Rick Anthony Furtak – författare

How do our emotions enable us to know? When Pascal noted that the heart has its own reasons, he implied that our rational faculty alone cannot grasp what is revealed in affective experience. Knowing Emotions seeks to explain comprehensively why human emotions are more than physiological disturbances, but experiences capable of making us aware of significant truths that we could not know by any other means. Recent philosophical and interdisciplinary research on the emotions has been dominated by a renewal of the debate over how best to characterize the intentionality of emotions as well as their bodily character. Rick Anthony Furtak frames this debate differently, however, arguing that intentionality and feeling are not two discrete parts of affective experience, but conceptually distinguishable aspects of a unified response. His account captures how an emotion's phenomenal or 'felt' quality (what it is like) relates to its intentional content (what it is about). Knowing Emotions provides a solid introduction to the philosophy of emotion before delving into the debates that surround it. Furtak draws from a wide range of analytic and Continental philosophers, including Sartre, Merleau-Ponty, Kierkegaard, and Nietzsche, among others, and bolsters his analysis with empirical evidence from social psychology, neuroscience, and psychiatry. Perhaps most importantly, Furtak investigates all varieties of affective experience, from brief episodes to moods and emotional dispositions, loves and other longstanding concerns, and overall patterns of temperament and affective outlook. Ultimately, he argues that we must reject the misguided aspiration to purify ourselves of passion and attain an impersonal standpoint. Knowing Emotions attempts to clarify what kind of truth may be revealed through emotion, and what can be known - not despite, but precisely by virtue of, each person's idiosyncratic perspective.

How do our emotions enable us to know? When Pascal noted that the heart has its own reasons, he implied that our rational faculty alone cannot grasp what is revealed in affective experience. Knowing Emotions seeks to explain comprehensively why human emotions are more than physiological disturbances, but experiences capable of making us aware of significant truths that we could not know by any other means. Recent philosophical and interdisciplinary research on the emotions has been dominated by a renewal of the debate over how best to characterize the intentionality of emotions as well as their bodily character. Rick Anthony Furtak frames this debate differently, however, arguing that intentionality and feeling are not two discrete parts of affective experience, but conceptually distinguishable aspects of a unified response. His account captures how an emotion's phenomenal or 'felt' quality (what it is like) relates to its intentional content (what it is about). Knowing Emotions provides a solid introduction to the philosophy of emotion before delving into the debates that surround it. Furtak draws from a wide range of analytic and Continental philosophers, including Sartre, Merleau-Ponty, Kierkegaard, and Nietzsche, among others, and bolsters his analysis with empirical evidence from social psychology, neuroscience, and psychiatry. Perhaps most importantly, Furtak investigates all varieties of affective experience, from brief episodes to moods and emotional dispositions, loves and other longstanding concerns, and overall patterns of temperament and affective outlook. Ultimately, he argues that we must reject the misguided aspiration to purify ourselves of passion and attain an impersonal standpoint. Knowing Emotions attempts to clarify what kind of truth may be revealed through emotion, and what can be known - not despite, but precisely by virtue of, each person's idiosyncratic perspective.

How do our emotions enable us to know? When Pascal noted that the heart has its own reasons, he implied that our rational faculty alone cannot grasp what is revealed in affective experience. Knowing Emotions seeks to explain comprehensively why human emotions are more than physiological disturbances, but experiences capable of making us aware of significant truths that we could not know by any other means. Recent philosophical and interdisciplinary research on the emotions has been dominated by a renewal of the debate over how best to characterize the intentionality of emotions as well as their bodily character. Rick Anthony Furtak frames this debate differently, however, arguing that intentionality and feeling are not two discrete parts of affective experience, but conceptually distinguishable aspects of a unified response. His account captures how an emotion''s phenomenal or ''felt'' quality (what it is like) relates to its intentional content (what it is about). Knowing Emotions provides a solid introduction to the philosophy of emotion before delving into the debates that surround it. Furtak draws from a wide range of analytic and Continental philosophers, including Sartre, Merleau-Ponty, Kierkegaard, and Nietzsche, among others, and bolsters his analysis with empirical evidence from social psychology, neuroscience, and psychiatry. Perhaps most importantly, Furtak investigates all varieties of affective experience, from brief episodes to moods and emotional dispositions, loves and other longstanding concerns, and overall patterns of temperament and affective outlook. Ultimately, he argues that we must reject the misguided aspiration to purify ourselves of passion and attain an impersonal standpoint. Knowing Emotions attempts to clarify what kind of truth may be revealed through emotion, and what can be known - not despite, but precisely by virtue of, each person''s idiosyncratic perspective.

