Peter Goldie

There is a view of the emotions (I might tendentiously call it ‘cognitivism’) that has at present a certain currency. This view is of the emotions as playing an essential role in our gaining evaluative knowledge of the world. When we are angry at an insult, or afraid of the burglar, our emotions involve evaluative perceptions and thoughts, which are directed towards the way something is in the world that impinges on our well-being, or on the well-being of those that matter to us. Without emotions, we would be worse off, prudentially and morally: we would not see things as they are, and accordingly we would not act as we should. Emotions are, according to this view a Good Thing. No wonder we have evolved as creatures capable of emotion.[1]

To the realists.—You sober people who feel well armed against passion and fantasies and would like to turn your emptiness into a matter of pride and ornament: you call yourselves realists and hint that the world really is the way it appears to you. As if reality stood unveiled before you only, and you yourselves were perhaps the best part of it … But in your unveiled state are not even you still very passionate and dark creatures compared to fish, and still far too similar to an artist in love? And what is ‘reality’ for an artist in love? You are still burdened with those estimates of things that have their origin in the passions and loves of former centuries. Your sobriety still contains a secret and inextinguishable drunkenness. Your love of ‘reality’, for example-—oh, that is a primeval ‘love’ … Subtract the phantasm and every human contribution from it, my sober friends! If you can! If you can forget your descent, your past, your training—all of your humanity and animality. (F. Nietzsche,The Gay Science, Book Two, extract from Section 57)

What is the point of art, and why does it matter to us human beings? The answer that I will give in this paper, following on from an earlier paper on the same subject, is that art matters because our being actively engaged with art, either in its production or in its appreciation, is part of what it is to live well. The focus in the paper will be on the dispositions—the virtues of art production and of art appreciation—that are necessary for this kind of active engagement with art. To begin with, I will argue that these dispositions really are virtues and not mere skills. Then I will show how the virtues of art, and their exercise in artistic activity, interweave with the other kinds of virtue which are exercised in ethical and contemplative activity. And finally, I will argue that artistic activity affords, in a special way, a certain kind of emotional sharing that binds us together with other human beings.

This paper presents two ideas in connection with the notion of empathic access to one's past, where this notion is understood as consisting of memories of one's past from the inside, plus a fundamental sympathy for those remembered states. The first idea is that having empathic access is a necessary condition for one's personal identity and survival. I give reasons to reject this view, one such reason being that it in effect blocks off the possibility of profound personal progress through radical change. The second idea is that empathy with one's past should, as a matter of necessity, be modeled on empathy with another person. I reject this two-state model, arguing for the alternative possibility of a one-state model, according to which one's thoughts and memories of one's past can become infused with one's present thoughts about and attitudes toward one's past.

After many years of neglect, philosophers are increasingly turning their attention to the emotions, and recently we have seen a number of different accounts of emotion. In this article, we will first consider what facts an account of emotion needs to accommodate if it is going to be acceptable. Having done that, we will then consider some of the leading accounts and see how they fare in accommodating the facts. Two things in particular will emerge. First, an adequate account of emotion cannot be provided without taking into account a wide range of issues in philosophy of mind that extend beyond the emotions in particular. Secondly, the diversity of emotional phenomena makes it especially hard to provide anything like a comprehensive account of emotion; philosophers not only disagree over what are the essential properties of emotion, but also over what are central cases.

In this paper I sketch a virtue theory of art, analogous to a virtue theory of ethics along Aristotelian lines. What this involves is looking beyond a parochial conception of art understood as work of art, as product, to include intentions, motives, skills, traits, and feelings, all of which can be expressed in artistic activity. The clusters of traits that go to make up the particular virtues of art production and of art appreciation are indeed virtues in part because, when they are expressed in artistic activity, that activity is chosen for its own sake, ‘under the concept of art’; and also they are virtues in part because, when they are so expressed, the activities are themselves partly constitutive of human well-being, along with other activities, including leading an ethical life, and what Aristotle called contemplation. With a virtue theory of art before us, we can begin to see the point of art, to see why art matters to us as human beings.

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.