This paper offers a critique of Martha Nussbaum’s description of the capability approach, and offers an alternative. I will argue that Nussbaum’s characterization of the capability approach is flawed, in two ways. First, she unduly limits the capability to two strands of work, thereby ignoring important other capabilitarian scholarship. Second, she argues that there are five essential elements that all capability theories meet; yet upon closer analysis three of them are not really essential to the capability approach. I also offer (...) an alternative description of the capability approach, which is called the cartwheel view of the capability approach. This view is at the same time radically multidisciplinary yet also contains a foundationally robust core among its various usages, and is therefore much better able to make the case that the capability approach can be developed in a very wide range of more specific normative theories. Finally, the cartwheel view is used to argue against Nussbaum's claim that all capabilitarian political theory needs to be politically liberal. (shrink)

Eine Grundmotivation, sich mit fiktionaler Literatur zu beschäftigen, liegt in ihrer Fähigkeit, uns Lebenswahrheiten zu vermitteln, die Welt aus einer anderen Perspektive zu zeigen und unseren Erfahrungshorizont zu erweitern. In all diesen Fällen handelt es sich um Metaphern, die auf die kognitive Relevanz unserer Auseinandersetzung mit literarischen Werken hinweisen. Die Erklärung dieser Metaphern kann nicht nur unsere Beschäftigung mit fiktionaler Literatur, sondern auch den Begriff der Erkenntnis und seine Vielfalt erhellen. In diesem Buch wird eine akkurate Analyse des kognitiven Werts (...) fiktionaler Literatur unternommen. Neben der Vermittlung von Wahrheiten und propositionalem Wissen steht im Mittelpunkt des Buches die Untersuchung von Erkenntnisformen, welchen bislang eher wenig Aufmerksamkeit zuteil wurde. Vor diesem Hintergrund werden perspektivische, phänomenale, empathische und ethische Erkenntnisse in Betracht gezogen. Es sind insbesondere die letztgenannten Erkenntnisformen diejenigen, die für die Literatur kennzeichnend sind und die es uns ermöglichen, über uns selbst hinauszuschauen und unsere Existenz in verschiedener Form zu bereichern. (shrink)

The main purpose of this dissertation is to examine critically and discuss the role of imagination in science and religion, with particular emphasis on its possible epistemic, creative, and meaning-making functions. In order to answer my research questions, I apply theories and concepts from contemporary philosophy of mind on scientific and religious practices. This framework allows me to explore the mental state of imagination, not as an isolated phenomenon but, rather, as one of many mental states that co-exist and interplay (...) in our cogntive architecture. Based on the philosophical discourse of philosophy of mind, four types of imagination are indentified and conceptualized: sensory, propositional, experiential, and creative imagination. These categories are then employed on five phenomena that can be found in scientific and religious environments: metaphors, models, thought experiments, aspect perception, and - in the religious case - rituals. In relation to the concept of religious "seeing" I consider how imaginings may influence visionary experiences and visualization, and compare these phenomena with cases of scientific visualization and eureka experiences. In regard to scientific and religious models, a distinction is made between, on the one hand, two notions of truth and, on the other hand, truth-independent meaning-making. In light of these categories, I differentiate between, and critically discuss, the use of imagination in doxastic, non-doxastic and fictionalist accounts. In light of this investigation, I formulate and defend the position of interactivism, which acknowledges a constant interplay between different attitudes and mental states. In my examination of rituals and scientific and religious thought experiments, special attention is given to the mental capacity to recreate the experiences that are entailed in an imagined scenario. At the end of the investigation, I consider the possible impact that my study might have on how we view science and religion as well as the dialogue bewteen these two fields. (shrink)

Dans cet article, j’analyse trois logiques normatives qui peuvent fonder les politiques éducatives en portant une attention particulière aux questions liées aux spécificités des sexes. Ces trois modèles éducatifs sont la théorie du capital humain, le discours du droit et l’approche des potentialités. D’abord, je décris cinq rôles que l’éducation peut jouer. Ensuite, j’analyse les trois modèles pouvant fonder les politiques éducatives. La théorie du capital humain pose un certain nombre de problèmes parce qu’elle s’avère économiciste, fragmentée et essentiellement instrumentaliste. (...) Le discours du droit et l’approche des potentialités sont en principe des modèles multidimensionnels et inclusifs et peuvent par le fait même tenir compte des rôles intrinsèques et non éco- nomicistes de l’éducation. Toutefois, selon la manière dont quelqu’un satisfait aux exigences spécifiques des cadres théoriques du droit et des potentialités, ceux-ci peuvent également présenter des difficultés. Je termine cet article en soutenant que la visée intrinsèque des politiques éducatives devrait être d’augmenter les potentialités des individus et que nous devrions employer les discours du droit de façon stratégique, c’est-à-dire lorsqu’il est probable qu’ils amènent les gens à réaliser leurs potentialités. (shrink)

Michael T. Stuart (2021 and 2022) has proposed imagination as an intellectual dual‐process virtue, consisting of imagination1 (underwritten by cognitive Type 1 processing) and imagination2 (supported by Type 2 processing). This paper investigates the consequences of taking such an account seriously. It proposes that the dual‐process view of imagination allows us to incorporate recent insights from virtue epistemology, providing a fresh perspective on how imagination can be epistemically reliable. The argument centers on the distinction between General Reliability (GR) and Functional (...) System Reliability (FSR), for example in relation to Kengo Miyazono and Uko Tooming's (2023) argument for epistemic generativity. Furthermore, the paper claims that the dual‐process virtue account enables us to integrate a wide range of findings from the literature on epistemology and imagination. Moreover, it suggests a novel way to distinguish the virtues of creativity and imagination and presents a case for viewing imagination as a virtue rather than a skill. (shrink)

