Manchester
  • Manchester
    Department Of Philosophy
    Samuel Hall Chair In Philosophy
Oxford University
Faculty of Philosophy
DPhil, 1997
  •  403
    Thick concepts and their role in moral psychology
    In Robyn Langdon & Catriona Mackenzie (eds.), Emotions, Imagination, and Moral Reasoning, Psychology Press. 2012.
  •  382
    Emotions, feelings and intentionality
    Phenomenology and the Cognitive Sciences 1 (3): 235-254. 2002.
    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…Read more
  •  316
    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 a…Read more
  •  254
    Emotion
    Philosophy Compass 2 (6). 2007.
  •  221
    Explaining expressions of emotion
    Mind 109 (433): 25-38. 2000.
    The question is how to explain expressions of emotion. It is argued that not all expressions of emotion are open to the same sort of explanation. Those expressions which are actions can be explained, like other sorts of action, by reference to a belief and a desire; however, no genuine expression of emotion is done as a means to some further end. Certain expressions of emotion which are actions can also be given a deeper explanation as being expressive of a wish. Expressions of emotion which are…Read more
  •  215
    The Emotions: A Philosophical Exploration
    Oxford University Press. 2000.
    Peter Goldie opens the path to a deeper understanding of our emotional lives through a lucid philosophical exploration of this surprisingly neglected topic. Drawing on philosophy, literature and science, Goldie considers the roles of culture and evolution in the development of our emotional capabilities. He examines the links between emotion, mood, and character, and places the emotions in the context of consciousness, thought, feeling, and imagination. He explains how it is that we are able to …Read more
  •  211
    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 emotion…Read more
  •  196
    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 rem…Read more
  •  184
    Grief: A narrative account
    Ratio 24 (2): 119-137. 2011.
    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 …Read more
  •  160
    Empathy: Philosophical and Psychological Perspectives (edited book)
    with Amy Coplan
    Oxford University Press UK. 2011.
    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 …Read more
  •  140
    Imagination and the distorting power of emotion
    Journal of Consciousness Studies 12 (8-10): 127-139. 2005.
    _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_…Read more
  •  129
    Narrative Thinking, Emotion, and Planning
    Journal of Aesthetics and Art Criticism 67 (1): 97-106. 2009.
  •  127
    How we think of others' emotions
    Mind and Language 14 (4): 394-423. 1999.
  •  126
    Virtues of art and human well-being
    Aristotelian Society Supplementary Volume 82 (1): 179-195. 2008.
    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…Read more
  •  117
    Teaching & learning guide for: Emotion
    Philosophy Compass 3 (5): 1097-1099. 2008.
  •  104
    The Mess Inside: Narrative, Emotion, and the Mind
    Oxford University Press. 2012.
    Narrative thinking -- Narrative thinking about one's past -- Grief : a case study -- Narrative thinking about one's future -- Self-forgiveness : a case study -- The narrative sense of self -- Narrative, truth, life, and fiction.
  •  103
    Empathy with One's Past
    Southern Journal of Philosophy 49 (s1): 193-207. 2011.
    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 radica…Read more
  •  103
    Philosophy and Conceptual Art (edited book)
    Oxford University Press. 2007.
    This volume is most probably the first collection of papers by analytic Anglo-American philosophers tackling these concerns head-on.
  •  102
    Towards a virtue theory of art
    British Journal of Aesthetics 47 (4): 372-387. 2007.
    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 i…Read more
  •  94
    Intellectual Emotions and Religious Emotions
    Faith and Philosophy 28 (1): 93-101. 2011.
    What is the best model of emotion if we are to reach a good understanding of the role of emotion in religious life? I begin by setting out a simple model of emotion, based on a paradigm emotional experience of fear of an immediate threat in one’s environment. I argue that the simple model neglects many of the complexities of our emotional lives, including in particular the complexities that one finds with the intellectual emotions. I then discuss how our dispositions to have these kinds of emoti…Read more
  •  92
    Getting Feelings into Emotional Experiences in the Right Way
    Emotion Review 1 (3): 232-239. 2009.
    I argue that emotional feelings are not just bodily feelings, but also feelings directed towards things in the world beyond the bounds of the body, and that these feelings (feelings towards) are bound up with the way we take in the world in emotional experience
  •  88
    Virtues of Art
    Philosophy Compass 5 (10): 830-839. 2010.
  •  86
    Dramatic Irony, Narrative, and the External Perspective
    Royal Institute of Philosophy Supplement 60 69-84. 2007.
    There is a frequently asked philosophical question about our ability to grasp and to predict the thoughts and feelings of other people, an ability that is these days sometimes given the unfortunate name of ‘mentalising’ or ‘mind-reading’–I say ‘unfortunate’ because it makes appear mysterious what is not mysterious. Some philosophers and psychologists argue that this ability is grounded in possession of some kind of theory or body of knowledge about how minds work. Others argue that it is grounde…Read more
  •  83
    On Personality
    Routledge. 2004.
    Warm, sensitive, creative, outgoing, cheeky, creepy. Scan any personal ads page and it's clear that to get a life you need a personality first. It is also a notion with a long and often bizarre history: in early Greece and medieval Europe, it was thought to depend on the balance of bile in the body. On Personality is a thoughtful and stimulating look under the skin of this widely-used but little understood phenomenon. Peter Goldie points out that we rely on personality to do a lot of work: descr…Read more
  •  81
    Emotion, reason and virtue
    In Dylan Evans & Pierre Cruse (eds.), Emotion, Evolution, and Rationality, Oxford University Press. pp. 249--267. 2004.
  •  72
    The narrative sense of self
    Journal of Evaluation in Clinical Practice 18 (5): 1064-1069. 2012.