A. The Paradox of Fiction and Emotions

1. Summary of the make-believe approach

2. Emotion, Thought, and Imagination

2.1. Denying the Belief Requirement: Emotions without belief (e.g. phobias, imaginings, ...)

2.2. Thought Theory (Lamarque): Emotions towards fiction are based on thoughts/imaginings

2.3. Disanalogies between fiction and emotions without belief

2.4. Radford's challenge: Why would thoughts make the emotion appropriate in the fictional (vs. real-life) case?

3. The Normative Challenge

3.1. Fiction and moral sensitivity (Nussbaum, Robinson)

3.2. Fiction and simulated emotions (Gendler)

3.3. Norms for fiction (Friend)

B. The Emotional Power of Music

Perceiving emotions in music vs. Feeling emotions with music

Historical remarks, and import of the relationship between emotion and music

1. Perception of Emotion in Music

1.1. Empirical studies on emotion perception in music

Strong convergence and robustness for the perception of basic emotions in music (sadness, joy, anger, anxiety, ...) and the expression of emotions in music by composers/performers

Acoustic profiles of emotions in music and the mechanisms of affective prosody/emotional gestures

From the laboratory to the armchair