This paper argues that early phenomenologists used the concept of empathy not only to refer to the direct perception of the other’s experiences – as underscored by contemporary proponents of the Direct Perception Theory – but also to describe – in a sense close to Lipps’s theory and contemporary Simulation Theory – how, by virtue of imagining, we “feel into” animate and inanimate objects. Focusing on this second usage of the term, two kinds of imagination-based accounts of empathy in early (...) phenomenology are identified. According to “radical imaginationists”, empathy can be explained in terms of the series of imaginative processes entailed in the idea of “feeling into”, such as projecting oneself into the target, “imitating” its feelings, and resonating with it. Voigtländer’s account of empathizing with one’s own self in Vom Selbstgefühl (1910) and Geiger’s account of empathy with atmospheres in “Zum Problem der Stimmungseinfühlung” (1911) can in this sense be regarded as radical imaginationist theories. According to “moderate imaginationists”, empathy might (but need not) entail imagining. Stein’s account of empathy with others in On the Problem of Empathy (Zum Problem der Einfühlung) (1917/1989) as a three-step process which can involve imagination-like states is a good example of a moderate imaginationist account. (shrink)

This chapter aims to reconstruct the phenomenological theories on hatred developed by Scheler, Pfänder and Kolnai and to refl ect upon its anthropological implications. Four essential aspects of this phenomenon are analyzed, taking as point of departure the works of these authors: (1) its place in the taxonomy of the affective life; (2) the world of its objects; (3) its expression in the form of bodily manifestations and motivating force; and (4) the inherent possibilities for overcoming it. The chapter concludes (...) that hatred is a key phenomenon for understanding aspects of human nature that we generally try to ignore or overlook. (shrink)

The aim of this paper is to reconstruct Geiger’s realist and Wollheim’s projectionist accounts on expressive properties and expressive perception by considering them within the larger contexts from which they emerged, by using as far as possible a common language and by focusing on the questions of the nature of expressive properties and of how we grasp them. My aim is to show that it is possible to put into dialogue phenomenological and Anglo-American aesthetics and that this dialogue might lead (...) to new insights about how we engage with art. (shrink)

This article argues that religious emotions are variations of general emotions that we already know from our everyday life, which nevertheless exhibit specific features that enable us to think of them as forming a coherent subclass. The article claims that there is an experience of joy, sorrow, regret, fear, and so on that is specifically religious. The aim is to develop an account that specifies what makes them “religious.” The argument is developed in three stages. The first section develops a (...) phenomenologically inspired account of the emotions by focusing on three of their moments: phenomenal quality, cognitive dependency, and intentionality. Drawing on this theory, section 2 distinguishes the class of religious emotions from similar phenomena. The third and final section examines the main features of religious emotions. (shrink)

Impairments in pragmatic abilities, that is, difficulties with appropriate use and interpretation of language – in particular, non-literal uses of language – are considered a hallmark of Autism Spectrum Conditions (ASC). Despite considerable research attention, these pragmatic difficulties are poorly understood. In this paper, we discuss and evaluate existing hypotheses regarding the literalism of ASC individuals, that is, their tendency for literal interpretations of non-literal communicative intentions, and link them to accounts of pragmatic development in neurotypical children. We present evidence (...) that reveals a developmental stage at which neurotypical children also have a tendency for literal interpretations and provide a possible explanation for such behaviour, one that links it to other behavioural, rule-following, patterns typical of that age. We then discuss extant evidence that shows that strict adherence to rules is also a widespread feature in ASC, and suggest that literalism might be linked to such rule-following behaviour. (shrink)

In this essay I want to offer an analysis of the structure of the fictional emotions that we have reading novels. I shall start with a presentation of the structure of emotions in general and their relation to aesthetic fiction. Afterwards, I shall offer a critical review of the current positions on fictional emotions. The aim of this section is to question the presuppositions that dominate the current debate on fictional emotions in particular and on emotions in general. Finally, I (...) shall develop my own account on this issue. The thesis that I am going to defend is that fictional emotions possess doxastic and practical rationality and that they are full fledged emotional experiences the reality of which we should not doubt, even though they show some peculiarities. Key Words: Fictional emotion, quasi-emotion, doxastic rationality, practical rationality, assumption. (shrink)

