In this essay I want to offer an analysis of the structure of the fictional emotions that we have reading novels. I shall start with a presentation of the structure of emotions in general and their relation to aesthetic fiction. Afterwards, I shall offer a critical review of the current positions on fictional emotions. The aim of this section is to question the presuppositions that dominate the current debate on fictional emotions in particular and on emotions in general. Finally, I (...) shall develop my own account on this issue. The thesis that I am going to defend is that fictional emotions possess doxastic and practical rationality and that they are full fledged emotional experiences the reality of which we should not doubt, even though they show some peculiarities. Key Words: Fictional emotion, quasi-emotion, doxastic rationality, practical rationality, assumption. (shrink)

Der Aufsatz unternimmt eine phänomenologische Analyse des Neides. Was ist Neid? Wie unterscheidet sich Neid von ähnlichen Emotionen? Was sind seine Hauptmerkmale? Was wird geneidet, und wen beneiden wir? Diese Fragen dienen als Ausgangspunkt der Untersuchung. In ihrem Verlauf richtet die Autorin ihre Aufmerksamkeit auf die Persönlichkeitsstruktur, die für den Neid charakteristisch ist, und untersucht einen extremen Fall der Emotion: den ontologischen Neid oder Existenzialneid.

This book is the first to offer a full account of the philosophical work of Else Voigtländer. Locating the sources of her thought in the philosophy and psychology of the 19th and 20th centuries in figures such as Nietzsche and Lipps, the book uncovers and examines Voigtländer’s intellectual exchanges with both phenomenology and psychoanalysis. The major themes within her work are also considered in light of more recent developments in the philosophy of emotion, self, and sociality.

Drawing on insights found in both philosophy and psychology, this paper offers an analysis of hate and distinguishes between its main types. I argue that hate is a sentiment, i.e., a form to regard the other as evil which on certain occasions can be acutely felt. On the basis of this definition, I develop a typology which, unlike the main typologies in philosophy and psychology, does not explain hate in terms of patterns of other affective states. By examining the developmental (...) history and intentional structure of hate, I obtain two variables: the replaceability/irreplaceability of the target and the determinacy/indeterminacy of the focus of concern. The combination of these variables generates the four-types model of hate, according to which hate comes in the following kinds: normative, ideological, retributive, and malicious. (shrink)

Die Beiträge dieses Bandes werfen die Frage nach dem Erkenntniswert der Literatur auf. Der erste Teil des Bandes enthält Beiträge, welche die Frage nach dem Verhältnis zwischen literarischen und anderen Weisen menschlicher Selbstverständigung diskutieren. Im zweiten Teil des Buches finden sich Aufsätze, welche die verschiedenen Argumente, die in der Diskussion um die Frage nach dem kognitiven Wert der Literatur eine Rolle spielen, einer eingehenden Prüfung unterziehen. Sie fragen danach, ob und inwieweit die Literatur Wissen vermittelt. Die Beiträge des dritten Teils (...) vertiefen die Untersuchungen zum kognitiven Wert der Literatur, indem sie verschiedene Formen des Wissens behandeln. Besondere Aufmerksamkeit erhalten die Vergegenwärtigungsleitung der Literatur, das propositionale Wissen, das Zeugniswissen und das begriffliche Wissen. Der vierte Teil des Buches schließlich enthält Aufsätze, die sich mit der Literatur als Quelle moralischen Wissens beschäftigen und den Beitrag der Literatur zu psychologischen Fragen diskutieren, welche das Verständnis der Rolle der Gefühle und die narrative Dimension der Selbstidentität betreffen. (shrink)

A vast range of our everyday experiences seem to involve an immediate consciousness of value. We hear the rudeness of someone making offensive comments. In seeing someone risking her life to save another, we recognize her bravery. When we witness a person shouting at an innocent child, we feel the unfairness of this action. If, in learning of a close friend’s success, envy arises in us, we experience our own emotional response as wrong. How are these values apprehended? The three (...) most common answers provided by contemporary philosophy explain the consciousness of value in terms of judgment, emotion, or perception. An alternative view endorsed mainly by authors inspired by the phenomenological tradition argues that values are apprehended by an intentional feeling. In this model, it is by virtue of a feeling that objects are presented as being in different degrees and nuances fair or unfair, boring or funny, good or bad. This paper offers an account of this model of feeling and its basic features, and defends it over alternative models. To this end, the paper discusses different versions of the model circulating in current research which until now have developed in parallel rather than in mutual exchange. The paper also applies the proposed account to the moral domain and examines how a feeling of values is presupposed by several moral experiences. (shrink)

