Is Brentano's Method a Unifying Element of the Brentano School?

Among historians of philosophy it is often taken for granted that the “Brentano school” was one of the influential philosophical movements at the end of the nineteenth and the beginning of the twentieth century – but Brentano’s own contributions are often eclipsed by that of his direct students. This invites to reflect on the nature of and the unity within the school. Since Brentano’s conception of a rigorous, scientific philosophy had a strong impact on his students, it has been argued that this conception constitutes a unifying element in an otherwise heterogeneous group. The scope of this article is to shed light on this thesis and to show its limits. I argue for a differentiated view: the Brentano school is best seen not as a compact movement, but as a heterogeneous group of scholars who approached, in a given historical and geographical period, similar topics in very similar ways

Phenomenal Conservatism and the Internalist Intuition

Externalist theories of justification create the possibility of cases in which everything appears to one relevantly similar with respect to two propositions, yet one proposition is justified while the other is not. Internalists find this difficult to accept, because it seems irrational in such a case to affirm one proposition and not the other. The underlying internalist intuition supports a specific internalist theory, Phenomenal Conservatism, on which epistemic justification is conferred by appearances

Engaging with Works of Fiction

The contemporary debate in the philosophy of literature is strongly shaped by the anticognitivist challenge, according to which works of literary fiction (that contain propositions that are neither literally true nor affirmed by the author) cannot impart (relevant) knowledge to the readers or enrich their worldly understanding. Anti-cognitivists appreciate works of literary fiction for their aesthetic values and so risk to reduce them to mere ornaments that are entertaining, but eventually useless. Many philosophers have reacted to this challenge by pointing at ways in which works of literary fiction can be informative even though they lack worldly reference: it has been argued, for example, that works of fictions are thought experiments; that they add not to our theoretical knowledge, but to our know-how or to our phenomenal knowledge; or that that they help readers to understand the perspectives of others. A stubborn defense of literary cognitivism, however, risks to collapse into an instrumental understanding of literature. In my paper I suggest that both sides in the debate focus too narrowly on semantic features of the works in question that is tied to what I will call the “referential picture” of language. A shift perspective is needed: for one, we ought to fully appreciate that the term “literature” does not refer to a homogeneous phenomenon, but rather to a very heterogeneous and multifarious set of works that are read by many different readers for many different reasons in many different ways. Second, we need to understand that these works have in common much more than the semantic peculiarity of lacking worldly reference: they are a unique means of communication between authors and readers – and in particular the role of the latter is often neglected in contemporary debate. These two points should help us to get a more comprehensive understanding of the practice of literature and the vast range of values we can find works of literary fiction – and the interplay between them

Existence Is Evidence of Immortality

Time may be infinite in both directions. If it is, then, if persons could live at most once in all of time, the probability that you would be alive now would be zero. But if persons can live more than once, the probability that you would be alive now would be nonzero. Since you are alive now, with certainty, either the past is finite, or persons can live more than once

In Praise of the Lawless Jury

Jury nullification is justified by the principle that individuals are prima facie ethically obligated to avoid causing unjust harms. Safeguarding justice against unjust laws and punishments of the government is the central function of the jury

Brentano's conception of philosophy as rigorous science

Abstract: Brentano’s conception of scientific philosophy had a strong influence on his students and on the intellectual atmosphere of Vienna in the late nineteenth century. The aim of this article is to expose Brentano’s conception and to contrast his views with that of two traditions he is said to have considerably influenced: phenomenology and analytic philosophy. I will shed light on the question of how and to what extent Brentano’s conception of philosophy as a rigorous science has had an impact on these two traditions. The discussion will show that both took their liberties in the interpretation of the thesis, a move that allowed them to liberate themselves from Brentano’s inheritance and to fully develop their own philosophical positions

Gun Rights as Deontic Constraints

Abstract: In earlier work, I argued that individuals have a right to own firearms for personal defense, and that as a result, gun prohibition would be unjustified unless it at least produced benefits many times greater than its costs. Here, I defend that argument against objections posed by Nicholas Dixon and Jeff McMahan to the effect that the right of citizens to be free from gun violence counterbalances the right of self-defense, and that gun prohibition does not violate the right of self-defense because it renders everyone overall safer. (4258 words

The philosopher as artist: Ludwig Wittgenstein seen through Edoardo Paolozzi

In this article I argue that the strong fascination that Wittgenstein has had for artists cannot be explained primarily by the content of his work, and in particular not by his sporadic observation on aesthetics, but rather by stylistic features of his work formal aspects of his writing. Edoardo Paolozzi’s testimony shows that artists often had a feeling of acquaintance or familiarity with the philosopher, which I think is due to stylistic features of his work, such as the colloquial tone in which Wittgenstein shares his observation with the reader, but also the lack of long-winded arguments or explanations. In the concluding part I suggest that we can read Wittgenstein’s artworks of a specific kind: as philosophical works of art