Rick Anthony Furtak

Martha Nussbaum’s new book Political Emotions is a contribution to political philosophy and, simultaneously, a moral-psychological study of the emotions. In it, she revisits some of the most prominent themes in her 2004 book Hiding from Humanity and her 2001 treatise, Upheavals of Thought. As Nussbaum points out in the opening pages of Political Emotions, one of her goals in this work is to answer a call issued by John Rawls for a “reasonable moral psychology” that would be conceptually refined and empirically grounded, since a complete theoretical account of the just society must be informed by a suitably complex, accurate conception of human emotions. On the whole, Political Emotions is a remarkably successful book that combines several areas of philosophical research in which the author’s proficiency is well known. It shows how problems that lie on the more intimate side of ethics, pertaining for instance to friendship and family life, have relevance for social justice and publi ..

Abstract   In his discourses on ‘the lily of the field and the bird of the air,’ Kierkegaard presents faith as the best possible response to our precarious and uncertain condition, and as the ideal way to cope with the insecurities and concerns that his readers will recognize as common features of human existence. Reading these discourses together, we are introduced to the portrait of a potential believer who, like the ‘divinely appointed teachers’—the lily and the bird—succeeds in leading a life that is full of care, but free of worry. Such a portrait, we claim, echoes Kierkegaard’s portrait of the knight of faith in Fear and Trembling . In this essay we suggest that faith, as characterized in the ‘lily and bird’ discourses, is a kind of existential trust that would allow us to overcome worry, while remaining wholeheartedly engaged in the finite realm of our cares and concerns. We claim that Kierkegaard’s goal in these discourses is not to belittle our earthly cares, but to invite us to develop a modified attitude toward all that we are susceptible to worry about. Content Type Journal Article Category Article Pages 1-19 DOI 10.1007/s11153-011-9322-5 Authors Sharon Krishek, Department of Philosophy, The Hebrew University of Jerusalem, Jerusalem, Israel Rick Anthony Furtak, Department of Philosophy, Colorado College, Colorado Springs, CO, USA Journal International Journal for Philosophy of Religion Online ISSN 1572-8684 Print ISSN 0020-7047

This chapter analyses Soren Kierkegaard's thoughts and opinions about ancient Greek philosophy. It examines the significance of Kierkegaard's references to Greek philosophy in his writings and suggests that his use of classical thought was part of his effort to define his own intellectual project. The chapter investigates how Greek philosophy influenced Kierkegaard's works and views about ethics, existential thought, Socratic faith, love, and virtue, and also considers what Kierkegaard believed was the legacy of ancient Greek philosophy.

According to Stoic moral psychology, emotions are cognitive responses to perceived value in the contingent world. This dissertation begins by defending a contemporary version of this descriptive theory; it then proceeds with a critique of the Stoics' normative thesis that emotions involve amorally deplorable kind of cognitive error. I distinguish two senses in which this thesis is historically put forward, and show that both are thematically pertinent. The structural variant, as I call it, is a qualified critique of the particular cognitive flaws to which emotions are liable; the fundamental argument, on the other hand, is that emotions are categorically unreliable. My goal in the rest of the dissertation is to respond to each aspect of normative Stoicism with a positive account of how it might be possible for a moral agent to avoid false emotion without doing away with emotion altogether. This means explaining how a person's emotional perception might become reliable rather than sentimental within a given moral context, and indicating what axiological conditions must generally obtain if emotion is justifiable in any case. In doing so, I draw largely upon Kierkegaard's pseudonymous and signed writings, while also engaging with other relevant philosophical texts along the way. I argue that a morality of virtue and narrative awareness is necessary for accurate emotional perception; then, I attempt to define the conditions on which a qualified value realism might be tenable. It is one thing to argue for the importance of emotion in human life, as a number of recent studies have done, but it is quite another to show how we might cultivate truthful, and avoid false, emotion. The outcome of this inquiry into the possibility of reliable emotion is a positive account of the ideal state in which one could trust oneself to be rational in being passionate