Why is it that we respond emotionally to plays, movies, and novels and feel moved by characters and situations that we know do not exist? This question, which constitutes the kernel of the debate on »the paradox of fiction«, speaks to the perennial themes of philosophy, and remains of interest to this day. But does this question entail a paradox? A significant group of analytic philosophers have indeed thought so. Since the publication of Colin Radford's celebrated paper »How Can We (...) Be Moved by the Fate of Anna Karenina?« (1975), the number of proposals to solve, explain, reformulate, dismiss or even revitalize this apparent paradox has continued to proliferate. In line with recent developments in the philosophy of emotion, in this paper I will argue against the sustainability of the paradox, claiming that the only reasonable way to continue our discussions about it consists in using it as a heuristic tool to shed light on problems regarding our involvement with fiction. Against this background, I will then focus on one of the problems related to how our emotional responses to fiction contribute to our appreciation of it. The paper is divided into three main sections. The first section shows the parallel evolution of the paradox of fiction and the analytic philosophy of emotion. Here I claim that, although the paradox is epistemically flawed, since one of its premises is rooted in a limited view on the emotions typical of early cognitiv-ism, the discussions it provokes are still epistemically useful. As Robert Stecker (2011, 295), among others, has pointed out, the paradox was formulated during the heyday of cognitive theories of the emotions in which emotion necessarily requires belief. Today, however, only few authors would endorse this premise. If emotion does not always require belief (as the majority of authors in the contemporary debate admit), let alone belief about the existence of the object towards which it is directed, then there is no reason to speak of a paradox. From this first conclusion, however, it does not follow that the paradox is completely without use from the epistemic point of view. A glimpse at the topics touched on during the discussions about how to solve, reformulate, or negate the paradox reveals their value in shedding light on the interrelation between emotion and fiction. The second section elaborates a phenomenologically inspired cognitive account of the emotions by focusing on their cognitive bases, their influence on Emotion in the Appreciation of Fiction 205 cognitions, and their cognitive function. In this model, emotions are responsible for indicating values, for showing what matters to us, and for being appropriate to their objects. My claim is that this view applies not only to reality, but also to our involvement with fiction. In the final section I draw on this account to focus on one kind of appreciation of fiction which necessarily requires our emotional involvement. Following an idea put forward by Susan Feagin (1996, 1), I employ the concept of »appre-ciation« to refer to a set of abilities exercised with the aim of extracting value from the work. There is a long tradition in aesthetics that condemns any focus on the emotions in the appreciation of art and fiction, and defends the necessity of aesthetic appreciation without emotional influence. To refer to this negative attitude towards the emotions, I will borrow an expression coined by Susan Feagin (2013, 636), who refers to »the intellectualized view of appreciation«. Against this widespread view, I will argue that some aspects of the fiction can only be appreciated with the help of our emotions. The cognitive approach developed in the previous section can explain how the emotions might in fact play a significant role in the appreciation of art and fiction. Attention will be paid to three activities involved in appreciation, for all of which emotion is crucial: processing relevant information about the fictional world, understanding aspects of it, and becoming acquainted with the values it presents. My aim here is to argue that there are particular aspects of the fictional world that can only be appreciated if recipients have the appropriate emotions. (shrink)

This document presents the Bonn PRINTEGER Consensus Statement: Working with Research Integrity—Guidance for research performing organisations. The aim of the statement is to complement existing instruments by focusing specifically on institutional responsibilities for strengthening integrity. It takes into account the daily challenges and organisational contexts of most researchers. The statement intends to make research integrity challenges recognisable from the work-floor perspective, providing concrete advice on organisational measures to strengthen integrity. The statement, which was concluded February 7th 2018, provides guidance on (...) the following key issues: § 1.Providing information about research integrity § 2.Providing education, training and mentoring § 3.Strengthening a research integrity culture § 4.Facilitating open dialogue § 5.Wise incentive management § 6.Implementing quality assurance procedures § 7.Improving the work environment and work satisfaction § 8.Increasing transparency of misconduct cases § 9.Opening up research § 10.Implementing safe and effective whistle-blowing channels § 11.Protecting the alleged perpetrators § 12.Establishing a research integrity committee and appointing an ombudsperson § 13.Making explicit the applicable standards for research integrity. (shrink)

The notion of beauty has endured a troublesome history over the last few decades. While for centuries beauty has been considered one of the central values of art, there have also been times when it seemed old-fashioned to even mention the term. The present volume aims to explore the nature of beauty and to shed light its place in contemporary philosphy and art practice.

In this article, I examine the possible thought experimenting qualities of Soren Kierkegaard's novel Fear and Trembling and in which way it can be explanatory. Kierkegaard's preference for pseudonyms, indirect communication, Socratic interrogation, and performativity are identified as features that provide the narrative with its thought experimenting quality. It is also proposed that this literary fiction functions as a Socratic-theological thought experiment due to its influences from both philosophy and theology. In addition, I suggest three functional levels of the fictional (...) narrative that, in different ways, influence its possible explanatory force. As a theoretical background for the investigation, two accounts of literary cognitivism are explored: Noel Carroll's Argument Account and Catherine Elgin's Exemplification Account. In relation to Carroll's proposal, I conclude that Fear and Trembling develops a philosophical argumentation that is dependent on the reader's own existential contribution. In relation to Elgin's thought, the relation between truth and explanatory force is acknowledged. At the end of the article, I argue that it is more accurate to see the explanatory force of Fear and Trembling in relation to its exploratory function. (shrink)

This article provides an analysis of the phenomenology of affectivity underlying the work of Edith Stein. Taking as point of departure two of her works, The problem of Empathy (1917) and Philosophy of Psychology and the Humanities (1922), the paper focuses on the idea that emotions fulfil a cognitive function: they make us accessible the realm of values. The argument of the paper is developed in two sections. The first section offers an overview of Stein’s main theses about emotions, feelings, (...) moods and sentiments and places them within the larger framework of the early phenomenological accounts on affectivity. The second section examines the claim that emotions are responsible for grasping values concentrating on two facets of this thesis: the first regards the epistemological question according to which values are grasped by affective phenomena, while the second regards the ontological question about the nature of these grasped values. (shrink)

