Desire

Desires are states of mind that are expressed by terms like "wanting", "wishing", "longing" or "craving". A great variety of features are commonly associated with desires. They are seen as propositional attitudes towards conceivable states of affairs. They represent how an agent or organism wills things to be, unlike beliefs, which aim to represent how things actually are. Desires are closely related to agency: they motivate the agent to realize them. For this to be possible, a desire has to be combined with a belief about which action would realize it. Desires present their objects in a favorable light, as something that appears to be good. Their fulfillment is normally experienced as pleasurable in contrast to the negative experience of failing to do so. Conscious desires are usually accompanied by some form of emotional response. While many researchers roughly agree on these general features, there is significant disagreement about how to define desires, i.e. which of these features are essential and which ones are merely accidental. Action-based theories define desires as structures that incline us toward actions. Pleasure-based theories focus on the tendency of desires to cause pleasure when fulfilled. Value-based theories identify desires with attitudes toward values, like judging or having an appearance that something is good.…

Desires are states of mind that are expressed by terms like "wanting", "wishing", "longing" or "craving". A great variety of features are commonly associated with desires. They are seen as propositional attitudes towards conceivable states of affairs. They represent how an agent or organism wills things to be, unlike beliefs, which aim to represent how things actually are. Desires are closely related to agency: they motivate the agent to realize them. For this to be possible, a desire has to be combined with a belief about which action would realize it. Desires present their objects in a favorable light, as something that appears to be good. Their fulfillment is normally experienced as pleasurable in contrast to the negative experience of failing to do so. Conscious desires are usually accompanied by some form of emotional response. While many researchers roughly agree on these general features, there is significant disagreement about how to define desires, i.e. which of these features are essential and which ones are merely accidental. Action-based theories define desires as structures that incline us toward actions. Pleasure-based theories focus on the tendency of desires to cause pleasure when fulfilled. Value-based theories identify desires with attitudes toward values, like judging or having an appearance that something is good. Desires can be grouped into various types according to a few basic distinctions. Intrinsic desires concern what the subject wants for its own sake while instrumental desires are about what the subject wants for the sake of something else. Occurrent desires are either conscious or otherwise causally active, in contrast to standing desires, which exist somewhere in the back of one's mind. Propositional desires are directed at possible states of affairs while object-desires are directly about objects. Various authors distinguish between higher desires associated with spiritual or religious goals and lower desires, which are concerned with bodily or sensory pleasures. Desires play a role in many different fields. There is disagreement whether desires should be understood as practical reasons or whether we can have practical reasons without having a desire to follow them. According to fitting-attitude theories of value, an object is valuable if it is fitting to desire this object or if we ought to desire it. Desire-satisfaction theories of well-being state that a person's well-being is determined by whether that person's desires are satisfied. Marketing and advertising companies have used psychological research on how desire is stimulated to find more effective ways to induce consumers into buying a given product or service. Techniques include creating a sense of lack in the viewer or associating the product with desirable attributes. Desire plays a key role in art. The theme of desire is at the core of romance novels, which often create drama by showing cases where human desire is impeded by social conventions, class, or cultural barriers. Melodrama films use plots that appeal to the heightened emotions of the audience by showing "crises of human emotion, failed romance or friendship", in which desire is thwarted or unrequited.

Neuropsychology

While desires are often classified as emotions by laypersons, psychologists often describe desires as ur-emotions, or feelings that do not quite fit the category of basic emotions. For psychologists, desires arise from bodily structures and functions (e.g., the stomach needing food and the blood needing oxygen). On the other hand, emotions arise from a person's mental state. A 2008 study by the University of Michigan indicated that, while humans experience desire and fear as psychological opposites, they share the same brain circuit. A 2008 study entitled "The Neural Correlates of Desire" showed that the human brain categorizes stimuli according to its desirability by activating three different brain areas: the superior orbitofrontal cortex, the mid-cingulate cortex, and the anterior cingulate cortex. In affective neuroscience, "desire" and "wanting" are operationally defined as motivational salience; the form of "desire" or "wanting" associated with a rewarding stimulus (i.e., a stimulus which acts as a positive reinforcer, such as palatable food, an attractive mate, or an addictive drug) is called "incentive salience" and research has demonstrated that incentive salience, the sensation of pleasure, and positive reinforcement are all derived from neuronal activity within the reward system. Studies have shown that dopamine signaling in the nucleus accumbens shell and endogenous opioid signaling in the ventral pallidum are at least partially responsible for mediating an individual's desire (i.e., incentive salience) for a rewarding stimulus and the subjective perception of pleasure derived from experiencing or "consuming" a rewarding stimulus (e.g., pleasure derived from eating palatable food, sexual pleasure from intercourse with an attractive mate, or euphoria from using an addictive drug). Research also shows that the orbitofrontal cortex has connections to both the opioid and dopamine systems, and stimulating this cortex is associated with subjective reports of pleasure.