By taking seriously the state of moral estrangement, we may learn something about the conditions of moral participation. Yet analytic discussions of this topic (for instance, by Hare and Nagel) have frequently been handicapped by an inadequate understanding of the intentionality of emotion. In the work of Albert Camus, we find a superior appreciation of the sense in which the individual’s revolt against prevailing values could be a justified response to objective conditions. Although a sense of the absurd is itself a hindrance to moral agency, it provides us with some insight into our subjective capacity for wholehearted involvement in the world.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 207-215 [Access article in PDF] Notes and Fragments Poetics of Sentimentality Rick Anthony Furtak IN HIS MAJOR WORK, The Passions, Robert Solomon argues that emotions are judgments. 1 Through a series of persuasive examples, he shows that emotions are best understood as mental states which involve certain beliefs about the world. This means that every emotion has an object: if I am angry at John for stealing my car, the object of my anger is the fact (or what I take to be a fact) that my car has been stolen by John. If I find out that this is not the case, that my car has not even left the garage, then my anger should vanish along with its justification. 2 The key point here is that anger, like any other emotion, may be reasonable or inappropriate depending on the situation. If there is nothing to be angry about, then it would be irrational for me to cultivate anger simply because I enjoy having this particular emotion. In general, emotional responses are cognitively flawed whenever they are at odds with the properties of their objects. If we want our judgments to be realistic and not delusional, then we must avoid this kind of error.It is curious, then, that Solomon has written an essay in which he categorically declares that "there is nothing wrong with sentimentality." 3 For it would appear that his theory of emotion provides precisely the terms needed in order to specify what is wrong with it. If emotions are judgments, then "sentimentality" ought to be an important critical term to designate the habit of having emotions that involve either impaired or mistaken judgment. Nevertheless, Solomon is willing to defend any and every episode of tender emotion, of the kind associated with the [End Page 207] death of Little Nell in The Old Curiosity Shop (S, p. 240). He suggests that the more we can muster up this sort of response to literature or life, the better. What he seeks to encourage, in other words, is what Hume would call "delicacy" of (aesthetic) taste and of (ethical) passion. 4 But while Hume acknowledges that sensitivity to beauty and to ugliness are two sides of the same coin, such that anyone who is susceptible to lively enjoyments is also liable to undergo pungent sorrows, Solomon wants to promote only the tender aspect of emotion.On the principle of passionate maximization, it is good if I can be tenderly affected by a poem—any poem! The problem with such crass emotion-stoking is that it precludes the possibility of distinguishing between, for instance, the two stanzas below. Both are by Wilfred Owen: the first was written in 1914 and the second in 1918. 5 I O meet it is and passing sweet To live in peace with others, But sweeter still and far more meet To die in war for brothers. II Bent double, like old beggars under sacks, Knock-kneed, coughing like hags, we cursed through sludge, Till on the haunting flares we turned our backs And towards our distant rest began to trudge. Men marched asleep. Many had lost their boots But limped on, blood-shod. All went lame; all blind; Drunk with fatigue; deaf even to the hoots Of tired, outstripped Five-Nines that dropped behind. Only if emotions did not involve rational judgment could a person's passionate response to these two stanzas be a matter of indifference. But it seems that, on the contrary, an essential component of understanding them is recognizing that they express irreconcilable cognitive attitudes. The tone of the 1918 stanza is strikingly different from that of the earlier one, even though they share roughly the same topic. The latter stanza is stark and ominous, and filled with vivid detail; the one from 1914 is sweet and vague. Clearly, we might describe the earlier of the two as "sentimental"—the question is, what kind of judgment does [End Page 208] it involve? I suggest that its insipid jingles endorse the view that war is a delightful opportunity to nurture brotherhood and gain...

Drawing upon neuroscientific research, Schroeder argues that there is biological evidence in favor of his philosophical conclusions. Specifically, the brain areas that show activity correlated with feelings of pleasure are distinguishable from those that seem to be associated with the consciousness of possible reward; and, in theory, these latter areas “could exist” in an organic being that lacked the capacity for behavior. At this point, the partly theoretical basis of Schroeder’s scientific claims might worry a reader who has doubts about the whole program of neurophilosophy: after all, to what degree can empirical findings help us to understand a complex mental phenomenon such as desire? This question, which begs to be asked, is given an oblique answer in Three Faces of Desire when the reader is assured that what Schroeder is advocating is neither an identity theory, in which desire would be equated with certain neuronal events, nor a reductive project which aims to replace philosophical discussion of desire and other mental phenomena with the language of quantitative measurement. Like many other contemporary philosophers of mind, Schroeder accepts that mental functions are “multiply realizable” : that is, no matter how a process may be realized in the embodied human mind, it still could be instantiated differently, in another kind of living organism.

Søren Kierkegaard's Concluding Unscientific Postscript has provoked a lively variety of divergent interpretations for a century and a half. It has been both celebrated and condemned as the chief inspiration for twentieth-century existential thought, as a subversive parody of philosophical argument, as a critique of mass society, as a forerunner of phenomenology and of postmodern relativism, and as an appeal for a renewal of religious commitment. These 2010 essays written by international Kierkegaard scholars offer a plurality of critical approaches to this fundamental text of existential philosophy. They cover hotly debated topics such as the tension between the Socratic-philosophical and the Christian-religious; the identity and personality of Kierkegaard's pseudonym 'Johannes Climacus'; his conceptions of paradoxical faith and of passionate understanding; his relation to his contemporaries and to some of his more distant predecessors; and, last but not least, his pertinence to our present-day concerns.

Discussions of the concept of authenticity often fail to define the conditions of an appropriate emotional orientation toward the world. With a more solid philosophical understanding of emotion, it should be possible to define more precisely the necessary conditions of emotional authenticity. Against this background, I interpret Kierkegaard’s Either/Or as a narrative text that suggests a moral psychology of emotion that points toward the development of a better way of thinking about the ethics of authenticity. In the process, I also engage with the positions of other philosophers, both “existential” and “analytic.” The upshot of my argument is that a cognitive phenomenology of emotion can flesh out the ideal of truthfulness as a virtue of character, while forcing moral philosophers to question whether authenticity should be understood as an achievement of the will rather than as a matter of affective receptivity.