Dina Mendonça

The article explores how a new dimension of emotion – depth – is crucially important for a better understanding of emotion and its connection to rationality. It begins by identifying that depth is trapped in a circularity in which deep emotions are important because they refer to deep and important aspects of people’s lives. Following Danto’s discussion of deep interpretation (1981), it suggests that it is the contrast between deep and superficial that grants emotional perspective and the ability to identify levels of emotional depth. After arguing that the emotional perspective is grasped by the narrative structure of emotion, it raises several objections that provide the ground to establish a difference between deep and profound. Then the paper concludes that the meaning of emotional depth is only fully understood in the ongoing contrast with the superficial described before, and states how further research on depth of emotion may provide the key to understanding the ambivalent status of emotions regarding their link to rationality.

Reasonableness is a core normative concept in Philosophy for Children (P4C), an inquiry model of education that bridges reasoning, feeling and acting within a community. The concept of reasonableness dates back to Aristotle’s ethical notion of phronesis (1141b), and extends to logical (Gewirth 1983), social and political concerns of major contemporary thinkers (Rawls 2001; Rorty 2001). The development of the concept of reasonableness in P4C was part of the reconceptualization of rationality toward the end of the twentieth century, since Lipman and Sharp were among those thinkers who elucidated and advocated the social conception of rationality offered by the pragmatists. Accordingly, in P4C the conception of reasonableness was highlighted as a cornerstone for the understanding of the notion of a community of inquiry (Splitter & Sharp 1995:6; Lipman 2003:22).

The paper aims to better identify the relationship between moods and emotions showing their link to the overall environment. Adopting a Situated Approach to Emotions, 209–227, 2012; Stephan Emotion Review, 4, 157–162, 2012; Stephen et al. Philosophical Psychology, 27, 65–81 2014) enables showing that the link to emotions to the environment is best understood using the term situation, while moods’ link to the environment is best captured by the notion of context. Exploring the difference points out that what is selected as the situation versus the context in a given environment may explain the relationship between emotions and moods, and clarify why, for instance, certain emotions can alter a mood while others do not. The paper begins putting forward the general take on emotions from a Situated Approach to Emotions in line with contemporary discussions of the Situated Approach to Mind. Then, following John Dewey’s conception of situation, the paper distinguishes situation from context, and reviews the hypothesis of equating them with emotions and moods respectively. The analysis is then connected to previous research done on the difference between emotions and moods and, given the insightful outcomes of connecting moods and emotions to other theoretical aspects of the mind, it shows how the link to the environment is a crucial trait to understand emotions and moods dynamics.

This paper testifies the crucial importance of Philosophy for Children for Emotional Growth. It begins by establishing the open ended character of emotional processes, showing how feminist philosophers have criticized the fixed conception of negative valence of certain emotions, and how, ultimately, the normative structure of emotions is open to modification. Then, it shows how talking about emotional processes and emotional situations can foster emotional growth once we understand that the acquisition of language and emotional vocabulary is one way to best capture the openended character of emotions. Finally, attention is turned to Philosophy for Children. Taking as an illustration the emotion of hope and its importance to inquiry, the paper concludes by examining in what way P4C both benefits and reinforces the previous insights about emotion theory.

This article discusses the importance of metaemotions (emotions about emotions), showing their undeniable existence and how they are a critical and essential part of emotion life. The article begins by placing reflexivity of emotions within the general reflexivity of human beings. Then, the article presents the literature on metaemotion, showing some of the problems that surround them, which ultimately will lead to ask if the concept of metaemotion is really necessary. The second part of the article argues for the usefulness of the concept, pointing out its role in establishing distinctions among emotional states as well as further clarifying the nature of emotion, and concludes on pointing out some of the directions for future research on metaemotions

This paper explores the role of existential feelings in films, and the impact of theconnections between cinema and existential feelings for emotional life in general. After explaining the notion of existential feelings and illustrating them in films with Black Swan and The Help , the paper concludes that movies offer provide insights about our own existential feelings because films promote emotional awareness by the way they function as emotional laboratories. This will lead to an examination the presence and role of surprise for emotional a wareness in general, and more specifically by seeing how it works within suspense movies with the illustration of Rebecca . The analysis will show how the paradox of suspense is tied to the way we can be surprised by our own feelings, including our own existential feelings. The paper concludes that the cinema is capable of providing this privileged place for exploration because it maintains our ability to feel surprise and keep open to surprise

This paper explores the role of existential feelings in films, and the impact of theconnections between cinema and existential feelings for emotional life in general. After explaining the notion of existential feelings and illustrating them in films with Black Swan and The Help, the paper concludes that movies offer provide insights about our own existential feelings because films promote emotional awareness by the way they function as emotional laboratories. This will lead to an examination the presence and role of surprise for emotional a wareness in general, and more specifically by seeing how it works within suspense movies with the illustration of Rebecca. The analysis will show how the paradox of suspense is tied to the way we can be surprised by our own feelings, including our own existential feelings. The paper concludes that the cinema is capable of providing this privileged place for exploration because it maintains our ability to feel surprise and keep open to surprise.