How do our emotions enable us to know? When Pascal noted that the heart has its own reasons, he implied that our rational faculty alone cannot grasp what is revealed in affective experience. Knowing Emotions seeks to explain comprehensively why human emotions are more than physiological disturbances, but experiences capable of making us aware of significant truths that we could not know by any other means. Recent philosophical and interdisciplinary research on the emotions has been dominated by a renewal of the debate over how best to characterize the intentionality of emotions as well as their bodily character. Rick Anthony Furtak frames this debate differently, however, arguing that intentionality and feeling are not two discrete parts of affective experience, but conceptually distinguishable aspects of a unified response. His account captures how an emotion''s phenomenal or ''felt'' quality (what it is like) relates to its intentional content (what it is about). Knowing Emotions provides a solid introduction to the philosophy of emotion before delving into the debates that surround it. Furtak draws from a wide range of analytic and Continental philosophers, including Sartre, Merleau-Ponty, Kierkegaard, and Nietzsche, among others, and bolsters his analysis with empirical evidence from social psychology, neuroscience, and psychiatry. Perhaps most importantly, Furtak investigates all varieties of affective experience, from brief episodes to moods and emotional dispositions, loves and other longstanding concerns, and overall patterns of temperament and affective outlook. Ultimately, he argues that we must reject the misguided aspiration to purify ourselves of passion and attain an impersonal standpoint. Knowing Emotions attempts to clarify what kind of truth may be revealed through emotion, and what can be known - not despite, but precisely by virtue of, each person''s idiosyncratic perspective.

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.

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.

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.

In this historically-informed work in moral psychology, Rick Anthony Furtak develops a conceptual account of the emotions that addresses the conventional idea that reason and emotion stand in sharp opposition. Furtak begins with a critical examination of the ancient Stoic position that emotions ought to be avoided by rational human beings. He argues that, on the contrary, emotions ought to be understood as embodying a kind of authentic insight, which enables us to attain a meaningful and truthful way of seeing the world.Furtak's positive alternative to Stoicism draws heavily on the writings of Søren Kierkegaard, particularly "Either/Or" and "Works of Love," while also engaging with a wide range of other relevant philosophical, literary, and religious sources. He argues that a morality of virtue and narrative awareness is necessary for accurate emotional perception, and then attempts to define a qualified value realism based upon a reverential trust in love as the ground of life as we know it. The outcome of this inquiry into the possibility of reliable emotion is an account of the ideal state in which a person could trust himself or herself to be rational in being passionate.Wisdom in Love makes an original contribution to the philosophy of the emotions and provides a new and compelling interpretation of Kierkegaard's work as a whole.

In this historically-informed work in moral psychology, Rick Anthony Furtak develops a conceptual account of the emotions that addresses the conventional idea that reason and emotion stand in sharp opposition. Furtak begins with a critical examination of the ancient Stoic position that emotions ought to be avoided by rational human beings. He argues that, on the contrary, emotions ought to be understood as embodying a kind of authentic insight, which enables us to attain a meaningful and truthful way of seeing the world.Furtak's positive alternative to Stoicism draws heavily on the writings of Søren Kierkegaard, particularly "Either/Or" and "Works of Love," while also engaging with a wide range of other relevant philosophical, literary, and religious sources. He argues that a morality of virtue and narrative awareness is necessary for accurate emotional perception, and then attempts to define a qualified value realism based upon a reverential trust in love as the ground of life as we know it. The outcome of this inquiry into the possibility of reliable emotion is an account of the ideal state in which a person could trust himself or herself to be rational in being passionate.Wisdom in Love makes an original contribution to the philosophy of the emotions and provides a new and compelling interpretation of Kierkegaard's work as a whole.

