Rick Anthony Furtak

Love, Subjectivity, and Truth engages in a lively manner with the overlapping areas of philosophy and literature, philosophy of emotions, and existential thought. "Subjective truth," a phrase used in Proust's novel In Search of Lost Time, is rich with existential connotations. It invokes Kierkegaard above all, but significantly Nietzsche as well, and other philosophers who thematize love, subjectivity, and truth. In Search of Lost Time is especially concerned about what we can know about others through love. Insofar as it conveys and analyzes experience, the novel is capable not only of exploring existential issues but also of doing something like phenomenology. What we know is shaped by our way of knowing, just as the properties of visible, colored objects are determined by the wavelengths of light our eyes can see. Nowhere does the subjective basis of our awareness appear so evident as it does when we view things through loving eyes. In Proust's novel we find skeptical views about love expressed again and again. However, we also note countercurrents, in which love is shown to provide a unique sort of insight. At those times, love seems to be a prerequisite of veridical apprehension. Love, Subjectivity, and Truth investigates this tension as it is played out in Proust's fiction.

Emotion Review, Volume 14, Issue 4, Page 261-264, October 2022. According to Jean Moritz Müller's The world-directedness of emotional feeling, the reason why emotions do not apprehend or disclose value is that one cannot apprehend what one has already apprehended: the value in question, he claims, is apprehended prior to the emotional feeling. Emotions, then, should not be conceived as apprehending value since they already presuppose awareness of it. I can be acquainted with a fact without feeling aware of the meaning it holds. Yet I argue that only an emotional reaction actually registers value or disvalue. My value-responsive concept of emotion is one that Müller rejects. Yet I contend that to recognize the loss of a beloved person, for instance, just is to feel the emotion of grief.

In this article, we illuminate the affective phenomenon of loneliness by exploring the question of how it relates to love and other forms of friendship. We reflect in particular on the question of how different forms of loneliness are relevant to human existence. Distinguishing three forms of loneliness, we first introduce two border cases of loneliness: unfelt loneliness in which one’s individuality is denied and one therefore cannot feel lonely; and existential loneliness in which the possibility of intimacy and existential communication are denied and one therefore cannot but feel lonely. We then turn to loneliness that occurs within intimate friendships—even the most intimate ones. In our analysis, we pay attention especially to the role of communication. In order to do so, we repeatedly turn to poetic expressions of loneliness. We argue that loneliness cannot reflect only the absence or partial failure of communication but also the inherent limits of communication. These limits in turn point back to the nature of human existence and love itself.

Beginning with de Sousa's question about how my position is related to that of "enactive" theorists, I spell out my emphasis on the unity of affective experience, and say more about my conception of the emotional "a priori." In response to Beisecker, I elaborate by way of a literary example on how a significant fact can exist without yet having 'registered' in one's emotional awareness, and on the basis of this I reject the claim that emotions constitute significance. Finally, prompted by Gallegos, I elaborate on why, on my view, a valuable thing must have indeterminately many axiological qualities, and explain how a multifaceted world can ground a plurality of emotional standpoints.

Those who are already familiar with Henry Bugbee's written work will almost invariably have encountered it first through his 1958 text The Inward Morning, subtitled A Philosophical Exploration in Journal Form. This book, which originally appeared with an introduction by the French existential philosopher Gabriel Marcel, was reissued in a 1999 edition thanks to Edward F. Mooney, who served as editor and added a new introduction of his own. In the volume under review, David W. Rodick brings more of Bugbee's work back into print, a development that will surely be appreciated by admirers and newcomers alike. Or, in Rodick's own words, the aim of Wilderness in America is "to remove...

The emotions play a crucial role in our apprehension of meaning, value, or significance — and their felt quality is intimately related to the sort of awareness they provide. This is exemplified most clearly by cases in which dispassionate cognition is cognitively insufficient, because we need to be emotionally agitated in order to grasp that something is true. In this type of affective experience, it is through a feeling of being moved that we recognize or apprehend that something is the case. And that is why our emotions are epistemically indispensable: namely, because they give us access to significant truths. In this essay, I explain how the phenomenally felt character of an emotion is intimately linked with its intentionality. Intellectual activity divorced from affective feeling is profoundly lacking — not only in its qualitative feel, but also in its epistemic import, or its ability to inform us about matters of significance. A better appreciation of how the living body is involved in affective experience should help us to understand the distinctive kind of embodied cognition that emotional responses involve. It also ought to resolve confusions about phobic responses and other “recalcitrant” emotions, which are not divorced from cognition as many have claimed.

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.