Does thought have distinctive experiential features? Is there, in addition to sensory phenomenology, a kind of cognitive phenomenology--phenomenology of a cognitive or conceptual character? Leading philosophers of mind debate whether conscious thought has cognitive phenomenology and whether it is part of conscious perception and conscious emotion.

What is given to us in conscious experience? The Given is an attempt to answer this question and in this way contribute to a general theory of mental content. The content of conscious experience is understood to be absolutely everything that is given to one, experientially, in the having of an experience. Michelle Montague focuses on the analysis of conscious perception, conscious emotion, and conscious thought, and deploys three fundamental notions in addition to the fundamental notion of content: (...) the notions of intentionality, phenomenology, and consciousness. She argues that all experience essentially involves all four things, and that the key to an adequate general theory of what is given in experience lies in giving a correct specification of the nature of these four things and the relations between them. (shrink)

My concern in this paper is with the intentionality of emotions. Desires and cognitions are the traditional paradigm cases of intentional attitudes, and one very direct approach to the question of the intentionality of emotions is to treat it as sui generis—as on a par with the intentionality of desires and cognitions but in no way reducible to it. A more common approach seeks to reduce the intentionality of emotions to the intentionality of familiar intentional attitudes like desires and cognitions. (...) In this paper, I argue for the sui generis approach. (shrink)

'Propositionalism' is the widely held view that all intentional mental relations-all intentional attitudes-are relations to propositions or something proposition-like. Paradigmatically, to think about the mountain is ipso facto to think that it is F, for some predicate 'F'. It seems, however, many intentional attitudes are not relations to propositions at all: Mary contemplates Jonah, adores New York, misses Athens, mourns her brother. I argue, following Brentano, Husserl, Church and Montague among others, that the way things seem is the way (...) they are, and that propositionalism must be abandoned. (shrink)

This book explores how our minds represent things in the world, asking whether these representations necessarily have the structure of propositions about the world. The hope is that this will lead towards a more complete understanding of the puzzle of intentionality -- how it is that our minds make contact with the world.

_ Source: _Volume 94, Issue 3, pp 359 - 380 In this paper the author discusses and defends a theory of consciousness inspired by Franz Brentano, according to which every conscious experience involves a certain kind of immediate awareness of itself. All conscious experience is in a certain fundamental sense ‘self-intimating’—it constitutively involves awareness of that very awareness. The author calls this ‘the awareness of awareness thesis’, and she calls the phenomenon that it concerns ‘awareness of awareness’. The author attempts (...) to give a substantive description of what AOA consists in in two ways, first, by listing some of its positive features, and second, by comparing it and contrasting it with introspection. The idea is that there are many different ways we can be aware of our experiences, introspection being one way, AOA being another, distinct way. By clarifying the distinction between AOA and introspection, we can get a better grasp of both phenomena. (shrink)

In this paper I consider the uses to which certain psychological phenomena—e.g. cases of seeing as, and linguistic understanding—are put in the debate about cognitive phenomenology. I argue that we need clear definitions of the terms ‘sensory phenomenology’ and ‘cognitive phenomenology’ in order to understand the import of these phenomena. I make a suggestion about the best way to define these key terms, and, in the light of it, show how one influential argument against cognitive phenomenology fails.

Many contemporary philosophers have been concerned about whether there is a fundamental distinction between perception and cognition. Although I do not think there is a fundamental distinction between perception and cognition, at least given what I take perception to be, I do think there is a fundamental distinction between sense and cognition, which I will argue is best understood in terms of a distinction between two irreducible kinds of phenomenology: sensory and cognitive.

