Florian Cova

The ‘Knobe effect’ is the name given to the empirical finding that judgments about whether an action is intentional or not seems to depend on the moral valence of this action. To account for this phenomenon, Scaife and Webber have recently advanced the ‘Consideration Hypothesis’, according to which people’s ascriptions of intentionality are driven by whether they think the agent took the outcome in consideration when taking his decision. In this paper, I examine Scaife and Webber’s hypothesis and conclude that it is supported neither by the existing literature nor by their own experiments, whose results I did not replicate, and that the ‘Consideration Hypothesis’ is not the best available account of the ‘Knobe Effect’.

Based on a puzzling pattern in our judgements about intentional action, Knobe [. “Intentional Action and Side-Effects in Ordinary Language.” Analysis 63: 190–194] has claimed that these judgements are shaped by our moral judgements and evaluations. However, this claim goes directly against a key conceptual intuition about intentional action – the “frame-of-mind condition”, according to which judgements about intentional action are about the agent’s frame-of-mind and not about the moral value of his action. To preserve this intuition Hindriks [. “Intentional Action and the Praise-Blame Asymmetry.” The Philosophical Quarterly 58: 630–641;. “Normativity in Action: How to Explain the Knobe Effect and its Relatives.” Mind & Language 29: 51–72] has proposed an alternate account of the Knobe Effect. According to his “Normative Reason account of Intentional Action”, a side-effect counts as intentional only when the agent thought it constituted a normative reason not to act but did not care. In...

In this paper, we argue that, barring a few important exceptions, the phenomenon we refer to using the expression “being moved” is a distinct type of emotion. In this paper’s first section, we motivate this hypothesis by reflecting on our linguistic use of this expression. In section two, pursuing a methodology that is both conceptual and empirical, we try to show that the phenomenon satisfies the five most commonly used criteria in philosophy and psychology for thinking that some affective episode is a distinct emotion. Indeed, being moved, we claim, is the experience of a positive core value (particular object) perceived by the moved subject as standing out (formal object) in the circumstances triggering the emotion. Drawing on numerous examples, we describe the distinctively rich phenomenology characteristic of the experience as well as the far-reaching action-tendencies and functions associated with it. Having thus shown that the candidate emotion seem to satisfy the five criteria, we go on, in section three, to compare it with sadness and joy, arguing that it should not be confused with either. Finally, in section four, we illustrate the explanatory power of our account of “being moved” by showing how it can shed light on, and maybe even justify, the widespread distrust we feel towards the exhibition of ‘sentimentality’. On the whole and if we are right, we have uncovered an emotion which, though never or rarely talked about, is of great interest and no small importance

We present the results of four experiments concerning the evaluation people make of sentences involving “many”, showing that two sentences of the form “many As are Bs” vs. “many As are Cs” need not be equivalent when evaluated relative to a background in which B and C have the same cardinality and proportion to A, but in which B and C are predicates with opposite semantic and affective values. The data provide evidence that subjects lower the standard relevant to ascribe “many” for the more negative predicate, and that judgments involving “many” are sensitive to moral considerations, namely to expectations involving a representation of the desirability as opposed to the mere probability of an outcome. We relate the results to similar semantic asymmetries discussed in the psychological literature, in particular to the Knobe effect and to framing effects.