Psychoanalysis

Austrian psychiatrist Sigmund Freud, who is best known for his theories of the unconscious mind and the defense mechanism of repression and for creating the clinical practice of psychoanalysis, proposed the notion of the Oedipus complex, which argues that desire for the mother creates neuroses in their sons. Freud used the Greek myth of Oedipus to argue that people desire incest and must repress that desire. He claimed that children pass through several stages, including a stage in which they fixate on the mother as a sexual object. That this "complex" is universal has long since been disputed. Even if it were true, that would not explain those neuroses in daughters, but only in sons. While it is true that sexual confusion can be aberrative in a few cases, there is no credible evidence to suggest that it is a universal scenario. While Freud was correct in labeling the various symptoms behind most compulsions, phobias and disorders, he was largely incorrect in his theories regarding the etiology of what he identified. French psychoanalyst and psychiatrist Jacques Lacan (1901–1981) argues that desire first occurs during a "mirror phase" of a baby's development, when the baby sees an image of wholeness in a mirror which gives them a desire for that being. As a person matures, Lacan claims that they still feel separated from themselves by language, which is incomplete, and so a person continually strives to become whole. He uses the term "jouissance" to refer to the lost object or feeling of absence (see manque) which a person believes to be unobtainable. Gilles Deleuze rejects the idea, defended by Lacan and other psychoanalysts, that desire is a form of lack related to incompleteness or a lost object. Instead, he holds that it should be understood as a positive reality in the form of an affirmative vital force.

Texts

The theme of desire is at the core of the written fictions, especially romance novels. Novels which are based around the theme of desire, which can range from a long aching feeling to an unstoppable torrent, include Madame Bovary by Gustave Flaubert; Love in the Time of Cholera by Gabriel García Márquez; Lolita by Vladimir Nabokov; Jane Eyre by Charlotte Brontë, and Dracula by Bram Stoker. Brontë's characterization of Jane Eyre depicts her as torn by an inner conflict between reason and desire, because "customs" and "conventionalities" stand in the way of her romantic desires. E.M. Forster's novels use homoerotic codes to describe same-sex desire and longing. Close male friendships with subtle homoerotic undercurrents occur in every novel, which subverts the conventional, heterosexual plot of the novels. In the Gothic-themed Dracula, Stoker depicts the theme of desire which is coupled with fear. When the character Lucy is seduced by Dracula, she describes her sensations in the graveyard as a mixture of fear and blissful emotion. Poet W. B. Yeats depicts the positive and negative aspects of desire in his poems such as "The Rose for the World", "Adam's Curse", "No Second Troy", "All Things can Tempt me", and "Meditations in Time of Civil War". Some poems depict desire as a poison for the soul; Yeats worked through his desire for his beloved, Maud Gonne, and realized that "Our longing, our craving, our thirsting for something other than Reality is what dissatisfies us". In "The Rose for the World", he admires her beauty, but feels pain because he cannot be with her. In the poem "No Second Troy", Yeats overflows with anger and bitterness because of their unrequited love. Poet T. S. Eliot dealt with the themes of desire and homoeroticism in his poetry, prose and drama. Other poems on the theme of desire include John Donne's poem "To His Mistress Going to Bed", Carol Ann Duffy's longings in "Warming Her Pearls"; Ted Hughes' "Lovesong" about the savage intensity of desire; and Wendy Cope's humorous poem "Song". Philippe Borgeaud's novels analyse how emotions such as erotic desire and seduction are connected to fear and wrath by examining cases where people are worried about issues of impurity, sin, and shame.

Films

Just as desire is central to the written fiction genre of romance, it is the central theme of melodrama films, which are a subgenre of the drama film. Like drama, a melodrama depends mostly on in-depth character development, interaction, and highly emotional themes. Melodramatic films tend to use plots that appeal to the heightened emotions of the audience. Melodramatic plots often deal with "crises of human emotion, failed romance or friendship, strained familial situations, tragedy, illness, neuroses, or emotional and physical hardship." Film critics sometimes use the term "pejoratively to connote an unrealistic, bathos-filled, campy tale of romance or domestic situations with stereotypical characters (often including a central female character) that would directly appeal to feminine audiences." Also called "women's movies", "weepies", tearjerkers, or "chick flicks". "Melodrama… is Hollywood's fairly consistent way of treating desire and subject identity", as can be seen in well-known films such as Gone with the Wind, in which "desire is the driving force for both Scarlett and the hero, Rhett". Scarlett desires love, money, the attention of men, and the vision of being a virtuous "true lady". Rhett Butler desires to be with Scarlett, which builds to a burning longing that is ultimately his undoing, because Scarlett keeps refusing his advances; when she finally confesses her secret desire, Rhett is worn out and his longing is spent. In Cathy Cupitt's article on "Desire and Vision in Blade Runner", she argues that film, as a "visual narrative form, plays with the voyeuristic desires of its audience". Focusing on the dystopian 1980s science fiction film Blade Runner, she calls the film an "Object of Visual Desire", in which it plays to an "expectation of an audience's delight in visual texture, with the 'retro-fitted' spectacle of the post-modern city to ogle" and with the use of the "motif of the 'eye'". In the film, "desire is a key motivating influence on the narrative of the film, both in the 'real world', and within the text."

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