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.

The philosophical significance of Henry David Thoreau's life and writings is far from settled. Although his best-known book, Walden, is admired as a classic work of American literature, it has not yet been widely recognized as an important philosophical text. In fact, many members of the academic philosophical community in America would be reluctant to classify Thoreau as a philosopher at all. The purpose of this volume is to remedy this neglect, to explain Thoreau's philosophical significance, and to argue that we can still learn from his polemical conception of philosophy.Thoreau sought to establish philosophy as a way of life, and to root our philosophical, conceptual affairs in more practical or existential concerns. His work provides us with a sustained meditation on the appropriate conduct of life and the importance of leading our lives with integrity, avoiding what he calls "quiet desperation." The contributors to this volume approach Thoreau's writings from different angles, collectively bringing to light what, in his own distinctive and idiosyncratic way, this major American thinker has meant to multiple areas of philosophical inquiry, and why he is still relevant. They show how the imagination, according to Thoreau, might be related to the disclosure of truth; they illuminate the nuances of embodied consciousness and explore the links between moral character and scientific knowledge. They clarify Thoreau's project by locating it in relation to earlier philosophical authors and traditions, noting the ways in which he either anticipated or influenced a host of later thinkers. They explore his aesthetic views, his naturalism, his theory of self, his ethical principles, and his political stances. Most importantly, they show how Thoreau returns philosophy to its roots as the love of wisdom.

Kierkegaard's lifelong fascination with the figure of Socrates has many aspects, but prominent among them is his admiration for the way Socrates was devoted to his divinely ordained mission as a philosopher. To have such a destiny, revealed through what one loves and is passionate about as well as through a feeling of vocation, is a necessary condition of leading a meaningful life, according to Kierkegaard. Examining what Kierkegaard has to say about the meaning of life requires looking at his conception of 'subjective truth,' as well as how he understands the ancient ideal of 'amor fati,' a notion that Nietzsche would subsequently take up, but that Kierkegaard understands in a manner that is distinctly his own, and that he sought to put into practice in his own existence. Our life is a work of art, but we are not the artist.

Kierkegaard's lifelong fascination with the figure of Socrates has many aspects, but prominent among them is his admiration for the way Socrates was devoted to his divinely ordained mission as a philosopher. To have such a destiny, revealed through what one loves and is passionate about as well as through a feeling of vocation, is a necessary condition of leading a meaningful life, according to Kierkegaard. Examining what Kierkegaard has to say about the meaning of life requires looking at his conception of 'subjective truth,' as well as how he understands the ancient ideal of 'amor fati,' a notion that Nietzsche would subsequently take up, but that Kierkegaard understands in a manner that is distinctly his own, and that he sought to put into practice in his own existence. Our life is a work of art, but we are not the artist.

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.

Winner of the 2026 Hugh J. Silverman Book PrizeModern literature is often described in terms of its impersonality. What is the significance of this fact? In Skepticism and Impersonality, V. Joshua Adams follows the history of impersonality in modern poetry from Mallarmé and Eliot through to the present, engaging with work by major poets and critics, but also contemporary philosophers. Rather than seeing impersonality exclusively as a literary historical phenomenon, Adams argues that we should understand it as an attempt to address skeptical problems arising from the limitations of first-person experience. Defending impersonality as a response to skeptical problems, including doubts about the publicity of our experiences, our knowledge of other minds, the capacity of our language to describe the world, the relationship between mind and body, and the fictionality and continuity of our sense of self, Adams analyzes what he calls “experiments in impersonality” as means of working through skeptical doubt. The writers discussed transform this doubt into art, whilst also ironizing it as corrosive and self-defeating. Ultimately this leads Adams to reinterpret literary impersonality as a therapeutic philosophical project.Skepticism and Impersonality promises a new theoretical justification for our practical interest in literary texts, to renovate our conception of how those texts might do philosophical work, and to expand our sense of what a philosophical poem can be.