The aim of this paper is to reconstruct Geiger’s realist and Wollheim’s projectionist accounts on expressive properties and expressive perception by considering them within the larger contexts from which they emerged, by using as far as possible a common language and by focusing on the questions of the nature of expressive properties and of how we grasp them. My aim is to show that it is possible to put into dialogue phenomenological and Anglo-American aesthetics and that this dialogue might lead (...) to new insights about how we engage with art. (shrink)

This article argues that religious emotions are variations of general emotions that we already know from our everyday life, which nevertheless exhibit specific features that enable us to think of them as forming a coherent subclass. The article claims that there is an experience of joy, sorrow, regret, fear, and so on that is specifically religious. The aim is to develop an account that specifies what makes them “religious.” The argument is developed in three stages. The first section develops a (...) phenomenologically inspired account of the emotions by focusing on three of their moments: phenomenal quality, cognitive dependency, and intentionality. Drawing on this theory, section 2 distinguishes the class of religious emotions from similar phenomena. The third and final section examines the main features of religious emotions. (shrink)

This chapter aims to reconstruct the phenomenological theories on hatred developed by Scheler, Pfänder and Kolnai and to refl ect upon its anthropological implications. Four essential aspects of this phenomenon are analyzed, taking as point of departure the works of these authors: (1) its place in the taxonomy of the affective life; (2) the world of its objects; (3) its expression in the form of bodily manifestations and motivating force; and (4) the inherent possibilities for overcoming it. The chapter concludes (...) that hatred is a key phenomenon for understanding aspects of human nature that we generally try to ignore or overlook. (shrink)

Eine Grundmotivation, sich mit fiktionaler Literatur zu beschäftigen, liegt in ihrer Fähigkeit, uns Lebenswahrheiten zu vermitteln, die Welt aus einer anderen Perspektive zu zeigen und unseren Erfahrungshorizont zu erweitern. In all diesen Fällen handelt es sich um Metaphern, die auf die kognitive Relevanz unserer Auseinandersetzung mit literarischen Werken hinweisen. Die Erklärung dieser Metaphern kann nicht nur unsere Beschäftigung mit fiktionaler Literatur, sondern auch den Begriff der Erkenntnis und seine Vielfalt erhellen. In diesem Buch wird eine akkurate Analyse des kognitiven Werts (...) fiktionaler Literatur unternommen. Neben der Vermittlung von Wahrheiten und propositionalem Wissen steht im Mittelpunkt des Buches die Untersuchung von Erkenntnisformen, welchen bislang eher wenig Aufmerksamkeit zuteil wurde. Vor diesem Hintergrund werden perspektivische, phänomenale, empathische und ethische Erkenntnisse in Betracht gezogen. Es sind insbesondere die letztgenannten Erkenntnisformen diejenigen, die für die Literatur kennzeichnend sind und die es uns ermöglichen, über uns selbst hinauszuschauen und unsere Existenz in verschiedener Form zu bereichern. (shrink)

This paper is devoted to the study of the emotions in Edith Stein’s early work On the Problem of Empathy. After presenting her work embedded in the tradition of the early phenomenology of the emotions, I shall elaborate the four dimensions of the emotional experience according to this authoress, the link between emotions and values and the phenomenon of the living body. I argue that Stein’s account on empathy remains incomplete as long as we ignore the complex phenomenology of emotions (...) underlying her work. (shrink)

In diesem Beitrag möchte ich eine Version des literarischen Kognitivismus vertreten, der zufolge Literatur uns mit bestimmten Erfahrungen vertraut macht und unsere Perspektiven auf die Welt vervielfältigt. Um diese These zu erläutern und zu begründen, werde ich zunächst für eine Erweiterung des Wissensbegriffs in der Erkenntnistheorie und Ästhetik plädieren, indem ich die Grenzen der traditionellen Wissenskonzeption und die Bedeutung des Erfahrungsbegriffs für das Verständnis des kognitiven Werts der Literatur darlege. Die epistemische Kraft der Imagination wird mich in einem nächsten Schritt (...) beschäftigen, bevor ich abschließend auf einige moralisch relevante Aspekte der kognitiven Leistungen der Literatur aufmerksam mache. (shrink)