Vor etwa einem Jahrhundert entwickelte sich im deutschsprachigen Raum imRahmen einer allgemeinen Charakterisierung unserer ästhetischen Erfahrungvon Kunst eine umfassende Debatte über die Natur und die Möglichkeit vonGefühlen über fiktionale Charaktere und Situationen. Die damalige Debatteweist große Ähnlichkeit zur heutigen analytischen Debatte über das Paradoxonder Fiktion auf. Trotz des unterschiedlichen jeweiligen historischen Kontextesfindet sich in der analytischen Debatte und in der Philosophie zu Beginn des20. Jahrhunderts fast der gleiche Lösungsansatz. Gefühle über Fiktionen seienQuasi-Gefühle, d.h. ein gefühlsartiges Phänomen mit einer Realität sui (...) generis ,dem im Unterschied zu den wirklichen Gefühlen kein Urteil über die Existenzdes Objektes zugrunde liegt und dem die Verbindung zur Motivation fehlt. Zieldieses Aufsatzes ist es, eine Untersuchung der These der Quasi-Gefühle An-fang des 20. Jahrhunderts zu unternehmen sowie die Analogien zur heutigenDebatte zu zeigen. Der Aufsatz baut sich um drei thematische Achsen herumauf. Zunächst wird eine historische Darstellung der These der Gefühle über Fiktionen bei Groos, Lipps, Lange, Geiger und Külpe unternommen. Diese bil-det den Rahmen für die Debatte über die Quasi-Gefühle in der Grazer Schule.Anschließend wird die Aufmerksamkeit auf die Diskussion über Quasi-Gefühle bei Meinong, Witasek, Saxinger und Schwarz gerichtet. Zuletzt wer-den die Berührungspunkte zur heutigen analytischen Debatte im Ausgang vonsystematischen Fragen aufgezeigt. (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)

In this paper, I explore Unamuno’s narrative fictions as thought experiments about self and emotion. I begin by developing a notion of thought experiment consequent with his understanding of philosophy as a form of literature. Next, I focus on the philosophy of the emotions implicit in his major essay Del Sentimiento trágico de la vida. The third section offers a case study in the form of envy in the novel Abel Sánchez. The final section addresses different forms of knowledge about (...) the emotions conveyed by Unamuno’s fictional works. (shrink)

This paper explores one of Unamuno's most challeng-ing short stories: Artemio, heuatontimoroumenos (1918). In this text, Unamuno deals with an experience for which he coins the expression ›self-envy‹. Is ›self-envy‹ conceptually sound? Or is it an unsuitable phrase for an emotional state that has nothing to do with envy? The paper proceeds in three steps in order to answer these questions. After presenting Unamuno’s Artemio, heuatontimoroumenos (section 1), the following section considers the notion of self-envy, which I interpret as a (...) singular but instructive case of envy (section 2). My attention then turns to a more general emotional state, which I interpret using the concept of akratic emotion (section 3). The paper concludes with some considerations as to the use of literature as a form of thought experiment for philosophical purposes. In sum, I show that Artemio can be efectively read as a thought experiment in relation to envy and akrasia, i.e., the state of acting against one’s better judgement. (shrink)

Else Voigtländer (1882–1946) provided one of the first substantial contributions to the phenomenology of the emotions. Her writings, which unfortunately have remained mostly unexplored, anticipate many of the issues that would become major focal points for later phenomenologists working on the topic. Within the phenomenological movement, Voigtländer was one of the first to study phenomena such as Ressentiment, inauthentic feelings and erotic love. In her book Vom Selbstgefühl (On the Feeling of Self-Worth) (1910), she undertakes an exhaustive study of the (...) feelings of self-worth as part of a more ambitious project of elaborating a study of character. Further discussions on feelings, emotions and their relation to values can be found in a series of papers devoted to character traits, political emotions, erotic love and the psychology of sentiments (Voigtländer 1920, 1923, 1928 and 1933). This chapter is divided into four sections. The first presents Voigtländer’s notion of feelings of self-worth (Selbstgefühle). The remaining sections are devoted to her analyses of inauthentic feelings, Ressentiment and other negative attitudes, and erotic love, respectively. (shrink)

Aurel Kolnai (1900–1973) is best known for his political and moral writings, but he also chiefly contributed to the phenomenology of the emotions. In a series of papers devoted to hostile and aversive emotions and, in particular, to disgust, haughty pride, fear, and hatred (Kolnai 1929, 1931, 1935 and 1998) Kolnai presents his most comprehensive views on the affective life and its ethical significance. Scattered discussions on the emotions can also be found in an early paper written on Scheler and (...) under the influence of psychoanalysis (1925), in his dissertation Der ethische Wert und die Wirklichkeit (Ethical Value and Reality) (1927), which is his first phenomenological writing, and in later papers “On the Concept of the Interesting” (1964) and “The Concept of Hierarchy” (1971). This chapter is divided into four sections. The first reconstructs Kolnai’s general approach to the emotions as embedded within the larger context of early phenomenology. Sections 2–4 present Kolnai’s analyses of hostile emotions by focusing on disgust, haughty pride, and hatred. (shrink)

This paper explores self-envy as a kind of envy in which the subject targets herself. In particular, I argue that self-envy should be regarded as a variation of existential envy, i. e., envy directed toward the rival’s entire existence, though in the case of self-envy, the rival is oneself. The paper starts by showing that self-envy is characterized by an apparent weakening of envy’s triangular structure insofar as the subject, the rival, and the good coincide in the self. After discussing (...) an interpretation of self-envy in terms of a splitting of the self, I present an alternative explanation in terms of the ontological possibilities inherent in our actual and past empirical selves to become our ideal self. I argue that in self-envy, an actual empirical self envies her past empirical self for having more ontological possibilities of becoming her ideal self. I proceed to show that self-envy can be interpreted as a variety of existential envy. I argue that the existential self-reproach so characteristic of self-envy can be counterbalanced by feeling unconditionally loved by others and God. (shrink)

