldie
points out that we rely on personality to do a lot of work:
describe, judge, understand, explain and predict others as well as
ourselves. Is it really up to this task? If personality is about
'character', is it a relic of a bygone Victorian age? If
personality is so reliable, how can a virtue in one person be a
vice in another? Drawing on a great range of philosophers,
novelists and films, from Aristotle, Hume, Kant and Nietzsche to
Joseph Conrad, Middlemarch, War and Peace and Bridget Jones' Diary,
Peter Goldie also discusses some famous psychology experiments. If
personality is a reliable guide to predicting what people will do,
he reflects on why people often surprise us and asks whether
personality is simply down to chance and circumstance. On
Personality is essential reading for anyone interested in this
fascinating but slippery concept. It will also make you think twice
before writing your CV.
Empathy has for a long time, at least since the eighteenth century,
been seen as centrally important in relation to our capacity to
gain a grasp of the content of other people's minds, and predict
and explain what they will think, feel, and do; and in relation to
our capacity to respond to others ethically. In addition, empathy
is seen as having a central role in aesthetics, in the
understanding of our engagement with works of art and with
fictional characters. A fuller understanding of empathy is now
offered by the interaction of research in science and the
humanities. Empathy: Philosophical and Psychological Perspectives
draws together nineteen original chapters by leading researchers
across several disciplines, together with an extensive Introduction
by the editors. The individual chapters reveal how important it is,
in a wide range of fields of enquiry, to bring to bear an
understanding of the role of empathy in its various guises. This
volume offers the ideal starting-point for the exploration of this
intriguing aspect of human life.
The analytic philosophers writing here engage with the cluster of
philosophical questions raised by conceptual art. They address four
broad questions: What kind of art is conceptual art? What follows
from the fact that conceptual art does not aim to have aesthetic
value? What knowledge or understanding can we gain from conceptual
art? How ought we to appreciate conceptual art?
Conceptual art, broadly understood by the contributors as
beginning with Marcel Duchamp's ready-mades and as continuing
beyond the 1970s to include some of today's contemporary art, is
grounded in the notion that the artist's "idea" is central to art,
and, contrary to tradition, that the material work is by no means
essential to the art as such. To use the words of the conceptual
artist Sol LeWitt, "In conceptual art the idea of the concept is
the most important aspect of the work . . . and the execution is a
perfunctory affair." Given this so-called "dematerialization" of
the art object, the emphasis on cognitive value, and the frequent
appeal to philosophy by many conceptual artists, there are many
questions that are raised by conceptual art that should be of
interest to analytic philosophers. Why, then, has so little work
been done in this area? This volume is most probably the first
collection of papers by analytic philosophers tackling these
concerns head-on.
This volume contains thirty-one state-of-the-art contributions from
leading figures in the study of emotion today. The volume addresses
all the central philosophical issues in current emotion research,
including: the nature of emotion and of emotional life; the history
of emotion from Plato to Sartre; emotion and practical reason;
emotion and the self; emotion, value, and morality; and emotion,
art and aesthetics. Anyone interested in the philosophy of emotion,
and its wide-ranging implications in other related fields such as
morality and aesthetics, will want to consult this book. It will be
a vital resource not only for scholars and graduate students but
also for undergraduates who are finding their way into this
fascinating topic.
Empathy has for a long time, at least since the eighteenth century,
been seen as centrally important in relation to our capacity to
gain a grasp of the content of other people's minds, and predict
and explain what they will think, feel, and do; and in relation to
our capacity to respond to others ethically. In addition, empathy
is seen as having a central role in aesthetics, in the
understanding of our engagement with works of art and with
fictional characters. A fuller understanding of empathy is now
offered by the interaction of research in science and the
humanities. Empathy: Philosophical and Psychological Perspectives
draws together nineteen original chapters by leading researchers
across several disciplines, together with an extensive Introduction
by the editors. The individual chapters reveal how important it is,
in a wide range of fields of enquiry, to bring to bear an
understanding of the role of empathy in its various guises. This
volume offers the ideal starting-point for the exploration of this
intriguing aspect of human life.
Peter Goldie explores the ways in which we think about our
lives--our past, present, and future--in narrative terms. The
notion of narrative is highly topical, and highly contentious, in a
wide range of fields including philosophy, psychology and
psychoanalysis, historical studies, and literature. The Mess Inside
engages with all of these areas of discourse, and steers a path
between the sceptics who are dismissive of the idea of narrative as
having any worthwhile use at all, and those who argue that our very
selfhood is somehow constituted by a narrative.
After introducing the notion of narrative, Goldie discusses the way
we engage with the past in narrative terms. This involves an
exploration of the essentially perspectival nature of narrative
thinking, which gains support from much recent empirical work on
memory. Drawing on literary examples and on work in psychology,
Goldie considers grief as a case study of this kind of narrative
thinking, extending to a discussion of the crucial notion of
"closure." Turning to narrative thinking about our future, Goldie
discusses the many structural parallels between our imaginings of
the future and our memories of the past, and the role of our
emotions in response to what we imagine in thinking about our
future in the light of our past. This is followed by a second case
study--an exploration of self-forgiveness.
In this ground-breaking book, Goldie supports scepticism about the
idea that there is such a thing as a narrative self, but argues
that having a narrative sense of self, quite distinct from any
metaphysical notion of selfhood, is at the heart of what it is to
think of ourselves, and others, as having a narratable past,
present, and future.
The Aesthetic Mind breaks new ground in bringing together empirical
sciences and philosophy to enhance our understanding of aesthetics
and the experience of art. An eminent international team of experts
presents new research in philosophy, psychology, neuroscience, and
social anthropology: they explore the roles of emotion,
imagination, empathy, and beauty in this realm of human experience,
ranging over visual and literary art, music, and dance. Among the
questions discussed are: Why do we engage with things aesthetically
and why do we create art? Does art or aesthetic experience have a
function or functions? Which characteristics distinguish aesthetic
mental states? Which skills or abilities do we put to use when we
engage aesthetically with an object and how does that compare with
non-aesthetic experiences? What does our ability to create art and
engage aesthetically with things tell us about what it is to be a
human being? This ambitious and far-reaching volume is essential
reading for anyone investigating the aesthetic and the artistic.
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. 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.
Peter Goldie explores the ways in which we think about our
lives-our past, present, and future-in narrative terms. The notion
of narrative is highly topical, and highly contentious, in a wide
range of fields including philosophy, psychology and
psychoanalysis, historical studies, and literature. The Mess Inside
engages with all of these areas of discourse, and steers a path
between the sceptics who are dismissive of the idea of narrative as
having any worthwhile use at all, and those who argue that our very
selfhood is somehow constituted by a narrative. After introducing
the notion of narrative, Goldie discusses the way we engage with
the past in narrative terms. This involves an exploration of the
essentially perspectival nature of narrative thinking, which gains
support from much recent empirical work on memory. Drawing on
literary examples and on work in psychoanalysis, Goldie considers
grief as a case study of this kind of narrative thinking, extending
to a discussion of the crucial notion of 'closure'. Turning to
narrative thinking about our future, Goldie discusses the many
structural parallels between our imaginings of the future and our
memories of the past, and the role of our emotions in response to
what we imagine in thinking about our future in the light of our
past. This is followed by a second case study-an exploration of
self-forgiveness. In this ground-breaking book, Goldie supports
scepticism about the idea that there is such a thing as a narrative
self, but argues that having a narrative sense of self, quite
distinct from any metaphysical notion of selfhood, is at the heart
of what it is to think of ourselves, and others, as having a
narratable past, present, and future.
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