Today, using a sophisticated publicity, corporations aim to generate an image of respect to the environment in consumer’s minds. These images do not necessarily match with reality. It is called “Greenwashing” when a company amplifies selectively information with an environmental positive connotation aiming to produce a distorted image with a “green” bias. This article pretends to analyze these phenomena and to evaluate their existence, importance and influence on consumer’s decisions through the design of a methodology and piloting it with a (...) population of students. The results point out that the images transmitted by the publicity of five selected corporations contrasts with examples of poor management, and this manipulation affects the perception of the surveyed students. Students of environmental sciences present a slightly higher resistance against Greenwashing because of their formation, but the majority incorporates the official discourse based on corporate public relationship. (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)

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)

The article looks at the way in which Latinas in the United States conceived evangelism. It explores the writings of mujerista theologian Ada María Isasi-Díaz in her construction of a praxis oriented model for evangelism based on a strategy of daily-life survival. The concept of interpersonal relationships based on divine transcendence guides the discussion to embrace the arts, especially salsa music as offered to the Afro-Caribbean deities, as a source of sharing good news in a new tune. Thus the article (...) tries to interlace theoria, praxis, and poiesis. (shrink)

This chapter examines the critiques of sentimentalism developed by Moritz Geiger and José Ortega y Gasset within the field of phenomenological aesthetics. It explores and evaluates the main arguments behind this critique: namely the existence of an aesthetic attitude, an intellectualized view of appreciation, and the predominance of form over content. Though both authors utilize Kant’s idea of “aesthetic disinterestedness”, they endorse a view of appreciation which differs from the Kantian one in substantial respects.

This chapter examines the critiques of sentimentalism developed by Moritz Geiger and José Ortega y Gasset within the field of phenomenological aesthetics. It explores and evaluates the main arguments behind this critique: namely, the existence of an aesthetic attitude, an intellectualized view of appreciation, and the predominance of form over content. Though both authors utilize Kant’s idea of “aesthetic disinterestedness,” they endorse a view of appreciation that differs from the Kantian one in substantial respects.

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)

This paper provides an account on how to understand “emotional depth” and applies it to the particular case of religious experiences. After motivating the topic (section 1), I turn to classical and contemporary approaches to “emotional depth”. I divide these accounts into two main groups depending on whether they interpret depth as a constitutive or a momentary feature of the affective experience. I argue that despite their descriptive power, none of the existing accounts adequately captures the depth of affective religious (...) experiences (section 2). Next, I present and critically assess Kurt Stavenhagen’s neglected account of the depth of religious feelings. In particular, I explore his concept of “specific depth”. In my reading, this notion conveys the momentary structure of a feeling (section 3). I then proceed to develop my own account according to which emotional depth is a phenomenal quality which depends on the intentional structure of a feeling. In particular, I argue that the feature of depth is explainable in terms of the specific ways in which a feeling is directed toward an object (directedness) and evaluatively presents it (evaluative presentation). Drawing on this idea, I examine three varieties of affective intentionality and distinguish between emotions, sentiments, and moods (section 4). I then apply my model to explain the depth of affective religious experiences (section 5). The main findings are summarized in the conclusion (section 6). (shrink)

In contrast to previous conceptualizations of episodic self-esteem as a cognitive assessment of one’s own self, recent proposals have categorized this phenomenon as an affective state. In this vein, self-esteem has been regarded as a self-conscious emotion (Salice 2020) and an existential feeling (Bortolan 2018, 2020). While concurring with these recent accounts on the affective nature of self-esteem, this chapter also argues that none of them fully captures its nature. It argues that self-esteem is better understood as an umbrella term (...) for a group of intentional feelings in which the subject valuates herself and senses fluctuations in her own value. The chapter also discusses the place of self-esteem feelings within the affective mind. (shrink)

Seit ungefähr Mitte der 90er-Jahre und bis heute wird der Frage nach dem Zusammenhang zwischen Ästhetik und Ethik hauptsächlich in der angloamerikanischen und der angelsächsischen analytischen Ästhetik besondere Aufmerksamkeit geschenkt. In der Einleitung des Bandes Aesthetics and Ethics. Essays at the Intersection (1998), der eine der ersten Publikationen über das Thema ist, macht Levinson deutlich, dass das Buch das Ziel hat, Debatten der Ästhetik und Ethik zu verbinden, die während der vergangenen 30 Jahre isoliert behandelt worden sind (Levinson 1998, 1). (...) Er bezieht sich dabei auf die angloamerikanische Ästhetik. Seit der Veröffentlichung dieses Bandes ist eine beachtliche Zahl von Beiträgen entstanden, die explizit Themen an der Schnittstelle beider Disziplinen behandeln. Vor diesem Hintergrund soll in diesem Beitrag die Beziehung zwischen Ästhetik und Ethik unter dem Gesichtspunkt der zeitgenössischen philosophischen Ästhetik behandelt werden. Dabei sollen die Anknüpfungspunkte zwischen der neuen englischsprachigen Literatur und den Beiträgen in der deutschen ästhetischen Tradition sichtbar gemacht werden. (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)