This paper explores “existential envy” as a kind of envy in which the subject targets the rival’s entire being rather than one of her possessions, achievements or talents. It argues that existential envy is characterized by a weakening of the distinction between good and rival and by a strong focus on the envious self. In existential envy, the subject becomes aware that another person is closer to her ideal self than she is, such that the rival painfully reminds her of (...) unfulfilled but now unrealizable possibilities inherent to her being. After motivating the topic in the introduction (section 1), the paper analyzes the intentional object of existential envy, i.e., of what it means that the envier targets the other’s being (section 2). The next section explores existential envy’s focus on the self by examining the series of feelings of diminution in the envier’s own value (section 3). The paper then turns to the set of comparisons between the self and the other and the counterfactual thought “I could have been you!” which is shown to be definitory of this type of envy (section 4). In the final part of the paper, the relation between the envier’s bad self-image, self-reproach, and self-deception is discussed (section 5), before the main findings are summarized in the conclusion (section 6). (shrink)

In ordinary language, “calmness”, “melancholy”, “cheerfulness”, and “sadness” are employed to describe affective states experienced by sentient beings. More precisely, these terms are used to report instances of moods. Yet, the very same terms are used to describe what seem to be properties of certain objects (e.g., things, situations) which, unlike sentient beings, are unable to feel. We usually describe atmospheres employing these terms: We speak about the calmness of a forest, the melancholy of a painting, the cheerfulness of a (...) field of flowers and the sadness of a landscape. Are we in fact referring to the same phenomenon? If not, why then do we employ the same terms? (shrink)

If, as argued in some simulationist accounts, empathy aims at grasping the phenomenal richness of the other’s experience and resonating with it, it is difficult to explain our empathy with emotions that we have never experienced ourselves. According to a long philosophical tradition, imagination is constrained by experience. We have to be acquainted with the qualitative feel of the other’s experience in order to imagine it. A critical view of simulationist accounts would claim that if we cannot imagine how the (...) other feels because we are not acquainted with it, empathy cannot take place. Contrary to such criticism, this paper takes a moderately optimistic view of the simulationist claim. It develops a model to explain how we imagine the other’s emotions by drawing on phenomenal concepts, affective memories, and imaginative scaffoldings. I argue that this model can explain how we empathize with the other’s emotions regardless of whether these are familiar or novel to us. However, in the latter case, the imagined phenomenal quality is not identical but probably only similar to the other’s emotion. This similarity suffices for us to speak about empathy. (shrink)

Ziel des Aufsatzes ist es, das Projekt angewandter interkultureller Philosophie „Briefe über Philosophie weltweit“ vorzustellen. Der Beitrag ist in vier Teile gegliedert. Im ersten Abschnitt werden Anlass und Profil des Projektes vorgestellt. Der „akademische Nomadismus“ der Gegenwart verstärkt die immer schon interkulturelle Verfasstheit der akademischen Praxis und stellt den lebensweltlichen Anlass des Projektes dar, dies in Form von Briefen über die verschiedenen Bedingungen des Philosophierens auch zu reflektieren. Im zweiten Abschnitt wird genauer nach Erfahrungen gefragt, die in den Briefen zum (...) Ausdruck kommen und die wir als „interkulturelle Erfahrungen“ bezeichnen und näher bestimmen wollen. Thema des dritten Abschnitts ist die gewählte Darstellungsform für derartige interkulturelle Erfahrungen, nämlich die Briefform als Medium für Perspektivität. Im vierten Abschnitt machen wir abschließend den Versuch, das Projekt als Form angewandter interkultureller Philosophie zu profilieren. (shrink)

This paper explores how individuals experiencing hostile affective states such as envy, jealousy, hate, contempt, and Ressentiment tend to deceive themselves about their own mental states. More precisely, it examines how the feeling of being diminished in worth experienced by the subject of these hostile affective states motivates a series of self-deceptive maneuvers that generate a fictitious upliftment of the subject’s sense of self. After introducing the topic (section 1), the paper explores the main arguments that explain why several hostile (...) affective states involve a feeling of diminution in the subject’s own value (section 2). Next, it offers an analysis of how the negative feeling of self-worth motivates self-deception. While in extrinsically motivated self-deception, the subject feels diminished in worth after negatively evaluating her own hostile affective states, in intrinsically motivated self-deception, the negative feelings of self-worth are constituent elements of the hostile affective state in question (section 3). Cases of intrinsically motivated self-deception are particularly intriguing because in them the motivation for self-deception is inherent to the hostile affective state, independently of external reasons. I coin the expression “self-deceptive style” to capture the distinctive form in which each hostile affective state intrinsically motivates changes in the architecture of the mind (e.g., perception, imagining, memory, judgment, attention, etc.) in order to generate an upliftment of the self (section 4). To show the descriptive and explanatory function of this concept, a comparative analysis of the self-deceptive styles of envy and hate is provided (section 5). The conclusion summarizes the main findings and explores directions for further research (section 6). (shrink)

The complexities of how justice comes to be realized, and by which agents, is a relatively neglected element in contemporary theories of justice. This has left several crucial questions about agency and justice undertheorized, such as why some particular agents are responsible for realizing justice, how their contribution towards realizing justice should be understood, and what role agents such as activists and community leaders play in realizing justice. We aim to contribute towards a better understanding of the landscape of these (...) kinds of questions. First, we argue that theorists should distinguish between (i) agents who are responsible for realizing justice, but not committed to it, (ii) agents who are not responsible for realizing justice, but who are committed to it, and (iii) agents who are both responsible for and committed to realizing justice. Second, we discuss how to incorporate agents of justice more robustly into theorizing about justice. (shrink)

In Vom Selbstgefühl (1910) (identical to Über die Typen des Selbstgefühls), Else Voigtländer undertakes an accurate analysis of a category of feelings named “feeling of self-worth” and its types. This entry presents Voigtländer's definition, characterization and taxonomy of the feeling of self-worth.

