An Investigation through Experiences with Art
Their Interplay and Impact
Christoph Jäger and Anne Bartsch
This paper explores the phenomenon of meta-emotions. Meta-emotions are emotions people have about their own emotions. We analyze the intentional structure of meta-emotions and show how psychological findings support our account. Acknowledgement of meta-emotions can elucidate a number of important issues in the philosophy of mind and, more specifically, the philosophy and psychology of emotions. Among them are (allegedly) ambivalent or paradoxical emotions, emotional communication, emotional self-regulation, privileged access failure for repressed emotions, and survivor guilt.
Edited by Angelique Richardson
Gabriela Salim Spagnol, Li Hui Ling and Li Li Min
are issues that are limited and often neglected. In this sense, the technique “Dialogue with emotions through mandalas” has been applied in order to promote higher awareness of emotions and coping with the disease. Dr. Ling developed the method called “Dialogue with emotions” with a reference to
Jolie B. Kaytes
Dirty Wordsintegrates text and image and considers how the writing of poetry is a way to creatively envision the relationships among sentiment, scientific understanding, and landscape processes. Specifically, the essay looks at poems that use geomorphic keywords metaphorically to express and interpret everyday encounters. By extending geomorphological concepts to the realm of human emotion, the writing of the poems, and the poems themselves, become catalysts for looking at how scientific constructions might be more profoundly understood in terms of human experience, and vice versa. The paper discusses and illustrates two related categories of poetry, ' decompositions' and ' emotional reliefs'. It additionally considers how these poems, and the process of writing them, can be relevant to landscape architecture.
This chapter aims to complicate the emerging picture of art as a possible source of emotional knowledge creation by investigating the complex relationship between ethics and aesthetics. J.M. Coetzee’s Disgrace, through a sustained engagement with the aesthetic ideology of the Romantic tradition, challenges the moral authority of literary inheritance, forcing the reader to confront the uncomfortable possibility that, rather than enlightening us, aesthetic engagement might instead provide a justifying framework for unethical attitudes and behaviour. I trace the cognitive path traversed by the novel’s central character, the intellectual David Lurie, as he is forced by a series of extreme personal experiences to reconsider the relationship of art to wider social structures. Initially an admirer of Romantic art, Lurie comes to recognize that its conceptual schema conceals a worldview that is ethically questionable. Paradoxically, however, the power of art is retained when Lurie uses it to uncover and express his newfound knowledge of the world and the self. I argue that Lurie’s story is a complex and ambiguous development from aesthetic ‘not-knowing’ and even ignorance towards a deeper emotional involvement with the surrounding world, one in which sympathy, emotion, and the imagination are viewed as valuable components of knowledge.
Gabriela Salim Spagnol, Jéssica Elias Vicentini, Isilda Sueli Andreolli Mira de Assumpção, Li Hui Ling and Li Li Min
daily living with epilepsy and commonly evolve into behavioural changes (shame, insecurity, isolation) and greater difficulties in psychosocial adjustment. 16 In our study, these emotions were mostly related to the seizure, restrictions that epilepsy may have on daily activities and the prejudice one
This chapter is concerned with identifying an ethical emotional grammar in the forging of feminist solidarities. While acknowledging the potential for the modern emotion of empathy to work in patronising and appropriative ways, the aim is to recuperate empathy’s more progressive, ethical and transformative moments. This discussion is located in the contemporary context of global capitalism which is identified in some accounts with post-emotionalism, social numbness, disconnection and the failure of empathy. Noting that the workings of empathy have always been haunted by its potential failure, it is argued that such precariousness can keep responsibility, difference and critical reflexivity at the heart of feminist empathic identification. In this view, empathy can bring emotion, ethics and politics together to facilitate contextually sensitive, contingent and, hopefully, politically effective feminist solidarities. Thus understood, empathy creates the effects of certain boundaries but also enables solidaristic connections across those boundaries. It is in the encounter itself, the connection, or contact zone, that progressive empathic solidarities are forged.
This chapter offers an overview of psychology’s approach to sex differences in emotion, beginning from a discussion of how psychology has approached emotion. The chapter takes a critical, social-constructionist stance on emotion. Moreover, it introduces a new direction in psychology in which emotion and gender are studied from a discursive perspective, in which emotion words and concepts can function interactionally. The article considers two examples. In the first, a woman is positioned as emotional and by implication, irrational. The second example investigates how the popular concept of ‘emotion work’, one that typically constructs women as down-trodden, can in fact be used as a resource for young women to manage their identities in interactions. Indeed it is constructed as something that makes them powerful in relation to the vulnerable males they discuss.