A footnote or two on Lisa Feldman Barrett’s How Emotions Are Made, and I’ll move on.
Professor Barrett explains “emotional granularity,” a term used by psychologists, with an analogy. An artist or designer, looking at something blue, might speak of azure, cobalt and ultramarine. She says her husband would call all those colors “blue.” (I’m further down on the spectrum. I’m the husband who, instructed to put on a blue tie, has to ask whether the tie he has in hand is the blue or the gray one.)
The ability to handle concepts of emotion — such as “anger” and “fear” — varies.
Psychologists speak of a science of alexithymia. The Greek roots suggest a lack of words for emotion. It’s considered a “subclinical construct,” a trait that is measurable but not in itself a disorder. Ten percent of the population might have this trait.
Some people, including me, have problems distinguishing colors. I’ve no doubt that some people have problems distinguishing emotions.
But it seems to me that countless people, including experts, also have problems with the concepts.
Through most of the history of Western thought, we’ve largely followed Plato in thinking that there must be some essential, definitive quality for any concept. When Wittgenstein examined the notion, he found no essences. He found family resemblances among members of a category, rather than a single essence. (If you are skeptical, try to find the essential feature in the concept of “game.” Does it account for football, polo, poker, solitaire, chess, Monopoly?)
I’d say that the concept of “emotion” is at least as slippery. I think the variation in experiences we lump together under “anger” is enough to confuse anyone. Don’t get me started on “grief.”
• Lisa Feldman Barrett, How Emotions Are Made; Boston: Houghton Mifflin Harcourt, 2017.