Claude Romano and Andrea Staiti have recently discussed Husserl’s account of perception in relation to debates in current analytic philosophy between so-called “conjunctivists” and “disjunctivists”. Romano and Staiti offer strikingly different accounts of the nature of illusion and hallucination, and opposing readings of Husserl. Romano thinks hallucinations and illusions are fleeting, fragile phenomena, while Staiti claims they are inherently retrospective phenomena. Romano reads Husserl as being committed to a form of conjunctivism that Romano rejects in favour of a version of (...) disjunctivism. Staiti, by contrast, claims that, from a Husserlian viewpoint, conjunctivism and disjunctivism are equally untenable. I suggest that both Romano and Staiti offer implausible accounts of illusions and hallucinations, and deliver premature verdicts on Husserl in relation to the analytic debates on perception. (shrink)

McDowell motivates a disjunctive conception of experience in the context of other-minds skepticism, but his conception of other minds has been less frequently discussed. In this paper, I focus on McDowell’s perceptual account of others that emphasizes the primitivity of others’ bodily expressivity and his defense of a common-sense understanding of others. And I suggest that Husserl’s subtle analysis of bodily expressivity not only bears fundamental similarities with McDowell’s but also helps to demonstrate the sense in which McDowell’s emphasis on (...) bodily expressivity can remove some of the grounds for other minds skepticism. I argue that the other’s behavioral manifestation is first and foremost perceived in a salient Gestalt and social perception is inherently infused with a constitutive propensity with which we normally take the other as human person in the first place. In this light, I show that Husserl’s account can better elucidate human expressivity and its intrinsic features, thereby helping to remove some of the props of other-minds skepticism. As a result, I believe it proves fruitful to juxtapose McDowell’s and Husserl’s account of bodily expressivity, so as to alternate the Cartesian picture of other-minds that engenders skeptic anxiety and to secure a common-sense understanding of other people. (shrink)

The paper offers a disjunctivist solution to the paradox of tragedy. The first part of the paper defends a version of disjunctivism as that doctrine is understood in the epistemology of perception, and contrasts it with its rival, conjunctivism. In the second part of the paper, it is argued that the traditional paradox of tragedy—the question why tragedy gives pleasure—can be solved by adopting a disjunctivist approach to the relevant felt emotions. The tragic audience does not really feel ‘sorrow, terror, (...) anxiety’ (so Hume), but simulacra thereof, emotions which resemble the originals in certain respects but which have quite different connections with action. A conjunctivist approach to the paradox discerns a ‘highest common factor’ in both non-fictional and fictional scenarios: but this is not only phenomenologically implausible; it decouples the agent from the actions that are essentially keyed to particular emotions, and so splits the self. (shrink)