Hicham Jakha

In my paper, I establish an Ingardenian phenomenological ontology of virtualized ficta, i.e., fictional entities introduced to virtual gaming. The first Section of my paper provides an ontology of virtualized ficta, focusing primarily on their ‘‘existential moments’’. But in order to have a firm grasp of the ontological aspects grounding the virtual work, it’s important to engage its strata. This is what I attempt to do in Section 1.2. Virtualized ficta’s intentional dependencies are strongly manifest in what I call the ‘‘strata of the virtual work’’. That is, I repurpose Ingarden’s strata of the literary work, the picture, and the film to showcase that virtualized ficta, from the bottom up (i.e., from their pure ontology to aesthetics) are purely intentional entities. In short, I argue for a purely intentional account of virtualized ficta as ficta-made-virtualia, whose ontological status is determined by the creative acts of game developers and gamers.

In this paper, I argue for phenomenology, Husserlian phenomenology to be precise, as providing a solid paradigm on how to determine and assess hallucination. To be more explicit, in the context of my deliberations, I analyze Susanna Schellenberg’s arguments for “phenomenal” evidence and “factive” evidence, as regards her evidential theory of perception. To pinpoint the inadequacies raised in her account of (the hallucinating) Hallie and (the veridically perceiving) Percy sharing any kind of evidence, I propose Edmund Husserl’s epistemic fulfillment as a detailed epistemological analysis of perception, which takes into consideration the latter’s phenomenological complexity.

In this article, I explore the problems of ficta ‘generation’ and ‘properties’ in light of the philosophies of Alexius Meinong and Roman Ingarden. Comparing Ingarden and the historical Meinong is not a novel idea. By contrast, comparing Ingarden and a phenomenological Meinong has not, to my knowledge, yet been explored. Here, I rely on Alberto Voltolini’s ‘phenomenological conception of außerseiende entities’. I devise Ingarden’s phenomenological ontology to account for the problems of ascription and generation that cripple Meinong’s account. In short, I argue that Ingarden’s account is better suited to accommodate ficta’s generation and properties in a way that does not complicate our approach to fiction.

Husserl’s allegiance to realism came under attack following his Ideas. Ingarden was a fierce critic of his teacher’s turn to transcendental idealism and provided compelling arguments both for his idealist reading of Husserl and for his rejection of idealism. One of the main arguments Ingarden devised against Husserl’s turn was based on his aesthetics. Against Husserl, Ingarden established literary works and fictional objects as purely intentional objects that are (1) doubly structured, vis-à-vis their formal ontology, and (2) endowed with spots of indeterminacy. These facts, Ingarden argues, necessitate the transcendence of the purely intentional object. In this paper, I explore his argument, while establishing the ontological foundation on which it rests.

In this paper, I attempt to find a middle ground between the formalist critic, Vladimir Propp, and the psychoanalytic critic, Carl Jung. I argue that, instead of regarding Russian formalism and psychoanalysis as irreconcilable adversaries, the theories of the two figures can (and should) be unified; the result of which can be devised to establish a theory of what I call an ‘‘archetypal narrative’’. To be more explicit, Propp’s Morphology and Jung’s archetypal psychoanalysis are reconciled to bring about an archetypal narrative theory, in which the underlying structure of narratives lies in the collective unconscious of humanity.

In a work recently published as part of the Cambridge Elements series, Janet Levin brings together the most important contemporary theories that attempt to answer the question of the mental. In her book, The Metaphysics of Mind (2022), she acknowledges that the metaphysical questions surrounding the mind should be distinguished from the epistemological and moral ones. While taking into consideration the implications of the epistemological and moral questions for the metaphysics of mind, Levin focuses primarily on the metaphysical questions. To accomplish the task at hand, she analyzes Dualism, Type-Identity Theory, Role Functionalism, Russellian Monism, and Eliminativism (or Illusionism). As she makes clear at the outset of her book, the aim of her text is not to argue for or against a certain metaphysical theory of mind, but rather to assess the merits and demerits of each theory objectively. A good metaphysics of mind should account for certain elements that are taken to be key to the controversy over the mental. These elements range from the qualitative character of sensations and perceptual experiences, the outer-directedness of intentional states (beliefs, desires, etc.) to — basically— the space the mind occupies in nature as a whole. In this piece, I review each theory of mind separately, as approached by Levin. Then I conclude my review with some critical remarks about the book.

In this paper, I attempt to formulate an Ingardenian conception of the literary work’s aesthetic value. Following Mitscherling’s lead, I attempt to place Ingarden’s aesthetics within his overall phenomenological-ontological project. That is, I argue that Ingarden’s aesthetics can only be properly fathomed in the context of his ontological deliberations, since, as he himself often enunciated, all his philosophical investigations constitute a realist rejoinder to Husserl’s turn toward transcendental idealism. To this end, I bring together insights from his aesthetics and ontology to establish a coherent account of values, where artistic and aesthetic values are analyzed as they manifest themselves in the literary work of art. By attending to the ontology of its aesthetic (and artistic) values, I argue, the literary work’s stratified formation becomes more explicit. Keywords: Roman Ingarden, aesthetic value, artistic value, the literary work of art, ontology, aesthetics