RESUMENDurante los últimos años, la filosofía analítica ha centrado su interés en la temática de las emociones y se han elaborado las más diversas teorías. En este artículo me propongo, por un lado, exponer las principales líneas de investigación actuales sobre las emociones y desarrollar los argumentos en favor y en contra cada una de ellas con el fin de perfilar mi propia posición; por otro lado, voy a presentar los desarrollos históricos precedentes a las teorías analíticas mostrando que la (...) historia de la filosofía no ha relegado las emociones al olvido.PALABRAS CLAVEEMOCIÓN, FILOSOFÍA ANALÍTICA, TEORÍAS DEL SENTIR, TEORÍAS COGNITIVISTAS.ABSTRACTEmotions are one of the topics that have caught the attention of analytical philosophy during the past years, and philosophers have developed different theories in this field. In this article, I shall present the main lines of investigation in the current debate on emotions and explain the arguments in favour and against each of them in order to build up my own position on the one hand, and, present the historical developments previous to the analytical theories, showing that the history of philosophy has always had an interest in emotions as a topic on the other hand.KEY WORDSEMOTION, ANALYTICAL PHILOSOPHY, FEELING THEORIES, COGNITIVISTIC THEORIES. (shrink)

This document presents the Bonn PRINTEGER Consensus Statement: Working with Research Integrity—Guidance for research performing organisations. The aim of the statement is to complement existing instruments by focusing specifically on institutional responsibilities for strengthening integrity. It takes into account the daily challenges and organisational contexts of most researchers. The statement intends to make research integrity challenges recognisable from the work-floor perspective, providing concrete advice on organisational measures to strengthen integrity. The statement, which was concluded February 7th 2018, provides guidance on (...) the following key issues: § 1. Providing information about research integrity§ 2. Providing education, training and mentoring§ 3. Strengthening a research integrity culture§ 4. Facilitating open dialogue§ 5. Wise incentive management§ 6. Implementing quality assurance procedures§ 7. Improving the work environment and work satisfaction§ 8. Increasing transparency of misconduct cases§ 9. Opening up research§ 10. Implementing safe and effective whistle-blowing channels§ 11. Protecting the alleged perpetrators§ 12. Establishing a research integrity committee and appointing an ombudsperson§ 13. Making explicit the applicable standards for research integrity. (shrink)

Dieser Beitrag handelt von der Empathie in der Kunst. Ich beginne mit einer Reflexion über die Ursprünge des Begriffes und seine Verwendung in der Ästhetik. Es folgt eine Analyse der Empathie im Vergleich zu anderen Formen der Anteilnahme an Kunstwerken. Im dritten Teil untersuche ich die Mechanismen der Empathie in der Kunst und die Funktion der Imagination. Der vierte Teil widmet sich der Bedeutung der Gefühle bei der Empathie für Kunstfiguren. Schließlich thematisiere ich den epistemischen, moralischen und ästhetischen Wert der (...) Empathie für die Kunst. (shrink)

Dieser Aufsatz widmet sich dem Begriff "Männlichkeit". Die Klärung des Begriffes soll mithilfe dreier philosophischer Strategien unternommen werden. Erstens werde ich zwei philosophische Modelle von Männlichkeit einander gegenüberstellen. Harvey C. Mansfields Theorie soll mithilfe von Pierre Bourdieus Konzept der männlichen Herrschaft kritisiert werden. Während Mansfield eine verbreitete Auffassung von Männlichkeit vertritt, die diese mit Assertivität, Mut und Adel verbindet, bietet Bourdieu uns ein gutes Instrumentarium dafür, versteckte Strukturen der männlichen Ordnung hinter diesem Bild zu entdecken. Zweitens wird diese Kritik mit (...) Bourdieu durch einen phänomenologischen Hintergrund motiviert. Dabei werde ich sowohl die phänomenologischen Wurzeln von Bourdieus Denken als auch die Möglichkeit der phänomenologischen Weiterführung seiner Ideen berücksichtigen. Besondere Aufmerksamkeit wird den Übereinstimmungen von Bourdieu und Max Scheler gewidmet. Schließlich werde ich den Vorschlag machen, „Männlichkeit“ als einen offenen Begriff zu verstehen, der historisch, sozial und kulturell wandelbar ist. Die Idee des offenen Begriffs bietet eine Alternative zu essenzialistischen Definitionen anhand notwendiger und hinreichenden Kriterien, lässt genügend Freiraum, um die Interdependenz zwischen gesellschaftlichem Wandel und un-seren Männlichkeitskonstruktionen zu berücksichtigen. (shrink)