Innovatively combining philosophical inquiry and aphoristic writing, this study presents a bold new interpretation of philosophical poetics. Exploring fragments, both thematically and formally, Luke Fischer situates the form as uniquely positioned between philosophy and poetry.Like poetry, fragments condense insights into few words, employ striking metaphors that draw intuitive connections, and make space for creative interpretation. Contrasting with the logical linearity of much philosophy, fragments disclose rather than prove, intimate more than argue, suggest a whole without elaborating a system, and emphasize the intuitive act of thinking. Fischer readjusts our understanding of philosophical ideas as they originate in moments of illumination, and reveals the fragment as philosophy in process. In a collection of original fragments and an exploratory essay, Fischer sheds light on the relation between poetry and philosophy, aesthetics and society, art and the environment, and discusses seminal practitioners of the fragmentary form, including Novalis, F. Schlegel, Nietzsche and Heraclitus. Philosophical Fragments as the Poetry of Thinking makes an engaging, nonlinear case for the possibility and significance of a poetic transmutation of philosophy.

This is the first book in any language to collect scholarly essays on Kierkegaard’s extraordinary series of Lily Discourses. Long considered “merely” devotional writings, the Lily Discourses constitute a sustained and repeated attempt to respond to the imperative issues in Matthew’s Gospel. Kierkegaard discovers in figures of the lily and the bird a paradoxical obligation to think together, unremittingly, both suffering and joy, the fleeting nature of experience, and the effort to endow this very transience with enduring significance.In Kierkegaard and the Poetry of the Gospel, a diverse group of emerging and established interpreters addresses the religious, literary, and philosophical dimensions of these discourses. In the process, they identify and develop a theory of language—and of exemplarity—crucial to all of Kierkegaard’s writings. To ask what the lily and bird teach is also to ask what it means, or could mean, to be human. This collection is pivotal in registering, clarifying, and celebrating Kierkegaard’s multiple responses to that question suspended at the heart of his Lily Discourses. It is the go-to text for anyone teaching or writing about the Lily Discourses across philosophy, literary studies, and religion.

This is the first book in any language to collect scholarly essays on Kierkegaard's extraordinary series of Lily Discourses. Long considered merely devotional writings, the Lily Discourses constitute a sustained and repeated attempt to respond to the imperative issues in Matthew's Gospel. Kierkegaard discovers in figures of the lily and the bird a paradoxical obligation to think together, unremittingly, both suffering and joy, the fleeting nature of experience, and the effort to endow this very transience with enduring significance.In Kierkegaard and the Poetry of the Gospel, a diverse group of emerging and established interpreters addresses the religious, literary, and philosophical dimensions of these discourses. In the process, they identify and develop a theory of language-and of exemplarity-crucial to all of Kierkegaard's writings. To ask what the lily and bird teach is also to ask what it means, or could mean, to be human. This collection is pivotal in registering, clarifying, and celebrating Kierkegaard's multiple responses to that question suspended at the heart of his Lily Discourses. It is the go-to text for anyone teaching or writing about the Lily Discourses across philosophy, literary studies, and religion.

This is the first book in any language to collect scholarly essays on Kierkegaard's extraordinary series of Lily Discourses. Long considered merely devotional writings, the Lily Discourses constitute a sustained and repeated attempt to respond to the imperative issues in Matthew's Gospel. Kierkegaard discovers in figures of the lily and the bird a paradoxical obligation to think together, unremittingly, both suffering and joy, the fleeting nature of experience, and the effort to endow this very transience with enduring significance.In Kierkegaard and the Poetry of the Gospel, a diverse group of emerging and established interpreters addresses the religious, literary, and philosophical dimensions of these discourses. In the process, they identify and develop a theory of language-and of exemplarity-crucial to all of Kierkegaard's writings. To ask what the lily and bird teach is also to ask what it means, or could mean, to be human. This collection is pivotal in registering, clarifying, and celebrating Kierkegaard's multiple responses to that question suspended at the heart of his Lily Discourses. It is the go-to text for anyone teaching or writing about the Lily Discourses across philosophy, literary studies, and religion.