While standard definitions of envy tend to focus on the coveted good or the envied rival, this paper describes envy by reflecting on the envious self and its feelings. The paper begins by describing envy and establishing its key features and objects. It presents envy as an emotion of self-assessment which necessarily involves a sense of powerlessness and a feeling of one’s own diminishing value as a person. The second section illustrates the link between envy and the feeling of self-worth (...) by exploring one of its most radical manifestations: the phenomenon of existential envy. (shrink)

In contrast to mainstream accounts which explain the aesthetic experience of people with autism spectrum disorder (ASD) in terms of cognitive abilities, this paper suggests as an alternative explanation the “emotional abilities approach”. We present an example of a person with ASD who is able to exercise a variety of emotional abilities in aesthetic contexts but who has difficulties exhibiting their equivalents in interpersonal relations. Using an autobiographical account, we demonstrate first that there is at least one precedent where a (...) person with ASD can exercise a series of emotional abilities when engaging with art works. Second, we offer also an explanation about why aesthetic contexts might enable this person to exercise emotional abilities which in interpersonal contexts seem to be blocked. (shrink)

This introduction offers an overview of Else Voigtländer´s (1882-1946) life and thought and places her work within the early phenomenological tradition. It is argued that she should be regarded as a fully-fledged member of the Munich Circle. Voigtländer developed central concepts and themes that occupied other phenomenologists of that time and, though working outside the academy, with her writing she helped to forge a particular view of self-consciousness, affectivity, and the social self. the perception and reception of her philosophical work (...) are examined. After a first period of collegial exclusion, and a second period of historical oblivion, Voigtländer's work have been object of recent interest. It is high time that we acknowledge her as a philosopher of the twentieth century. By so doing, a new and more inclusive view on the genealogy of the phenomenological movement will emerge. (shrink)

Why is it that we respond emotionally to plays, movies, and novels and feel moved by characters and situations that we know do not exist? This question, which constitutes the kernel of the debate on »the paradox of fiction«, speaks to the perennial themes of philosophy, and remains of interest to this day. But does this question entail a paradox? A significant group of analytic philosophers have indeed thought so. Since the publication of Colin Radford's celebrated paper »How Can We (...) Be Moved by the Fate of Anna Karenina?« (1975), the number of proposals to solve, explain, reformulate, dismiss or even revitalize this apparent paradox has continued to proliferate. In line with recent developments in the philosophy of emotion, in this paper I will argue against the sustainability of the paradox, claiming that the only reasonable way to continue our discussions about it consists in using it as a heuristic tool to shed light on problems regarding our involvement with fiction. Against this background, I will then focus on one of the problems related to how our emotional responses to fiction contribute to our appreciation of it. The paper is divided into three main sections. The first section shows the parallel evolution of the paradox of fiction and the analytic philosophy of emotion. Here I claim that, although the paradox is epistemically flawed, since one of its premises is rooted in a limited view on the emotions typical of early cognitiv-ism, the discussions it provokes are still epistemically useful. As Robert Stecker (2011, 295), among others, has pointed out, the paradox was formulated during the heyday of cognitive theories of the emotions in which emotion necessarily requires belief. Today, however, only few authors would endorse this premise. If emotion does not always require belief (as the majority of authors in the contemporary debate admit), let alone belief about the existence of the object towards which it is directed, then there is no reason to speak of a paradox. From this first conclusion, however, it does not follow that the paradox is completely without use from the epistemic point of view. A glimpse at the topics touched on during the discussions about how to solve, reformulate, or negate the paradox reveals their value in shedding light on the interrelation between emotion and fiction. The second section elaborates a phenomenologically inspired cognitive account of the emotions by focusing on their cognitive bases, their influence on Emotion in the Appreciation of Fiction 205 cognitions, and their cognitive function. In this model, emotions are responsible for indicating values, for showing what matters to us, and for being appropriate to their objects. My claim is that this view applies not only to reality, but also to our involvement with fiction. In the final section I draw on this account to focus on one kind of appreciation of fiction which necessarily requires our emotional involvement. Following an idea put forward by Susan Feagin (1996, 1), I employ the concept of »appre-ciation« to refer to a set of abilities exercised with the aim of extracting value from the work. There is a long tradition in aesthetics that condemns any focus on the emotions in the appreciation of art and fiction, and defends the necessity of aesthetic appreciation without emotional influence. To refer to this negative attitude towards the emotions, I will borrow an expression coined by Susan Feagin (2013, 636), who refers to »the intellectualized view of appreciation«. Against this widespread view, I will argue that some aspects of the fiction can only be appreciated with the help of our emotions. The cognitive approach developed in the previous section can explain how the emotions might in fact play a significant role in the appreciation of art and fiction. Attention will be paid to three activities involved in appreciation, for all of which emotion is crucial: processing relevant information about the fictional world, understanding aspects of it, and becoming acquainted with the values it presents. My aim here is to argue that there are particular aspects of the fictional world that can only be appreciated if recipients have the appropriate emotions. (shrink)

