Aristotle’s Naïve Somatism is a re-interpretation of Aristotle’s cognitive psychology in light of certain presuppositions he holds about the living animal body. The living animal body is presumed to be sensitive, and Aristotle grounds his account of cognition in a rudimentary proprioceptive awareness one has of her body. With that presupposed metaphysics under our belts, we are in a position to see that Aristotle in de Anima (cognition chapters at least) has a di erent explanatory aim in view than that (...) which the literature generally imputes to him. He is not explicating what we would call the “mental”—the private, inner realm which some take to be of a di erent kind than the physical—as most take him to be. His explanandum is content acquisition; the explanans is showing how the body becomes like various aspects of objects. Although he famously describes the mind (nous) as unmixed with the body, he is guided by functional constrains—nous cannot be limited or qualified if it is to potentially think all things. Thus, his inquiry into cognition is philosophically limited from a contemporary perspective. Aristotle is not doing philosophy of mind, for he doesn’t seem to find the “mental” philosophically perplexing. (shrink)

This paper deals with a seeming contradiction that may seriously impair Aristotle’s definition of the soul in his De Anima. While this definiens has been widely regarded as providing a non-dualistic account of life-functions, grounded in a hylomorphic approach to living beings, Aristotle sticks to an instrumental language vis-à-vis the body, which he consistently refers to as a tool of the soul. It is argued that this philosophical way of talking should be taken at face value, without dismiss- ing it (...) as a stylistic feature or a theoretical hangover from Aristotle’s Platonic days. By paying close attention to the Peripatetic and Neoplatonic reception of the “soul – boatman analogy”, the paper concludes that organic bodies may be considered as instrumental in nature, without this entailing commitment to further individual souls conceived as “users”. (shrink)

Aristotle's Rhetoric defines fear as a kind of pain or disturbance and pity as a kind of pain . In his Poetics, however, pity and fear are associated with pleasure: ‘ The poet must provide the pleasure that comes from pity and fear by means of imitation’ . The question of the relationship between pleasure and pain in Aristotle's aesthetics has been studied primarily in connection with catharsis. Catharsis, however, raises more problems than it solves. Aristotle says nothing at all (...) about the tragic catharsis in the Poetics except to state that tragedy accomplishes it. Though he gives a more complete account of catharsis in the Politics, the context of this passage is so different from that of the Poetics that its relevance is questionable. A more promising, but largely neglected, approach to Aristotle's theory of tragic pleasure and pain is through a study of his psychological works. Here, Aristotle describes a number of emotional and cognitive responses to kinds of objects that include works of art. These descriptions support an interpretation of the Poetics according to which a tragedy is pleasurable in one respect and painful in another, and pity and fear, though painful and not in themselves productive of pleasure, are nevertheless essential to the production of the oikeia hēdonē, ‘proper pleasure’, of tragedy. This interpretation has the advantage of not depending on a particular view of catharsis. It also makes much better sense than alternative views, once its seemingly paradoxical aspects are explained with the help of the psychological works. (shrink)