Peter Goldie

As part of the debate between theory‐theorists and simulation‐theorists in the philosophy of mind, there is the question of how we think about the emotions of other people. It is the aim of this paper to distinguish and clarify some of the ways in which we do this. In particular five notions are discussed: understanding and explaining others’ emotions, emotional contagion, empathy, in‐his‐shoes imagining, and sympathy. I argue that understanding and explanation cannot be achieved by any of the other four notions. So far as concerns prediction of other people’s emotional responses, I argue that simulationists have tended to concentrate on empathy and in‐his‐ shoes imagining to explain how this is done, and that more prominence should be given to other means of prediction through imagination which do not involve imagining events from the other’s point of view; roughly, imagining how she would feel need not involve imagining feeling how she would feel. But prediction in these other ways, like understanding and explanation, are achieved without losing sight of the fact that the other person has a point of view, and in this respect I argue that this approach is essentially distinct from the approach of the theory‐theorist of a functionalist persuasion.

Emotions, I will argue, involve two kinds of feeling: bodily feeling and feeling towards. Both are intentional, in the sense of being directed towards an object. Bodily feelings are directed towards the condition of one's body, although they can reveal truths about the world beyond the bounds of one's body – that, for example, there is something dangerous nearby. Feelings towards are directed towards the object of the emotion – a thing or a person, a state of affairs, an action or an event; such emotional feelings involve a special way of thinking of the object of the emotion, and I draw an analogy with Frank Jackson's well-known knowledge argument to show this. Finally, I try to show that, even if materialism is true, the phenomenology of emotional feelings, as described from a personal perspective, cannot be captured using only the theoretical concepts available for the impersonal stance of the sciences.

_In real life, emotions can distort practical reasoning, typically in ways that it is_ _difficult to realise at the time, or to envisage and plan for in advance. This fea-_ _ture of real life emotional experience raises difficulties for imagining such expe-_ _riences through centrally imagining, or imagining ‘from the inside’. I argue_ _instead for the important psychological role played by another kind of imagin-_ _ing: imagining from an external perspective. This external perspective can draw_ _on the dramatic irony involved in imagining these typical cases, where one_ _knows outside the scope of the imagining what one does not know as part of the_ _content of what one imagines: namely, that the imagined emotion is distorting_ _one’s reasoning. Moreover, imagining from an external perspective allows one_ _to evaluate the imagined events in a way that imagining from the inside does not._

The idea that there is an important place in philosophical aesthetics for virtues of art is not new, but it is now undergoing a serious re‐examination. Why might this be? What are the principles behind virtue aesthetics? Are there any good arguments for the theory? (I will take virtue aesthetics to be the theory that there is a central place for virtues of art.) What problems does virtue aesthetics face? And what might the implications be of virtue aesthetics both in philosophy and in related disciplines?

I argue that it is possible, in the right circumstances, to see what the kind thing is to do: in the right circumstances, we can, literally, see deontic facts, as well as facts about others’ emotional states, and evaluative facts. In arguing for this, I will deploy a notion of non‐inferential perceptual belief or judgement according to which the belief or judgement is arrived at non‐inferentially in the phenomenological sense and yet is inferential in the epistemic sense. The ability to arrive at these kinds of beliefs and judgements is part of virtue, and is also part of what it is to grasp thick ethical concepts in an engaged way. When we come to thinner evaluative and deontic facts and thinner ethical concepts, however, the requirements for non‐inferential perceptual belief and judgement are less easily met. Seeing what is the kind thing to do is one matter; seeing what is the right thing to do is another

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. This volume 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. It offers the ideal starting-point for the exploration of this intriguing aspect of human life.

Abstract Narrative thinking has a very important role in our ordinary everyday lives?in our thinking about fiction, about the historical past, about how things might have been, and about our own past and our plans for the future. In this paper, which is part of a larger project, I will be focusing on just one kind of narrative thinking: the kind that we sometimes engage in when we think about, evaluate, and respond emotionally to, our own past lives from a perspective that is external to the remembered events. Being able to do this is an essential part of what it is to have a narrative sense of self. Sometimes, I will suggest, we fail to have such responses?we are not able to think and feel as we should about an episode in our lives. On such occasions, there is a gap in our narrative sense of self?a gap which opens up especially where the past is in some sense tragic or traumatic. The desire to close this gap is what I will call a desire for emotional closure

Grief is not a kind of feeling, or a kind of judgement, or a kind of perception, or any kind of mental state or event the identity of which can be adequately captured at a moment in time. Instead, grief is a kind of process; more specifically, it is a complex pattern of activity and passivity, inner and outer, which unfolds over time, and the unfolding pattern over time is explanatorily prior to what is the case at any particular time. The pattern of a particular grieving is best understood and explained through a narrative account, and not merely through a causal account, for narrative accounts in such cases have powerful explanatory, revelatory, and expressive powers which causal accounts lack. Although I will not argue for it here, I believe that this view of grief can be generalised to other kinds of emotion. If this is so, then many philosophical accounts of emotion are at fault in identifying emotion with a kind of mental state or event

'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.