A very basic form of experience consists in feeling energetic, vital, alive, tired, dispirited, vigorous and so on. These feelings – which I call feelings of vitality or vital feelings – constitute the main concern of this paper. My aim is to argue that these feelings exhibit a distinctive form of affectivity which cannot be explained in terms of emotions, moods, background feelings or existential feelings and to explore different paths for their conceptualization. The paper proceeds as follows. After introducing (...) the topic (sect. 1), I show that these feelings cannot be subsumed under any of the current categories of the affective mind (sect. 2). Against this backdrop, I present and critically assess Scheler’s notion of vital feelings as an alternative model for capturing their distinctive nature (sect. 3). Next, I explore varieties of vital feelings by focusing on different levels of the bodily-felt experience (sect. 4) and analyze their specific form of self-involvement (sect. 5). Finally, I conclude by showing how the study of vital feelings might contribute to phenomenological bioethics (sect. 6). (shrink)

ABSTRACT This article argues that religious emotions are variations of general emotions that we already know from our everyday life, which nevertheless exhibit specific features that enable us to think of them as forming a coherent subclass. The article claims that there is an experience of joy, sorrow, regret, fear, and so on that is specifically religious. The aim is to develop an account that specifies what makes them “religious.” The argument is developed in three stages. The first section develops (...) a phenomenologically inspired account of the emotions by focusing on three of their moments: phenomenal quality, cognitive dependency, and intentionality. Drawing on this theory, section 2 distinguishes the class of religious emotions from similar phenomena. The third and final section examines the main features of religious emotions. (shrink)

Abstract:This article employs the concept of “transformative experience” to develop a radical version of aesthetic cognitivism, according to which engaging with literary perspectives might lead the reader to experience not only an epistemic but also a personal transformation. It is argued that the reader’s imaginative and empathic abilities when subjected to the aesthetic norms that govern a literary work can mobilize other aspects of their psychology, eliciting in this way a change in their core values and, consequently, in the way (...) in which they engage with the world. After introducing the topic (section 1), the article discusses the scope of literary perspectives in terms of the character’s subjective experiences (section 2). Next, it offers an analysis of the depth of literary perspectives in terms of the degree of involvement of the reader’s imaginative and empathic abilities (section 3). It proceeds to examine how the interplay between the scope and depth in the reader’s engagement with a literary perspective can explain their epistemic and personal transformation (section 4). In the final part, the article analyzes how the personal transformation changes the reader’s value system (section 5). The main findings are summarized in the conclusion (section 6). (shrink)

The notion of beauty has endured a troublesome history over the last few decades. While for centuries beauty has been considered one of the central values of art, there have also been times when it seemed old-fashioned to even mention the term. The present volume aims to explore the nature of beauty and to shed light its place in contemporary philosphy and art practice.

