Our environment is changing rapidly, as is the spectrum of possible relationships we can entertain with it. Against this background, one important task emerging in contemporary philosophical discussion concerns defining the status of contemporary images and the "iconic spaces" we encounter with ever-increasing frequency in their various forms. Within this context, the dimension of perception seems to be losing its primacy over the image, making a philosophical description of the relationships between image and reality all the more necessary. Among images, (...) the classical distinction between documentary and fiction has been drastically called into question, and along with it the nature of the emotions and values we experience in these two domains. Rozzoni promotes a phenomenology of the image, that is, a return to a description of images that starts from their essential features while avoiding simplistic dichotomies. By elucidating images’ intimate relationship with phantasy and aesthetic experience and their role in shaping our experience of "reality," this book develops a perspectival notion of "truth" intended to shed light on our contemporary interactions with images and the events, emotions, and values we experience through them. (shrink)

Contemporary accounts on fictional emotions, i.e., emotions experienced towards objects we know to be fictional, are mainly concerned with explaining their rationality or lack thereof. In this context dominated by an interest in the role of belief, questions regarding their phenomenal quality have received far less attention: it is often assumed that they feel “similar” to emotions that target real objects. Against this background, this paper focuses on the possible specificities of fictional emotions’ qualitative feel. It starts by presenting what (...) I call the “phenomenological question” about the qualitative feel of fictional emotions (section 1) and by showing that this is irreducible to questions about their cognitive, intentional, evaluative, and embodied nature (section 2). Drawing on some insights from early phenomenologists, the next two sections elaborate criteria to distinguish between real and sham emotions on the one side (section 3) and between genuine and non-genuine emotions on the other (section 4). Finally, I apply this orthogonal distinction to the particular case of fictional emotions (section 5). The paper argues that fictional emotions are neither sham emotions nor quasi-emotions, but full-fledged emotional experiences, despite them displaying the distinctive phenomenology of emotions experienced as non-genuine. In the particular case of fictional emotions, they are non-genuine because our psychology is in fact in a state dominated by aesthetic enjoyment. (shrink)

La théorie du jugement était une des préoccupations de Husserl depuis la toute première période de sa carrière. Ses premières recherches dans ce domaine se trouvent dans deux manuscrits rédigés en 1893 et 1893-1894 et publiés dans le volume XL des Husserliana . Dans cet article, j’examinerai la théorie du jugement dans ces manuscrits en relation aux questions suivantes : 1) les jugements en relation aux représentations ; 2) les assomptions comme des actes qui se déroulent parallèlement aux jugements ; (...) 3) les jugements impropres en tant que distincts des jugements propres ; 4) les jugements objectifs ; 5) les états de choses en tant que corrélatifs des actes de juger. Nous verrons que, tandis que Husserl se libère à maints égards de la théorie du jugement de Brentano qu’il avait apprise à Vienne puis à Halle, ses positions sont en même temps tout à fait représentatives de la phénoménologie autrichienne dans la mesure où elles impliquent à la fois une psychologie descriptive et une théorie de l’objet, bien que sans aucune prétention d’établir une nouvelle méthode en philosophie.The theory of judgment was one of Husserl’s concerns from a very early period of his career onward. His early investigations in this area are to be found in two manuscripts which he wrote in 1893 and 1893/94, which have been published as Text Nr. 1 and Text Nr. 2 of Husserliana XL. In this paper I examine the theory of judgment in these manuscripts with regard to the issues of 1) judgments in relation to presentations, 2) assumptions as acts which run parallel to judgments, 3) improper judgments as distinct from improper ones, 4) objective judgments, and 5) states of affairs as correlatives of judging acts. While we see Husserl freeing himself in many respects from the Brentanian theory of judgment which he had learned in Vienna and again in Halle, it is at the same time seen that Husserl’s views are quite representative of Austrian phenomenology insofar as they involve both descriptive psychology and object-theory, though without any pretense of establishing a novel method of philosophy. (shrink)