When I offered this title, I was engaging myself to investigate an apparent difference between two kinds of intentionality, in the hope that I should be able to find some firm logical criterion to distinguish them. I was less successful in this than I had hoped. I think I have gained a certain amount of insight into the logic and semantics of one kind of intentional context, largely due to the work I was doing while visiting the University of Pennsylvania (...) on Frege and on Michael Dummett’s monumental commentary on Frege. But as regards the other variety of intentionality I am still very much in the dark; so I am giving you thus far merely a progress report on that. (shrink)

When I offered this title, I was engaging myself to investigate an apparent difference between two kinds of intentionality, in the hope that I should be able to find some firm logical criterion to distinguish them. I was less successful in this than I had hoped. I think I have gained a certain amount of insight into the logic and semantics of one kind of intentional context, largely due to the work I was doing while visiting the University of Pennsylvania (...) on Frege and on Michael Dummett’s monumental commentary on Frege. But as regards the other variety of intentionality I am still very much in the dark; so I am giving you thus far merely a progress report on that. (shrink)

The work of Brentano's English contemporary J. E. McTaggart is in several ways profitable for Brentano scholars to study: I here cosider his views on the nature and classification of mental states. In McTaggart's account the characteristic of being a 'cognition', one that some but not all 'cogitations' have, corresponds to Brentano's notion of Anerkennen; quite unlike Brentano, he holds that contrariety obtains only between the contents of judgments, not between contrary acts of affirming and denying; like Brentano however he (...) recognizes contrariety in the realm of emotion and feeling, e.g. between love and hate, pleasure and pain. He regards feelings and emotions as mere colourings of cogitations, and thinks that their relation to an object (intentionality, as Brentano would say) comes about merely from their cogitative aspect. This view is attractively simple; but by considering McTaggart's own view of emotions' being in respect of characteristics of their objects, we can find serious ground to reject it. (shrink)

A work of art is something which is unlike anything else. It is art which, best of all, gives us the idea of what is particular.

From some perspectives, it seems obvious that emotions and feelings must be both reasonable and morally significant: from others, it may seem as obvious that they cannot be. This paper seeks to advance discussion of ethical implications of the currently contested issue of the relationship of reason to feeling and emotion via reflection upon various examples of affectively charged moral dilemma. This discussion also proceeds by way of critical consideration of recent empirical enquiry into these issues in the literature of (...) so-called emotional intelligence. In this regard, despite ambiguities in their accounts of the relationship of reason to emotion, advocates of emotional intelligence generally incline to therapeutic conceptions of emotional health which are not inconsistent with currently fashionable cognitivist accounts of feeling and emotion. All the same, it is arguable that therapeutic or other strategies which overplay the possibility of cognitive or other resolution of emotional conflict are prey to certain difficulties. First, they underemphasise those passive but identity-constitutive aspects of affect which are not obviously rationally accountable. Secondly, they insufficiently recognise the extent to which emotional conflicts can be significantly implicated in moral diversity. In view of either or both of these points, they may fail to appreciate the moral inappropriateness of attempts to resolve certain forms of emotional conflict or tension. (shrink)