How does mental content feature in conscious thought? I first argue that for a thought to be conscious the content of that thought must conscious, and that one has to appeal to cognitive phenomenology to give an adequate account of what it is for the content of a thought to be conscious. Sensory phenomenology cannot do the job. If one claims that the content of a conscious thought is unconscious, one is really claiming that there is no such thing as (...) conscious thought. So one must either accept that there is such a thing as cognitive phenomenology, or deny the existence of conscious thought. Once it is clear that conscious thought requires cognitive phenomenology, there is a pressing question about the exact relationship between a thought’s cognitive phenomenological properties and its content. I conclude with a discussion of the nature of this relationship. (shrink)

(No abstract is available for this citation).

In this paper I consider Franz Brentano’s theory of emotion. I focus on three of its central claims: (i) emotions are sui generis intentional phenomena; (ii) emotions are essentially evaluative phenomena; (iii) emotions provide the basis of an epistemology of objective value. I argue that all three claims are correct, and I weave together Brentano’s arguments with some of my own to support them. In the course of defending these claims, Brentano argues that ‘feeling and will’ are united into the (...) same fundamental class. I summarize two of his arguments for this claim, what I call ‘the nature of desire’ argument and ‘the transition’ argument. I show how a central plank of these arguments relies crucially on Brentano’s epistemology of value. (shrink)

In this paper I respond to Martina and Wimmer’s review of The Given, focusing on their criticisms of the awareness of awareness thesis.

Franz Brentano’s theory of emotion is tightly bound up with many of his other central claims, in such a way that one has to work out how it relates to these other claims if one is to understand its distinctive character. There are two main axes of investigation. The first results from the fact that Brentano introduces his theory of emotion as part of his overall theory of mind, which consists of a number of closely interconnected theses concerning the nature (...) of mental phenomena, the nature of consciousness, and the classification of mental phenomena into fundamental kinds (Brentano 1874/1973a). The second derives from the fact that his theory of emotion also forms the foundation of his epistemology of objective value, which he elaborates in a framework constituted by an epistemic theory of truth and an extended analogy he draws between emotions and judgments (Brentano 1889/1969). I will consider both of these axes in what follows. (shrink)

Chapters Five through Nine of Book Two of Brentano's 1874 Psychology From an Empirical Standpoint were republished in 1911 with a substantive Appendix of Brentano's remarks. In the Appendix Brentano makes a significant addition to his theory of intentionality. In particular, he introduces new modes within the mode of presentation itself. These new modes are needed to account for our thinking about anything in a relational structure (in recto and in obliquo modes) and for our thoughts about time (the temporal (...) mode). I want to suggest that in the end Brentano simply takes relations to be different kinds of modes. (shrink)

In this review essay of Michelle Montague’s The Given we focus on the central thesis in the book: the awareness of awareness thesis. On that thesis, a state of awareness constitutively involves an awareness of itself. In Section 2, we discuss what the awareness of awareness thesis amounts to, how it contrasts with the transparency of experience, and how it might be motivated. In Section 3, we discuss one of Montague’s two theoretical arguments for the awareness of (...) awareness thesis. A view that accepts the awareness of awareness thesis, Montague argues, is to be preferred over competing views because it outperforms them in accounting for the property attributions one makes in perceptual experience. We suggest that it is not clear that this argument for the awareness of awareness thesis is successful. Finally, in Section 4 we consider the relation between Montague’s view of color experience and what she calls Strawson’s datum, arguing that Montague may not be able to explain this datum as straightforwardly as she supposes. This, we suggest, threatens Montague’s second theoretical argument for the awareness of awareness thesis. (shrink)

A review of Cognitive Phenomenology by Tim Bayne and Michelle Montague, with some thoughts on the epistemology of the cognitive phenomenology debate.

It is widely agreed that fiction is necessarily incomplete, but some recent work postulates the existence of universal fictions—stories according to which everything is true. Building such a story is supposedly straightforward: authors can either assert that everything is true in their story, define a complement function that does the assertoric work for them, or, most compellingly, write a story combining a contradiction with the principle of explosion. The case for universal fictions thus turns on the intuitive priority we assign (...) to the law of non-contradiction. My goal in this paper is to show that our critical and reflective literary practices set constraints on story-telling which preclude universal fictions. I will raise four stumbling blocks for universal fictionalists: the gap between saying and making true, our actual interpretive reactions to story-level contradictions, the criteria we accept for what counts as a story in our literary practices, and the undesirability of the universal fictionalist’s closure principles. (shrink)

... PREFACE Paul Gochet (Liege) "[...] une entite physique ne peut etre envisagee que comme une sorte de concretisation, de consolidation locale dans un ...