Often in our everyday lives, for instance, in decision-taking, empathizing with others, and engaging with fictions, we are able to imagine what a particular emotion feels like. This chapter analyzes the structure of these imaginings as a kind of experiential imagining. After introducing the topic (section 1), I argue that these imaginings cannot be explained exclusively by their content and that a focus on the mode of imagining is required. We not only imagine having emotions, but we also imagine them (...) experientially, and this means that we imagine feeling them (section 2). I proceed to analyze the content of such imaginings in terms of the phenomenal properties of emotions undergone from a particular subjective perspective within the imagined scenario (section 3). Next, I argue that the mode in which such emotions are experientially imagined requires other-oriented perspective-shifting and the recreation of an emotion-like state (section 4). I examine how we recreate emotion-like states in two cases: when the emotion has been previously felt (section 5) and when it has not been previously experienced (section 6). The main findings are summarized in the conclusion (section 7). (shrink)

Der Aufsatz ist in zwei Teile gegliedert. Im ersten Teil unterscheide ich das Phänomen der Empathie von ähnlichen Phänomenen. Im zweiten Teil werde ich auf die Bedingungen für Empathie eingehen. In diesem Teil geht es mir darum zu zeigen, dass wir es trotz einiger Unterschiede zwischen Empathie für Mitmenschen und Empathie für Figuren mit demselben Phänomen zu tun haben.

This paper examines the notion of aesthetic pleasure within the framework of an aesthetics of value. The topic is introduced in sect. 1, while sect. 2 presents Moritz Geiger’s distinction between two kinds of aesthetic pleasure: liking, which enables us to grasp the aesthetic values of the artwork; and enjoyment, which is understood to be an emotional response. Sect. 3 reassesses the main tenets of Geiger’s account in the light of current research. In particular, I provide arguments in favor of (...) Geiger’s distinction between liking and enjoyment, but I call into question the claim that liking reveals aesthetic values. In sect. 4, I suggest that liking is a form of feeling motivated by the cognition of aesthetic value and I distinguish it from both the grasping of values and emotional responses. I conclude in sect. 5 by briefly summarizing my main claims. (shrink)

Aunque la figura de Meinong se asocia a posiciones realistas acerca delos valores, un análisis más cuidadoso de su obra revela al menos tres concepcionesdiferentes de esta noción. El objetivo de este artículo consiste en examinar sistemáti-camente las tesis acerca de los valores sostenidas en tres de sus obras. Se analizará primero la teoría disposicionalista defendida en Psychologische ethische Untersuc-hungen zur Werttheorie (1894) según la cual los valores son posibles sentimientosde valor. Centraremos después nuestra atención a los cambios realizados en (...) “ÜberWerthaltung und Wert” (1895), obra en la que se explica el concepto de valor rela-cionándolo con los conceptos de emoción y deseo. Finalmente, nos centraremos enlas tesis realistas expuestas en Emotionale Präsentation (1917) y mostraremos la actualidad de las mismas para el debate contemporáneo. (shrink)

In diesem Aufsatz argumentiere ich für die These, dass alle Dokumentarfilme darauf abzielen, uns Erkenntnis über einen Aspekt der Realität zu vermitteln. Dieser These zufolge sind Dokumentarfilme – im Unterschied zu anderen Filmgattungen – der Wirklichkeit verpflichtet. Vor diesem Hintergrund sollen in diesem Aufsatz zwei Aspekte genauer untersucht werden: zum einen, wie der kognitive Wert von Dokumentarfilmen genauer zu verstehen ist, und zum anderen, inwiefern ausgehend von diesem epistemischen Aspekt Unterscheidungskriterien zwischen Dokumentarfilmen und anderen Filmgattungen entwickelt werden können. Der Aufsatz (...) gliedert sich in zwei Teile. Im ersten Teil werde ich die Frage untersuchen, inwiefern Dokumentarfilme „Dokumente“ der Realität sind. Dabei werde ich verschiedene Interpretationen des epistemischen Ziels von Dokumentarfilmen besprechen und auch die „Vergegenwärtigungsansicht“ als Ergänzung zu der „assertorischen Ansicht“ (Plantinga, Carroll und Currie) und zu der „Verstehensansicht“ (Dromm) anbieten. Im zweiten Teil sollen die Ähnlichkeiten und Unterschiede zwischen Dokumentarfilmen und Spielfilmen besprochen werden, um genauere Unterscheidungskriterien zu entwickeln. Ich werde hierfür den phänomenologischen Begriff der Imagination (Sartre, Meunier) einführen und seine Produktivität für die Debatte über den kognitiven Wert von Dokumentarfilmen aufzeigen. (shrink)

En este artículo se analiza la teoría de las emociones de Brentano, según la cual éstas son actos intencionales basados en juicios y tienen un papel central en el reconocimiento del valor y en la motivación para la acción. Tras una exposición del panorama intelectual de las teorías de las emociones a finales del siglo XIX, sigue el análisis de la teoría de Brentano y de su proyecto ético, para terminar remarcando la influencia de su legado en los autores de (...) la escuela fenomenológica y la filosofía analítica. (shrink)