In den letzten Jahrzehnten sind die Emotionen zu einem der zentralen Themen der Philosophie des Geistes geworden. Erstaunlich ist in diesem Kontext einer neuen Entdeckung der Gefühle, dass die frühen phänomenologischen Beiträge der ersten Schüler Husserls zu dem Thema in Vergessenheit geraten sind. Dabei können die Gefühlskonzeptionen und Analysen emotionaler Phänomene von Pfänder, Voigtländer, Haas, Geiger, Scheler, Stein, Walther, Kolnai, Ortega y Gasset wegen ihrer einzigartigen Präzision und Erfahrungsnähe die heutige Debatte entscheidend bereichern. In diesem Buch wird einerseits die Rekonstruktion (...) einer Theorie der Emotionen unternommen, welche implizit in den Texten der ersten Phänomenologen liegt. Andererseits werden systematische Antworten auf Fragen und Problemstellungen gegeben, welche die aktuelle Diskussion bestimmen. Was sind Emotionen? Inwiefern kann man von emotionaler Realität und Irrealität, Echtheit und Unechtheit sprechen? Kann es Emotionen über Fiktionen geben? Gibt es unterbewusste Emotionen? Welche Rolle spielen leibliche Aspekte? Was bedeutet es, dass Emotionen intentional sind? In welcher Beziehung stehen sie zu den Werten? Dies sind die Leitfragen des Buches. (shrink)

Mikkonen’s new book and his emphasis on understanding should be regarded as an important contribution to the contemporary debate on the cognitive value of literary narratives. As I shall argue, his notion of understanding can also help explain how literature is existentially valuable. In so doing, his account can support a radicalized contemporary neo-cognitivism according to which literature can affect us existentially and lead to a personal transformation.

This chapter explores the early phenomenological accounts of Ressentiment provided by Else Voigtländer, Max Scheler, and Adolf Reinach. In particular, it examines the self-deceptive processes that lead to the “inversion of values” inherent to Ressentiment, i.e., how an object previously felt as valuable is denuded of its worth when the subject realizes that she cannot achieve it. For the comparative analysis of the three accounts, attention is paid to three crucial issues: 1) the origins of Ressentiment (etiology); 2) its place (...) in the taxonomy of the affective mind (ontology); and 3) the psychological mechanisms responsible for the inversion of value (psychology). The early phenomenological accounts are then analyzed in the light of recent accounts of Ressentiment elaborated by authors close to the phenomenological tradition. It is argued that the early phenomenological accounts provide central insights on the interrelation between affectivity and value. (shrink)

In diesem Aufsatz argumentiere ich für die These, dass alle Dokumentarfilme darauf abzielen, uns Erkenntnis über einen Aspekt der Realität zu vermitteln. Dieser These zufolge sind Dokumentarfilme – im Unterschied zu anderen Filmgattungen – der Wirklichkeit verpflichtet. Vor diesem Hintergrund sollen in diesem Aufsatz zwei Aspekte genauer untersucht werden: zum einen, wie der kognitive Wert von Dokumentarfilmen genauer zu verstehen ist, und zum anderen, inwiefern ausgehend von diesem epistemischen Aspekt Unterscheidungskriterien zwischen Dokumentarfilmen und anderen Filmgattungen entwickelt werden können. Der Aufsatz (...) gliedert sich in zwei Teile. Im ersten Teil werde ich die Frage untersuchen, inwiefern Dokumentarfilme „Dokumente“ der Realität sind. Dabei werde ich verschiedene Interpretationen des epistemischen Ziels von Dokumentarfilmen besprechen und auch die „Vergegenwärtigungsansicht“ als Ergänzung zu der „assertorischen Ansicht“ (Plantinga, Carroll und Currie) und zu der „Verstehensansicht“ (Dromm) anbieten. Im zweiten Teil sollen die Ähnlichkeiten und Unterschiede zwischen Dokumentarfilmen und Spielfilmen besprochen werden, um genauere Unterscheidungskriterien zu entwickeln. Ich werde hierfür den phänomenologischen Begriff der Imagination (Sartre, Meunier) einführen und seine Produktivität für die Debatte über den kognitiven Wert von Dokumentarfilmen aufzeigen. (shrink)

En este artículo se analiza la teoría de las emociones de Brentano, según la cual éstas son actos intencionales basados en juicios y tienen un papel central en el reconocimiento del valor y en la motivación para la acción. Tras una exposición del panorama intelectual de las teorías de las emociones a finales del siglo XIX, sigue el análisis de la teoría de Brentano y de su proyecto ético, para terminar remarcando la influencia de su legado en los autores de (...) la escuela fenomenológica y la filosofía analítica. (shrink)