The premise that every work belongs to an art-kind has recently inspired a kind-centred approach to theories of art. Kind-centred analyses posit that we should abandon the project of giving a general theory of art and focus instead on giving theories of the arts. The main difficulty, however, is to explain what makes a given kind an art-kind in the first place. Kind-centred theorists have passed this buck on to appreciative practices, but this move proves unsatisfactory. I argue that the (...) root of this dissatisfaction stems not from the act of kicking the can down the road, but from not kicking it far enough. The missing ingredient, I argue, is a notion of convention which does the work of marking the difference between art and non-art for a given physical medium. (shrink)

It is widely believed, among philosophers of literature, that imagining contradictions is as easy as telling or reading a story with contradictory content. Italo Calvino’s The Nonexistent Knight, for instance, concerns a knight who performs many brave deeds, but who does not exist. Anything at all, they argue, can be true in a story, including contradictions and other impossibilia. While most will readily concede that we cannot objectually imagine contradictions, they nevertheless insist that we can propositionally imagine them, and regularly (...) do, simply by entertaining a text which prompts us to do so. I argue that this narrative does not bear scrutiny for two main reasons. First, because propositional imagining is beside the point, where truth in fiction is concerned; evaluating truth in fiction engages the cognitive architecture in ways that prohibit the mobilization of merely propositional imagination to that end. And second, because it is not obvious, given the strategies usually suggested, that we ever propositionally imagine contradictions in the first place—in fact, it seems we go out of our way to avoid directly imagining them. (shrink)

Schopenhauer’s invective is legendary among philosophers, and is unmatched in the historical canon. But these complaints are themselves worthy of careful consideration: they are rooted in Schopenhauer’s philosophy of language, which itself reflects the structure of his metaphysics. This short chapter argues that Schopenhauer’s vitriol rewards philosophical attention; not because it expresses his critical take on Fichte, Hegel, Herbart, Schelling, and Schleiermacher, but because it neatly illustrates his philosophy of language. Schopenhauer’s epithets are not merely spiteful slurs; instead, they reflect (...) deep-seated theoretical and methodological commitments to transparency of exposition. (shrink)

Michel Weber, Éléments de routine ayurvédique. Autonomie, rituel et ascèse, Les Éditions Chromatika, 2021. (978-2-930517-82-7 ; pdf 978-2-930517-83-4 ; 104 pp., 14€) -/- L’Ayurvéda propose une philosophie de vie qui articule un vaste système métaphysique (une cosmologie théorique) avec une visée thérapeutique profonde (une anthropologie pratique). -/- À la croisée de la théorie et de la pratique, on trouve la routine (« dinacharya ») dont le but est de susciter l’individuation et la solidarité, c’est-à-dire l’autonomie (de chacun) respectueuse de la (...) communauté (de tous). Ce faisant, elle constitue une ascèse dont l’efficacité a été longuement éprouvée et rarement égalée. (shrink)

‘Philosophical dialogue’ indicates both a form of philosophical inquiry and its corresponding literary genre. In its written form, it typically features two or more characters who engage in a discussion concerning morals, knowledge, as well as a variety of topics that can be widely labelled as ‘philosophical’. Our philosophical dialogue takes place in Krakow, Poland. It is a rainy morning and two strangers are waiting at a tram stop. One of them is dressed neatly, and cannot stop fidgeting with his (...) closed umbrella. The other was caught unprepared by the morning downpour and water is dripping from his worn, soaked jacket. (shrink)