Ziel des Aufsatzes ist es, das Projekt angewandter interkultureller Philosophie „Briefe über Philosophie weltweit“ vorzustellen. Der Beitrag ist in vier Teile gegliedert. Im ersten Abschnitt werden Anlass und Profil des Projektes vorgestellt. Der „akademische Nomadismus“ der Gegenwart verstärkt die immer schon interkulturelle Verfasstheit der akademischen Praxis und stellt den lebensweltlichen Anlass des Projektes dar, dies in Form von Briefen über die verschiedenen Bedingungen des Philosophierens auch zu reflektieren. Im zweiten Abschnitt wird genauer nach Erfahrungen gefragt, die in den Briefen zum (...) Ausdruck kommen und die wir als „interkulturelle Erfahrungen“ bezeichnen und näher bestimmen wollen. Thema des dritten Abschnitts ist die gewählte Darstellungsform für derartige interkulturelle Erfahrungen, nämlich die Briefform als Medium für Perspektivität. Im vierten Abschnitt machen wir abschließend den Versuch, das Projekt als Form angewandter interkultureller Philosophie zu profilieren. (shrink)

This paper explores how individuals experiencing hostile affective states such as envy, jealousy, hate, contempt, and Ressentiment tend to deceive themselves about their own mental states. More precisely, it examines how the feeling of being diminished in worth experienced by the subject of these hostile affective states motivates a series of self-deceptive maneuvers that generate a fictitious upliftment of the subject’s sense of self. After introducing the topic (section 1), the paper explores the main arguments that explain why several hostile (...) affective states involve a feeling of diminution in the subject’s own value (section 2). Next, it offers an analysis of how the negative feeling of self-worth motivates self-deception. While in extrinsically motivated self-deception, the subject feels diminished in worth after negatively evaluating her own hostile affective states, in intrinsically motivated self-deception, the negative feelings of self-worth are constituent elements of the hostile affective state in question (section 3). Cases of intrinsically motivated self-deception are particularly intriguing because in them the motivation for self-deception is inherent to the hostile affective state, independently of external reasons. I coin the expression “self-deceptive style” to capture the distinctive form in which each hostile affective state intrinsically motivates changes in the architecture of the mind (e.g., perception, imagining, memory, judgment, attention, etc.) in order to generate an upliftment of the self (section 4). To show the descriptive and explanatory function of this concept, a comparative analysis of the self-deceptive styles of envy and hate is provided (section 5). The conclusion summarizes the main findings and explores directions for further research (section 6). (shrink)

In Vom Selbstgefühl (1910) (identical to Über die Typen des Selbstgefühls), Else Voigtländer undertakes an accurate analysis of a category of feelings named “feeling of self-worth” and its types. This entry presents Voigtländer's definition, characterization and taxonomy of the feeling of self-worth.

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)

How to distinguish emotions such as envy, disgust, and shame from sentiments such as love, hate, and adoration? While the standard approach argues that emotions and sentiments differ in terms of their temporal structures (e.g., Ben-ze’ev, 2000; Deonna & Teroni, 2012; Frijda et al., 1991), this paper sketches an alternative approach according to which each of these states exhibits a distinctive intentional structure. More precisely, this paper argues that emotions and sentiments exhibit distinct forms of affective intentionality. The paper begins (...) by examining the temporal criteria of duration, etiology, and phenomenology widely employed to distinguish between both states. It demonstrates that none of them provides a clear-cut distinction between emotions and sentiments. Next, it presents the intentional approach as an alternative. To this end, it discusses what I call the axiological account (De Monticelli’s 2006; 2020), before introducing my version of the intentional approach according to which emotions and sentiments exhibit different forms of affective intentionality. The main findings are summarized in the conclusion. (shrink)

Dieser Beitrag handelt von der Empathie in der Kunst. Ich beginne mit einer Reflexion über die Ursprünge des Begriffes und seine Verwendung in der Ästhetik. Es folgt eine Analyse der Empathie im Vergleich zu anderen Formen der Anteilnahme an Kunstwerken. Im dritten Teil untersuche ich die Mechanismen der Empathie in der Kunst und die Funktion der Imagination. Der vierte Teil widmet sich der Bedeutung der Gefühle bei der Empathie für Kunstfiguren. Schließlich thematisiere ich den epistemischen, moralischen und ästhetischen Wert der (...) Empathie für die Kunst. (shrink)

Der Aufsatz ist in zwei Teile gegliedert. Im ersten Teil unterscheide ich das Phänomen der Empathie von ähnlichen Phänomenen. Im zweiten Teil werde ich auf die Bedingungen für Empathie eingehen. In diesem Teil geht es mir darum zu zeigen, dass wir es trotz einiger Unterschiede zwischen Empathie für Mitmenschen und Empathie für Figuren mit demselben Phänomen zu tun haben.