RESUMENDurante los últimos años, la filosofía analítica ha centrado su interés en la temática de las emociones y se han elaborado las más diversas teorías. En este artículo me propongo, por un lado, exponer las principales líneas de investigación actuales sobre las emociones y desarrollar los argumentos en favor y en contra cada una de ellas con el fin de perfilar mi propia posición; por otro lado, voy a presentar los desarrollos históricos precedentes a las teorías analíticas mostrando que la (...) historia de la filosofía no ha relegado las emociones al olvido.PALABRAS CLAVEEMOCIÓN, FILOSOFÍA ANALÍTICA, TEORÍAS DEL SENTIR, TEORÍAS COGNITIVISTAS.ABSTRACTEmotions are one of the topics that have caught the attention of analytical philosophy during the past years, and philosophers have developed different theories in this field. In this article, I shall present the main lines of investigation in the current debate on emotions and explain the arguments in favour and against each of them in order to build up my own position on the one hand, and, present the historical developments previous to the analytical theories, showing that the history of philosophy has always had an interest in emotions as a topic on the other hand.KEY WORDSEMOTION, ANALYTICAL PHILOSOPHY, FEELING THEORIES, COGNITIVISTIC THEORIES. (shrink)

This paper offers an overview of certain key features of the accounts of emotion defended by the early phenomenologists. After briefly presenting the movement of early phenomenology and describing its historical context, I shall elaborate the main claims about the emotions defended by this group, articulating them through the following five topics: 1) the stratification of emotional life; 2) the qualitative aspect of emotional experience; 3) the foundation of the emotions in cognitive acts; 4) the intentionality of feeling and the (...) emotions; and 5) their moral dimension. The paper finishes with some concluding remarks about the significance of the early phenomenological discussion of the emotions for the debate on this topic in contemporary analytical philosophy. (shrink)

This paper explores “existential envy” as a kind of envy in which the subject targets the rival’s entire being rather than one of her possessions, achievements or talents. It argues that existential envy is characterized by a weakening of the distinction between good and rival and by a strong focus on the envious self. In existential envy, the subject becomes aware that another person is closer to her ideal self than she is, such that the rival painfully reminds her of (...) unfulfilled but now unrealizable possibilities inherent to her being. After motivating the topic in the introduction (section 1), the paper analyzes the intentional object of existential envy, i.e., of what it means that the envier targets the other’s being (section 2). The next section explores existential envy’s focus on the self by examining the series of feelings of diminution in the envier’s own value (section 3). The paper then turns to the set of comparisons between the self and the other and the counterfactual thought “I could have been you!” which is shown to be definitory of this type of envy (section 4). In the final part of the paper, the relation between the envier’s bad self-image, self-reproach, and self-deception is discussed (section 5), before the main findings are summarized in the conclusion (section 6). (shrink)

Vor etwa einem Jahrhundert entwickelte sich im deutschsprachigen Raum imRahmen einer allgemeinen Charakterisierung unserer ästhetischen Erfahrungvon Kunst eine umfassende Debatte über die Natur und die Möglichkeit vonGefühlen über fiktionale Charaktere und Situationen. Die damalige Debatteweist große Ähnlichkeit zur heutigen analytischen Debatte über das Paradoxonder Fiktion auf. Trotz des unterschiedlichen jeweiligen historischen Kontextesfindet sich in der analytischen Debatte und in der Philosophie zu Beginn des20. Jahrhunderts fast der gleiche Lösungsansatz. Gefühle über Fiktionen seienQuasi-Gefühle, d.h. ein gefühlsartiges Phänomen mit einer Realität sui (...) generis ,dem im Unterschied zu den wirklichen Gefühlen kein Urteil über die Existenzdes Objektes zugrunde liegt und dem die Verbindung zur Motivation fehlt. Zieldieses Aufsatzes ist es, eine Untersuchung der These der Quasi-Gefühle An-fang des 20. Jahrhunderts zu unternehmen sowie die Analogien zur heutigenDebatte zu zeigen. Der Aufsatz baut sich um drei thematische Achsen herumauf. Zunächst wird eine historische Darstellung der These der Gefühle über Fiktionen bei Groos, Lipps, Lange, Geiger und Külpe unternommen. Diese bil-det den Rahmen für die Debatte über die Quasi-Gefühle in der Grazer Schule.Anschließend wird die Aufmerksamkeit auf die Diskussion über Quasi-Gefühle bei Meinong, Witasek, Saxinger und Schwarz gerichtet. Zuletzt wer-den die Berührungspunkte zur heutigen analytischen Debatte im Ausgang vonsystematischen Fragen aufgezeigt. (shrink)

