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For some defining an emotion like love ..

The general fragmentation of "The Love Song of J. Alfred Prufrock" is obviousand notorious. The poem seems a perfect example of what Terry Eagleton calls the modern"transition from metaphor to metonymy: unable any longer to totalize his experiencein some heroic figure, the bourgeois is forced to let it trickle away into objects relatedto him by sheer contiguity." Everything in "Prufrock" trickles away intoparts related to one another only by contiguity. Spatial progress in the poem is diffidentor deferred, a "scuttling" accomplished by a pair of claws disembodied soviolently they remain "ragged." In the famous opening, "the evening isspread out against the sky / Like a patient etherised upon a table," and the similemakes an equation between being spread out and being etherised that continues elsewhere inthe poem when the evening, now a bad patient, "malingers, / Stretched on the floor,here beside you and me." There it "sleeps so peacefully! / Smoothed by longfingers . . . ." This suspension is a rhetorical as well as a spatial and emotionalcondition. The "streets that follow like a tedious argument / Of insidiousintent" lead not to a conclusion but to a question, a question too"overwhelming" even to ask. Phrases like the "muttering retreats / Ofrestless nights" combine physical blockage, emotional unrest, and rhetoricalmaundering in an equation that seems to make the human being a combination not of angeland beast but of road-map and Roberts' Rules of Order.

The evocation of real emotions by fictional narratives, a topic of controversy in philosophy (Yanal
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These OWL resources will help you with the types of writing you may encounter while in college. The OWL resources range from rhetorical approaches for writing, to document organization, to sentence level work, such as clarity. For specific examples of writing assignments, please see our Common Writing Assignments area.

Expository Essay Sample about emotional intelligence

The topics consisted ofemotion situations: (a) being angry, (b) being sad, (c) being scared, and (d) being happy.
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A view ascribing to emotions a true mind-to-world direction of fit,inspired by the model of perception, would involve a criterion ofsuccess that depended on correctness with respect to some objectiveproperty. To take this approach is to give a particular answer to aquestion posed long ago in Plato's Euthyphro (the question, asoriginally put forward, concerned the nature of piety, but it extendsto values in general): Do we love X—mutatis mutandisfor the other emotions—because X is lovable, or do we declare Xto be lovable merely because we love it? The first alternative is theobjectivist one, encouraged by the analogy of perception. It requiresthat we define clearly the relevant sense of‘objectivity’. Specifically it promises a valid analogybetween some of the ways in which we can speak of perception asaspiring to objectivity and ways in which we can say the same ofemotion.

A problem with this idea is that each emotion is appropriate to itsparadigm scenario by definition, since it is the paradigm scenariowhich in effect calibrates the emotional repertoire. It is not clearwhether this places unreasonable limitations on the range of possiblecriticism to which emotions give rise. What is certain is that when aparadigm scenario is evoked by a novel situation, the resultingemotion may or may not be appropriate to the situation that triggersit. In that sense at least, then, emotions can be assessed forrationality.

Relationship Between cognition,Emotion and Behavior Essays

This definition of esthetic emotion allows for a range of feelings, not limited to aesthetic pleasure in form and catharsis.
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Subsequent research has shown that a limited number of emotions do, infact, have significantly different bodily profiles (LeDoux 1996;Panksepp 1998). However, brain or bodily changes and the feelingsaccompanying these changes get us only part way towards an adequatetaxonomy. To account for the differences between guilt, embarrassment,and shame, for example, a plausible theory will have to look beyondphysiology and common-sense phenomenology.

The foregoing essay is not intended to be an exhaustive explication, but rather a preliminary gesture toward a broader, deeper understanding of sadness. Among other things, such an understanding would bring our emotional life into a much more intimate proximity with our metaphysical condition. I have suggested here that an omnipresent sadness or tragic sense underlies our own awareness of that condition. This does not imply that our emotional life is ultimately frivolous or impoverished; it does mean, however, that we need to reconsider what constitutes a "deviation" versus a "norm." Ultimately, our findings in this regard will have seriously implications not only for philosophy but also for experimental and clinical psychology.

definition of art essaysArt is an expression of life, which means it expresses emotions
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Essays on mind, self and emotion

This variety has led to a good deal of confusion. A long-standingdebate, for example, concerns the extent to which the objects ofemotions are to be identified with their causes. This identificationseems plausible; yet it is easy to construct examples in which beingthe cause of an emotion is intuitively neither a necessary nor asufficient condition for its being its object: if A gets annoyed at Bfor some entirely trivial matter, drunkenness may have caused A'sannoyance, yet it is in no sense its object. Its object may be someinnocent remark of B's, which occasioned the annoyance but which itwould be misleading to regard as its cause. In fact the object of theannoyance may be a certain insulting quality in B's remark which is,as a matter of fact, entirely imaginary and therefore could notpossibly be its true cause.

offers vocabularies and classifications for defining emotions, ..

Finally, while different emotions may or may not have these varioussorts of objects, every emotion has a formal object if it hasany object. A formal object is a property implicitly ascribed by theemotion to its target, focus or propositional object, in virtue ofwhich the emotion can be seen as intelligible. My fear of a dog, forexample, construes a number of the dog's features (its salivating maw,its ferocious bark) as being frightening, and it is my perception ofthe dog as frightening that makes my emotion fear, rather than someother emotion. The formal object associated with a given emotion isessential to the definition of that particular emotion. This explainsthe appearance of tautology in the specification any formal object (Iam disgusted because it is disgusting); but it is also, in part, whatallows us to speak of emotions being appropriate or inappropriate. Ifthe dog obstructing my path is a Shih Tzu, my fear is mistaken: thetarget of my fear fails to fit fear's formal object. As we shallsee in section 10 below, appropriateness in this sense does notentail moral correctness; but it makes the emotion intelligible evenwhen it is abhorrent. Thus racist disgust, while obviously morallyinappropriate, is nevertheless intelligible in terms of its link toparadigm cases of disgust.

Selected essays on James Joyce's "Araby" - The Literary …

Her analyses are good (andclear) examples for exactly this point, and her main argument is forcefully directed against mostpsychological theorizing within the James-Lange-tradition that starts from the assumption thatemotions are bodily experienced feeling states, each categorically distinct, and built up in aclearly ordered sequence of events (see for recent critiques of this kind of theorizing from withinpsychology, though from quite different directions, Campos, Mumme, Kermoian & Campos1994, Ellsworth 1994, Sarbin 1995). While the suggested set of semantic primitives that is assumed to exist in everyhuman language started out with only fourteen, it is currently estimated (Wierzbicka 1995b,Goddard in press) to have increased to about 35-60 elements.

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