Aunque la figura de Meinong se asocia a posiciones realistas acerca delos valores, un análisis más cuidadoso de su obra revela al menos tres concepcionesdiferentes de esta noción. El objetivo de este artículo consiste en examinar sistemáti-camente las tesis acerca de los valores sostenidas en tres de sus obras. Se analizará primero la teoría disposicionalista defendida en Psychologische ethische Untersuc-hungen zur Werttheorie (1894) según la cual los valores son posibles sentimientosde valor. Centraremos después nuestra atención a los cambios realizados en (...) “ÜberWerthaltung und Wert” (1895), obra en la que se explica el concepto de valor rela-cionándolo con los conceptos de emoción y deseo. Finalmente, nos centraremos enlas tesis realistas expuestas en Emotionale Präsentation (1917) y mostraremos la actualidad de las mismas para el debate contemporáneo. (shrink)

La filosofía alcanza reflexivamente al conjunto de las actividades que se dan en la enseñanza. Este libro demuestra que lejos de ser un saber superior, la filosofía se limita a ser un saber impertinente que fuerza a continuar reflexionando. La obra se organiza en torno a tres núcleos; qué es el saber filosófico, en qué consiste el hecho de educar y qué dirección imprimir a la actividad educadora.

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.

How did one man living on an island come to acquire information about the rest of the vast archipelago? This article traces the inter-island information networks of Georg Everhard Rumphius (1627–1702), an employee of the Dutch East India Company, who was able to explore the natural world of the wider archipelago without ever leaving the Moluccan island of Ambon. This article demonstrates the complexities of Rumphius's inter-island networks, as he collected information about plants and objects from islands near and far. (...) Using his administrative, commercial and household networks, Rumphius was able to interact with local actors from across the social spectrum, whose own active collection, mediation and circulation of objects and information overlapped with imperial activities in the archipelago. This article examines Rumphius as both a collector and a mediator, who negotiated between multiple economies of exchange and translated information from different islands for his distant European readership. Such practices of localized translation demonstrate how knowledge produced on one island was the product of criss-crossing inter-island networks, as the information concerned underwent its own complicated processes of transmission and transformation within the archipelago before reaching its intended audience in Europe. (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)

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)

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)

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 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)

À crescente valorização do estatuto da informação, pelo menos desde o final do século XIX, articularam-se diferentes momentos de seu exame, uso e entendimentos. Pode-se dizer que a trajetória das interrogações e respostas sobre a informação co-responderam, no sentido de que responderam juntamente e em cada tempo, aos modos de sociabilidade, de produção e distribuição de bens e conhecimentos, às inovações tecnológicas e ao pensamento filosófico. A afirmação de Nietzsche (1994, p. 100, tradução livre nossa) de que "[...] só se (...) pode definir o que não tem história", parece indicar, como no caso da informação, uma historicidade própria dos conceitos, que condensam, apresentam e ocultam disputas de construção de realidade por significações. (shrink)

Os estudos das ciências têm apontado transformações no regime de produção de conhecimento em diferentes modelos (modo2, tríplice hélice, ator-rede, pós-acadêmico etc.), enfatizando suas características interdisciplinares, multiatores e multilocais. Buscando explicar a realidade, modelos criam imagens interpretativas que nela interferem por funcionarem como parâmetros para o agir. As diferenças e prognósticos implícitos que apresentam indicam não só cargas locais, culturais ou ideológicas na sua construção mas, especialmente, que diferentes forças em ação ainda não encontraram estabilização, de modo que estaríamos ainda (...) num momento de transição. (shrink)

A organização da Ciência da Informação por paradigmas (físico, cognitivo e social), realizado por Rafael Capurro, respondia às demandas de unificação do campo por banimento de concepções que proliferaram no campo a partir dos anos 1980. Acalmado o receio de fragmentação, pode-se retomar as concepções que inauguraram a Ciência da Informação, examinando alguns de seus diferenciais, que correm o risco de ficar ocultados sob o termo “paradigma físico”. Na retomada de reconhecidos teóricos, historiadores e epistemólogos do campo nos anos 1960 (...) e 1970, é possível identificar dois grupos na Ciência da Informação de origem americana, com diferentes objetivos de pesquisa. A estes dois objetivos correspondem duas abordagens e “tipos” de informação em exame: informação para ciência e tecnologia (abordagem documentalista) e informação sobre a ciência e tecnologia (abordagem matemática). No exame da Informátika soviética a bem de seus diferenciais teóricos e conceituais, os mesmos objetivos, assemelhando-se às duas abordagens americanas. A abordagem documentalista respondia às demandas de informação dos pesquisadores, remontando o pós-primeira guerra e a segunda, abordagem matemática, respondia às demandas dos estados americano e soviético pós segunda guerra. (shrink)

Studies are pointing to changes in scientific knowledge production systems regarding different models (mode2, triple helix, actor-network, post-academic etc.), emphasizing its interdisciplinary, multiplayer and multiplace characteristics. When seeking an explanation of reality, models create interpretive images that interfere in the reality, as they operate offering parameters to actions. The differences and implicit forecasts they present point not only to local, cultural or ideological burdens in its construction, but especially that the different intervening forces have not yet found stability, indicating that (...) we are still going through a time of transition. (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 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)