Alexius von Meinong hat eine eigene Philosophie der Emotionen entwi-ckelt, die mit Blick auf die heutige Debatte über Gefühle höchst aktuell erscheint. Laut Meinong zeichnen sich die Emotionen durch drei Merkma-le aus: Sie sind leibliche Erfahrungen der Lust oder Unlust; sie gründen in kognitiven Akten wie Wahrnehmungen, Phantasien, Urteilen und Annah-men; und sie intendieren Werte. In diesem Aufsatz wird eine systematische Untersuchung von Meinongs Philosophie der Gefühle sowie von ihrem Einfluss auf die Grazer Schule und ihrer Bedeutung für die aktuelle (...) Debat-te unternommen. Schwerpunkte der Arbeit ist erstens die Verbindung zwi-schen Emotionen und Werten, die stark von den unterschiedlichen Wert-konzeptionen, die Meinong im Laufe seines Werkes vertreten hat, abhän-gig ist. Zweitens geht es um die exemplarische Untersuchung von zwei Ge-fühlsarten, die für den heutige Diskussion von besonderer Bedeutung sind, nämlich Urteilsgefühlen und Phantasiegefühlen. (shrink)

This paper argues that certain literary works can only be fully appreciated if the reader is able to experience through empathy the character’s values. I call it "the axiological account" because it makes the grasping of aesthetic values dependent on the experience of other values embodied in the work. I develop my argument in three stages. First, I argue that in empathy we not only apprehend but also experience something similar to what the target is going through. Next, I show (...) how this experience is necessary to extract the aesthetic values of certain works. The final section addresses two challenges to the proposed account. (shrink)

This chapter explores Unamuno’s narrative fictions as thought experiments regarding the self and the emotions. It begins by developing a notion of thought experiment consequent with his understanding of philosophy as a form of literature. Next, it focusses on the philosophy of the emotions implicit in his major essay Del Sentimiento trágico de la vida. The third section offers a case study in the form of envy in the novel Abel Sánchez. The final section addresses different forms of knowledge about (...) the emotions conveyed by Unamuno’s fictional works. (shrink)

This paper argues that early phenomenologists used the concept of empathy not only to refer to the direct perception of the other’s experiences – as underscored by contemporary proponents of the Direct Perception Theory – but also to describe – in a sense close to Lipps’s theory and contemporary Simulation Theory – how, by virtue of imagining, we “feel into” animate and inanimate objects. Focusing on this second usage of the term, two kinds of imagination-based accounts of empathy in early (...) phenomenology are identified. According to “radical imaginationists”, empathy can be explained in terms of the series of imaginative processes entailed in the idea of “feeling into”, such as projecting oneself into the target, “imitating” its feelings, and resonating with it. Voigtländer’s account of empathizing with one’s own self in Vom Selbstgefühl (1910) and Geiger’s account of empathy with atmospheres in “Zum Problem der Stimmungseinfühlung” (1911) can in this sense be regarded as radical imaginationist theories. According to “moderate imaginationists”, empathy might (but need not) entail imagining. Stein’s account of empathy with others in On the Problem of Empathy (Zum Problem der Einfühlung) (1917/1989) as a three-step process which can involve imagination-like states is a good example of a moderate imaginationist account. (shrink)

Emotions are one of the topics that have caught the attention of analytical philosophy during the past years, and philosophers have developed different theories in this field. In this article, I shall present the main lines of investigation in the current debate on emotions and explain the arguments in favour and against each of them in order to build up my own position on the one hand, and, present the historical developments previous to the analytical theories, showing that the history (...) of philosophy has always had an interest in emotions as a topic on the other hand. (shrink)