Alexius von Meinong hat eine eigene Philosophie der Emotionen entwi-ckelt, die mit Blick auf die heutige Debatte über Gefühle höchst aktuell erscheint. Laut Meinong zeichnen sich die Emotionen durch drei Merkma-le aus: Sie sind leibliche Erfahrungen der Lust oder Unlust; sie gründen in kognitiven Akten wie Wahrnehmungen, Phantasien, Urteilen und Annah-men; und sie intendieren Werte. In diesem Aufsatz wird eine systematische Untersuchung von Meinongs Philosophie der Gefühle sowie von ihrem Einfluss auf die Grazer Schule und ihrer Bedeutung für die aktuelle (...) Debat-te unternommen. Schwerpunkte der Arbeit ist erstens die Verbindung zwi-schen Emotionen und Werten, die stark von den unterschiedlichen Wert-konzeptionen, die Meinong im Laufe seines Werkes vertreten hat, abhän-gig ist. Zweitens geht es um die exemplarische Untersuchung von zwei Ge-fühlsarten, die für den heutige Diskussion von besonderer Bedeutung sind, nämlich Urteilsgefühlen und Phantasiegefühlen. (shrink)

How to distinguish emotions such as envy, disgust, and shame from sentiments such as love, hate, and adoration? While the standard approach argues that emotions and sentiments differ in terms of their temporal structures (e.g., Ben-ze’ev, 2000; Deonna & Teroni, 2012; Frijda et al., 1991), this paper sketches an alternative approach according to which each of these states exhibits a distinctive intentional structure. More precisely, this paper argues that emotions and sentiments exhibit distinct forms of affective intentionality. The paper begins (...) by examining the temporal criteria of duration, etiology, and phenomenology widely employed to distinguish between both states. It demonstrates that none of them provides a clear-cut distinction between emotions and sentiments. Next, it presents the intentional approach as an alternative. To this end, it discusses what I call the axiological account (De Monticelli’s 2006; 2020), before introducing my version of the intentional approach according to which emotions and sentiments exhibit different forms of affective intentionality. The main findings are summarized in the conclusion. (shrink)

(CONTENIDO: LA FILOSOFÍA DE ALTHUSSER A 50 AÑOS DE LIRE LE CAPITAL Pedro Karczmarczyk, 3; DISCURSO Y DECRETO: SPINOZA ALTHUSSER Y PÊCHEUX Warren Montag 11; ALTHUSSER LECTOR DE GRAMSCI Vittorio Morfino 43 LAS ABSTRACCIONES, ENTRE LA IDEOLOGÍA Y LA CIENCIA João Quartim de Moraes 67 ELOGIO DEL TEORICISMO. PRÁCTICA TEÓRICA E INCONSCIENTE FILOSÓFICO EN LA PROBLEMÁTICA ALTHUSSERIANA, Natalia Romé 85 MARXISMO Y FEMINISMO: EL RECOMIENZO DE UNA PROBLEMÁTICA1 115 Luisina Bolla* / Pedro Karczmarczyk* 115 RRESEÑAS El materialismo de Althusser. Más (...) allá del telos y del Eschaton de Vittorio Morfino, por Valentín Huarte 153; El sujeto en cuestión, Pedro Karczmarczyk (ed.) por Constanza Storani; 159 La posición materialista. El pensamiento de L. Althusser entre la práctica teórica y la práctica política, de Natalia Romé, por Ingrid Sarchman y Carolina Collazo 164. (shrink)

[On the Ethics of Euthanasia Again: A Reply to Critics] The article is a reply to three critics of a previous piece on the ethics of euthanasia in which I defended physician-assisted suicide. According to Ingrid Strobachová it is necessary to give a greater attention to the significance of pain, which, she claims, may benefit from a phenomenological description. According to Marta Vlasáková my argument is not valid because two principles on which it is founded – i.e. the conception (...) of life as of fundamental value and the autonomy of the patient – are not in mutual harmony. Jakub Jirsa criticises the very concept of assisted suicide and the moral legitimacy and need for the legalisation of assisted suicide. To Dr Strobachová I reply that phenomenological description is as acceptable a method as any other – as long, that is, as it is not only a verbal game, but constitutes a real source of knowledge. To Dr. Vlasáková I argue that a more charitable reading of my argument is possible. The arguments of Dr. Jirsa against assisted suicide are beset with various inconsistencies, including the fact that he himself allows that doctors should tolerate suicide by the refusal of food and drink. Such an act does not, however, differ in any relevant way from doctor-assisted suicide. (shrink)

The growing concentration of wealth has acquired a new urgency in recent years. One particular view in this context is developed by Ingrid Robeyns in her ground-breaking work on limitarianism. According to this view, no one should have more than a certain amount of valuable goods, such as income and wealth. The contributors to this symposium, Brian Berkey, David Axelsen and Lasse Nielsen, Jessica Flanigan and Christopher Freiman, and Lena Halldenius, critically examine various aspects of limitarianism. In particular, they (...) examine how limitarianism should be interpreted and developed as a principle of justice, on what reasons speak in favour and against limitarianism, and on how limitarianism relates to other principles of distributive justice. Our hope is that this symposium will contribute to the ongoing debate in political philosophy about the concentration of wealth and economic justice. (shrink)

In this chapter, I argue that one can articulate a historically attuned and analytically rich model for understanding jazz in its various inflections. That is, on the one hand, such a model permits us to affirm jazz as a historically conditioned, dynamic hybridity. On the other hand, to acknowledge jazz’s open and multiple character in no way negates our ability to identify discernible features of various styles and aesthetic traditions. Additionally, my model affirms the sociopolitical, legal (Jim Crow and copyright (...) laws), and economic structures that shaped jazz. Consequently, my articulation of bebop as an inflection of Afromodernism highlights the sociopolitical, and highly racialized context in which this music was created. Without a recognition of the sociopolitical import of bebop, one’s understanding of the music is impoverished, as one fails to grasp the strategic uses to which the music and discourses about the music were put. (shrink)