Following Gadamer, Dilthey’s philosophy of the social world is beset by an implicit subjectivism which puts into question the very possibility of shared understanding. This subjectivism is taken to lie behind Dilthey’s emphasis on empathy (or “re-experiencing”), which becomes a condition of our understanding of others and knowledge of the socio-historical world generally. I argue that Dilthey does not give primacy to subjectivity, particularly in his later works. Dilthey’s own notion of sociality, accounted for in terms of the common realm (...) of “objective spirit,” is akin to Gadamer’s own anti-subjectivist account of the human sciences and understanding. Through objective spirit, Dilthey shows that understanding cannot be conceived in terms of an aggregation of individual mental acts but is instead an irreducibly social accomplishment. (shrink)

This paper adopts the view promoted by early modern philosopher Adam Smith that exercises of the sympathetic imagination play an important role in supporting human sociability and ethical behaviour. It argues that such exercises have potential to significantly change the way in which privileged racial identities relate to marginalised and devalued racial identities. First, the paper draws on Sally Haslanger’s reflections upon her lived experience of transracial parenting to illustrate how sympathetic identification with the experiences of a differently racialized individual (...) can transform the way in which we relate to entire racial groups. Haslanger’s account demonstrates the potential for exercises of the sympathetic imagination to disrupt the way in which we experience our own embodiment, and to generate a form of knowledge that implicates our sense of self and will to act. Second, the paper discusses some limitations of appealing to sympathy as a social resource in less intimate contexts. This discussio... (shrink)

Heidegger tries to explain our emotional life applying three schemes: causal explanation, mental internalisation of emotions and metaphorical expression. None of the three schemes explains emotion though. Either because the causal nexus does not always occur or because objects and people in the external world are carriers of emotional agents or because language is already on a metaphorical level. Moreover, how is it possible that there are presently emotions constituting our life without our being aware of their existence? From the (...) analysis of boredom in its three varieties (“bored by X”, “get oneself bored”, and “it is boring”) we will get to the depth where emotions lie, trying to rouse them and to keep them awake. Although it surfaces with the force and energy of the present, every emotion has its past and future constitution. How can we understand the future of a present emotion along with its past? (shrink)

The Linda paradox is a key topic in current debates on the rationality of human reasoning and its limitations. We present a novel analysis of this paradox, based on the notion of verisimilitude as studied in the philosophy of science. The comparison with an alternative analysis based on probabilistic confirmation suggests how to overcome some problems of our account by introducing an adequately defined notion of verisimilitudinarian confirmation.

This paper attempts to reconcile two apparently opposed ways of thinking about the imagination and its relationship to literature, one which casts it as essentially concerned with fiction-making and the other with culture-making. The literary imagination’s power to create fictions is what gives it its most obvious claim to “autonomy”, as Kant would have it: its freedom to venture out in often wild and spectacular excess of reality. The argument of this paper is that we can locate the literary imagination’s (...) complementary power of cultural articulation in this fictional activity. The suggestion is that we should conceive of the literary imagination as expressing its interests in culture not mimetically but by producing a certain kind of meaning. This meaning is irreducibly narratological, and understanding it helps us to see the role of narrative in bringing into harmony the literary imagination’s interests in both the imaginary and the real. (shrink)