Both through his own work and that of his students, Franz Clemens Brentano had an often underappreciated influence on the course of 20 th - and 21 st -century philosophy. _The Routledge Handbook of Franz Brentano and the Brentano School_ offers full coverage of Brentano’s philosophy and his influence. It contains 38 brand-new essays from an international team of experts that offer a comprehensive view of Brentano’s central research areas—philosophy of mind, metaphysics, and value theory—as well as of the principal (...) figures shaped by Brentano’s school of thought. A General Introduction serves as an overview of Brentano and the contents of the volume and three separate bibliographies point students and researchers on to further avenues of inquiry. Systematic and detailed, _The Routledge Handbook of Franz Brentano and the Brentano School_ provides readers with a valuable reference to Brentano’s work, and to his lasting importance in the history of philosophy and in contemporary debates. (shrink)

This study attempts to situate Carl Stumpf's theory of emotions with regard to that of his teacher, Franz Brentano, and to the sensualist theory of William James. We will argue that Stumpf's theory can be considered an attempt to reconcile James's sensualism, which emphasizes the role of bodily feelings, with what we will call, for the purposes of this study, Brentano's intentionalism, which conceives of emotions as intentional states. Stumpf claims that James's sensory feelings and Brentano's affective intentional states are (...) two sides of the same coin in that they constitute two essential ingredients of a full-fledged theory of emotions. The question is whether Stumpf's ecumenism avoids the objections that he himself raises against James's and Brentano's theories. The paper is divided into four parts: the first part presents Stumpf's classification of psychical functions; the second part presents his criticism of James's theory of emotions; the third part is a summary of Stumpf's complex debate with Brentano on emotions and sensory feelings; the last part examines Stumpf's attempt to incorporate into his theory of affects the phenomenological and intentional aspects of emotions. I conclude with a note on the unity of consciousness. (shrink)

Study of the controversy between Franz Brentano and his student Carl Stumpf on emotions and sense-feelings. The issue is whether the pleasure that provides an object such as a work of art is intentional, as it is the case in Brentano's theory in which it is closely related to the class of emotions (love and hate), or merely phenomenal as Stumpf wants it. The paper is divided into two parts : I first examine several aspects of the relationship between Stumpf (...) and Brentano and I evaluate in the second part whether Stumpf's deviations from several theses of Brentano's descriptive psychology, namely on emotions and sense-feelings, challenge his commitment to Brentano's program in philosophy. (shrink)

Abstract: In philosophy, perceptual constancy refers to the puzzling phenomenon of the perception of properties of objects despite our changing experience of those properties. Husserl developed a sophisticated description of perceptual constancy. In this paper I sketch Husserl's approach, which focuses on the suggestion that perception is partly constituted by the continuous interplay of intention and fulfilment. Unlike many contemporary theories, this framework gives us a way to understand the relationship between different appearances of the same object. I will show (...) how Husserl's work connects with contemporary theories which emphasize perceptual constancy from particular perspectives. These theories include appeals to perspectival properties and Cohen's counterfactual theory. Also, I show how Husserl's account shares important themes with Kelly's recent interpretation of Merleau-Ponty on perceptual constancy. (shrink)

The nineteenth century saw the development of reductive views of attention. The German philosopher and psychologist Carl Stumpf (1848-1936) proposed an original reductive view according to which attention is nothing but interest and interest itself is a positive feeling. Stumpf’s view was developed by Francis Bradley (1846-1924), George Frederick Stout (1860-1944), and Josiah Royce (1855-1916), but has been overlooked in the recent literature. In this paper, I will expound Stumpf’s view of attention, trace it back to its Aristotelian roots and (...) defend the version offered by Stout and Royce. In this version a new kind of feeling, feelings of interest, and value, intellectual value, take centre stage. (shrink)