Contemporary accounts on fictional emotions, i.e., emotions experienced towards objects we know to be fictional, are mainly concerned with explaining their rationality or lack thereof. In this context dominated by an interest in the role of belief, questions regarding their phenomenal quality have received far less attention: it is often assumed that they feel “similar” to emotions that target real objects. Against this background, this paper focuses on the possible specificities of fictional emotions’ qualitative feel. It starts by presenting what (...) I call the “phenomenological question” about the qualitative feel of fictional emotions (section 1) and by showing that this is irreducible to questions about their cognitive, intentional, evaluative, and embodied nature (section 2). Drawing on some insights from early phenomenologists, the next two sections elaborate criteria to distinguish between real and sham emotions on the one side (section 3) and between genuine and non-genuine emotions on the other (section 4). Finally, I apply this orthogonal distinction to the particular case of fictional emotions (section 5). The paper argues that fictional emotions are neither sham emotions nor quasi-emotions, but full-fledged emotional experiences, despite them displaying the distinctive phenomenology of emotions experienced as non-genuine. In the particular case of fictional emotions, they are non-genuine because our psychology is in fact in a state dominated by aesthetic enjoyment. (shrink)

Drawing on Laurie A. Paul’s notion of “transformative experience”, this paper explores transformative philosophical experiences and analyses the structure of the attitude underlying them. It is argued that these experiences have to be explained not in cognitive terms but as a change in our affective attitude. More precisely, these experiences lead us to feel values in a novel manner. However, in order to make the philosophical experience epistemically transformative and provide a new perspective from which we can acquire new philosophical (...) insights, this feeling of value must meet certain moral conditions such as being open, humble and aware of possible self-deceptive tendencies. Since affectivity is central to the person we are, epistemically transformative experiences in philosophy go hand in hand with personal transformation. (shrink)

In contemporary discourses, it has become common sense to acknowledge that humans and some species of animals, from their very inception, are embedded in social and intersubjective contexts. As social beings, we live, interact, communicate, and cooperate with others for a range of different reasons: sometimes we do so for strategic and instrumental reasons, while at other times it is purely for its own sake. Moreover, in one way or another, we encounter others not only as rational but also as (...) sentient beings; our interactions with others are shaped by reason, though not exclusively so. They are also affected by our emotions, feelings, moods, and environments. In this way, we seek understanding both for and by others. We are able to recognize, interpret, and categorize others’ expression and behavior; in turn, we express our emotions, desires, and motivations to act towards others and hope that others will react adequately and appropriately. Empathy is usually understood as the capacity to apprehend others’ mental states—especially emotions. In recent decades, it has become one of the most widely discussed concepts, especially in the philosophy of mind, ethics, and aesthetics. Although there is a vast array of publications on the topic of empathy, a number of controversies have persisted, particularly in relation to how the process, outcome, and value of empathy should be understood. One recent debate concerns the question of whether we directly perceive others’ mental states or whether we rather imagine their perspective. Another central discussion is ongoing regarding empathy in respect of narratives and fictional characters. The aim of this Special Issue is to interrelate these two branches—fiction and imagination—and to examine the role of imagination in the empathic process, especially in relation to the thesis of direct perception of others’ mental states. Despite the wealth of recent research into empathy that has emerged from a diverse range of disciplinary perspectives, there is still no consensus about the nature and role of imagination and whether empathizing with fictions should be categorically or just gradually distinguished from empathizing with real persons. (shrink)

In this paper, I explore Unamuno’s narrative fictions as thought experiments about self and emotion. I begin by developing a notion of thought experiment consequent with his understanding of philosophy as a form of literature. Next, I focus on the philosophy of the emotions implicit in his major essay Del Sentimiento trágico de la vida. The third section offers a case study in the form of envy in the novel Abel Sánchez. The final section addresses different forms of knowledge about (...) the emotions conveyed by Unamuno’s fictional works. (shrink)

This paper offers a phenomenological analysis of contempt. To this end, I will focus on four main features of this emotion. 1) In the first section, applying the phenomenological methodology to the case of contempt, I will distinguish the structure of this emotion from the structure of similar negative affective phenomena. Attention will be paid especially to the relation between contempt and hatred. 2) The emotional experience of contempt is analyzed in the next section acknowledging three main dimensions: quality, valence, (...) and expression. 3) The third section undertakes an analysis of the cognitive content of contempt focusing on its judgmental structure and its intentional objects. 4) In the last section, I discuss the role of contempt in moral life. Against recent defenses of this emotion, I argue that contempt is morally wrong. (shrink)