Husserl: Emotions and Feelings

In this study, I will first introduce Husserl’s analysis in Studien zur Struktur des Bewußtseins by emphasizing the reasons that motivate these analyses on descriptive psychology and their status in Husserl’s transcendental phenomenology in the late Freiburg period. I will then focus on the structure of acts, with particular emphasis on three aspects stressed by Husserl in Studien: intentionality, the taxonomy of acts, and Brentano’s principle of the Vorstellungsgrundlage. The last three parts of this study outline the characteristic features of (...) three fundamental aspects of affective life in Husserl’s phenomenology: emotions, sense feelings, and moods. I will conclude with some general remarks on the status of affects and values in Husserl’s phenomenology. (shrink)

This paper accomplishes two goals. First, I present a distinct interpretation of the inception of the phenomenology of feelings. I show that Husserl’s first substantial discussion of intentional and non-intentional feelings is not from his 1901 Logical Investigations, but rather his 1893 manuscript, “Notes towards a Theory of Attention and Interest”. Husserl there describes intentional feelings as active and non-intentional feelings as passive. Second, I show that Husserl presents a somewhat unique account of feelings in “Notes”, which is partly different (...) from his later theories of feelings found in Lectures on Ethics and Value Theory and Studies Concerning the Structures of Consciousness. In contrast to those mature writings, in “Notes”, Husserl describes intentional feelings while avoiding cognitivism and he analyses non-intentional feelings without employing the content-apprehension schema. On this basis, I argue that “Notes” is an important untapped resource for constructing original phenomenologies of feelings. (shrink)

What are fictional emotions and what has phenomenology to say about them? This paper argues that the experience of fictional emotions entails a splitting of the subject between a real and a phantasy ego. The real ego is the ego that imagines something; the phantasy ego is the ego that is necessarily co-posited by any experience of imagining something. Fictional emotions are phantasy emotions of the phantasy ego. The intentional structure of fictional emotions, the nature of their fictional object, as (...) well as the process of constituting the phantasy ego in representificational acts of consciousness are further elaborated to provide the groundwork for a phenomenological analysis of fictional emotions. (shrink)

I argue that, on Husserl's account, affectivity, along with the closely related phenomenon of association, follows a form of sui generis lawfulness belonging to the domain of what Husserl calls motivation, which must be distinguished both (1) from the causal structures through which we understand the body third-personally, as a material thing; and also (2) from the rational or inferential structures at the level of deliberative judgment traditionally understood to be the domain of epistemic import. In effect, in addition to (...) recognizing a “space of causes” and a “space of reasons,” Husserl’s account of affectivity and the epistemology of passive synthesis in which it is situated suggest that we should recognize a separate “space of motivations.” Within this space, on Husserl’s phenomenological picture, we can isolate two different sorts of epistemic import, one belonging directly to the passive-synthetic content of experience, as explained in Husserl’s account of association and his closely aligned notion of nonlinguistic sense, and a second—my primary focus—affectivity, which is still relevant for that content, albeit indirectly, and holds epistemic import in its determination not of what that content is but of how it comes to matter for us. (shrink)