Das theoretische Chaos in der Emotionsforschung und sein metaphysischer Hintergrund
Abstract. My critique regarding the theoretical chaos of modern emotion research conducted by various disciplines today is focusing on the dissent in basic questions that results from disagreements in heterogeneous cognitive interests, basic assumptions regarding human nature and methods. In the pioneer phase of the German psychology in the 19th century, the topic of “feelings” has already taken center stage before, during this time strongly linked to the psychology of sound used by Johann Friedrich Herbart in order to initiate the German physiology of senses, especially acoustic perception. The last was profiting from the duality of music that possesses a rational, mathematically measureable foundation on the one hand and the ability to evoke strong feelings on the other hand, and thus can contribute to clarify the relation between cognition and emotion. By clarifying this relation, Herbart and prominent successors were claiming to set an empirical foundation for aesthetics and ethics on a value-theoretical basis intending to free this topic from its metaphysical and/or transcendental-formal contexts and the degradation of feelings respectively that was traditionally associated with this later position. It is assumed that the neglect of value-theoretical aspects considerably contributes to the theoretical chaos of current research of emotions.
„Wir können nunmehr die Analyse der Gefühleunternehmen […]. Dabey muss aber vorausgesetztwerden, daß der Leser sich in die Beobachtung seinerselbst versenke; das Fühlen ist seine eigene Sache;und nur zur Reflexion darüber, zur Sonderung dessehr verwickelten Mannigfaltigen, welches er finden wird, kann die Theorie...
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