Desires matter. What are desires? Many believe that desire is a motivational state: desiring is being disposed to act. This conception aligns with the functionalist approach to desire and the standard account of desire's role in explaining action. According to a second influential approach, however, desire is first and foremost an evaluation: desiring is representing something as good. After all, we seem to desire things under the guise of the good. Which understanding of desire is more accurate? Is the guise (...) of the good even right to assume? Should we adopt an alternative picture that emphasizes desire's deontic nature? What do neuroscientific studies suggest? -/- Essays in the first section of the volume are devoted to these questions, and to the puzzle of desire's essence. In the second part of the volume, essays investigate some implications that the various conceptions of desire have on a number of fundamental issues. For example, why are inconsistent desires problematic? What is desire's role in practical deliberation? How do we know what we want? -/- This volume will contribute to the emergence of a fruitful debate on a neglected, albeit crucial, dimension of the mind. (shrink)

The thesis defended, the “guise of the ought”, is that the formal objects of desires are norms (oughts to be or oughts to do) rather than values (as the “guise of the good” thesis has it). It is impossible, in virtue of the nature of desire, to desire something without it being presented as something that ought to be or that one ought to do. This view is defended by pointing to a key distinction between values and norms: positive and (...) negative norms (obligation and interdiction) are interdefinable through negation; positive and negative values aren’t. This contrast between the norms and values, it is argued, is mirrored, within the psychological realm, by the contrast between the desires and emotions. Positive and negative desires are interdefinable through negation, but positive and negative emotions aren’t. The overall, Meinongian picture suggested is that norms are to desires what values are to emotions. (shrink)

How does it feel to be a worm? No doubt, it feels Kafkaesque. The metamorphosis (1915) is a story of an ordinary man, Gregor Samsa, who wakes up one morning as an ungeheures Ungeziefer or ‘giant vermin’. Is this only a bodily change, or has his mind been transformed as well? And how do the people around him cope with this transformation? In this paper, I am going to examine these issues by using tools from Franz Brentano’s (1838–1917) and Anton (...) Marty’s (1847–1914) philosophy of mind and language. Rumour has it that Kafka’s stories were not only products of his own troubled soul, but were also profoundly influenced by the work of these two philosophers. In my paper, I will cover the following issues: the influence of Franz Brentano on Anton Marty and a fortiori on Franz Kafka (1883–1924), who was Marty’s student in Prague (and in this way, saying something about the School of Brentano); Brentano’s and Marty’s theory of correct and incorrect emotions, and its traces in Kafka’s The metamorphosis; Marty’s philosophy of language and communication as reflected in Kafka’s writings; and Brentano’s reism in comparison to Kafka’s nominalism, on the basis of Roberto Calasso’s interpretation of Kafka. (shrink)

I will argue here that for many of us the act of dressing our bodies is evidence of intentional expression before different audiences. It is important to appreciate that intentionality enables us to understand how and why we act the way we do. The novel contribution this paper makes to this examination is employing clothing as a means of revealing the characteristics of intentionality. In that, it is rare to identify one exemplar that successfully captures the relationships between the cognitive (...) and physical characteristics of its application. Nevertheless, this paper will not attempt to fully encompass the traditional approaches associated with this concept but instead employ both the early and later writings of French phenomenologist Maurice Merleau‑Ponty and his claim that our lived bodies are an expressive space from which we act intentionally. In other words, that the manner by which we dress our bodies is likely to offer a significant means of revealing the character of intentionality in everyday life and by this, claim that clothing can communicate. Accordingly, this first‑person account closely examines both the cognitive and physical experience of a simple clothing example: ‘what to wear?’ and the experience of an everyday clothing purchase in a store and its subsequent impact when the item of clothing is worn for different audiences. The ensuing discussion systematically examines the significance of marrying Merleau‑Ponty’s writings with this everyday example through private and public audiences and in abstract and public spaces. (shrink)