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Summary

In Husserl’s account of imagination the focus is on Phantasie (Aristotle) rather than Einbildungskraft (Kant). In his Göttingen lectures 1904/05, Husserl characterises phantasy as consciousness of what is not present [Nichtgegenwärtigkeits-Bewusstsein], as re-presentation or representification [Vergegenwärtigung]. He divides presentations into conceptual and intuitive. The latter is further divided into intuitive presentations in which the presented object itself appears (perception), and intuitive re-presentations in which the image of the presented object appears (phantasy, image consciousness, memory, expectation). Thus, his early theory states that phantasy is an image presentation, it has the form of image consciousness. Later he moved to the parallelism between phantasy and perception saying that phantasy appearance relates to its object just as straightforwardly as perception does. In Ideas I Husserl identifies phantasy as neutrality-modification of positing presentations. Husserl's thoughts on art and aesthetics are mostly written in the context of his theory of phantasy and image consciousness.

Key works Husserl 2005 is the main source for Husserl's account of phantasy, image consciousness and memory; it also includes the comparison between image consciousenss and symbolic consciousness, writings on aesthetic consciousenss, and the examples of painting, photography and  theatrical performance. Jansen 2005 traces the development of Husserl’s account of phantasy from the early interpretation of phantasy as image presentation to the later comparison with perception. Sallis 1992 explains Husserl's theory of imagination in the context of the metaphysics of presence. Brough 1992 explains Husserl’s theory of depictive image consciousness and art. Ferencz-Flatz 2009 discusses the concept of neutrality in relation to phantasy, image consicousness and aesthetic attitude. Husserl 2009 states the similarity between the phenomenological attitude and the aesthetic attitude.
Introductions Marbach 1980, Brough 2005, Marbach 2012 
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  1. Husserl in Ingarden o sliki Husserl and Ingarden on image.Božidar Kante - unknown - Phainomena 51.
    V članku obravnavamo Husserlovo teorijo podobe in jo primerjamo z Ingardnovo. Najprej pokažem, da je Husserlov pristop, ki podobo razdeli na tri sloje , smiseln in razumen. Ingarden Husserlovo teorijo podobe zgolj prevzame in ji ne doda kakih svojih bistvenih prvin. Na koncu članka opozarjam na bistveno pomanjkljivost tako Husserlove kot Ingardnove analize.The paper considers Husserl's conception of image and then compares it with the view as was developed by Ingarden. I point, from the very beginning, to the reasonabless of (...)
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  2. Violence and Image.Cristian Ciocan - forthcoming - Continental Philosophy Review:1-18.
    Our most current experience of violence is not predominantly violence “given in the flesh,” but violence given through the mediation of the image. The phenomenon of real violence is therefore modified through the imagistic experience, involving first of all its emotional, embodied and intersubjective dimensions. How is the emotion constituted in the face of depicted violence, in contrast to the lived experience of real violence? Is the intersubjectivity modified when violence appears pictorially? What specific embodied dimensions are particularly engaged when (...)
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  3. Modality Matters: Imagination as Consciousness of Possibilities and Husserl’s Transcendental-Historical Eidetics.Andreea Smaranda Aldea - 2020 - Husserl Studies 36 (3):303-318.
    The paper contends that transcendental phenomenology is a form of radical immanent critique able to explicate the necessary structures of meaning-constitution as well as evaluate our present situation through the historically traditionalized layers of concrete, lived experience. In order to make this case, the paper examines the critical dimension of phenomenology through the lens of one of its core conditions for possibility: the imagination. Building on—yet also departing from—Husserl’s own analyses, the paper contends that the imagination is both self- and (...)
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  4. Mapping the Imagination: Distinct Acts, Objects, and Modalities.Rudolf Bernet - 2020 - Husserl Studies 36 (3):213-226.
    This article begins by presenting the two most important transformations that establish a genuine Husserlian approach to the imagination: the first lies in the grasping of imagination, despite its essential differences with perception and hallucination, as an intuitive, or sensuous consciousness ; the second lies in the insight that imagination, or better – phantasy –, requires no images, mental or otherwise. Further, the distinction between pure and perceptual phantasies and their respective fictional objects is drawn out. A comparison between pure (...)
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  5. What Is Productive Imagination? The Hidden Resources of Husserl’s Phenomenology of Phantasy.Saulius Geniusas - 2020 - In Iulian Apostolescu (ed.), The Subject of Phenomenology. Rereading Husserl. Springer. pp. 135-153.
    The paper strives to clarify the essential structures of productive imagination using the resources of Husserlian phenomenology. According to my working hypothesis, productive imagination is a relative term, whose meaning derives from its opposition to reproductive imagination. One thus first needs to clarify what makes imagination into a reproductive mode of consciousness, and in this regard, Husserl’s phenomenology proves exceptionally fruitful. My analysis unfolds in four steps. First, I fix the sense in which phantasy is an essentially reproductive mode of (...)
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  6. Imagination in the Midst of Life: Reconsidering the Relation Between Ideal and Real Possibilities.Julia Jansen - 2020 - Husserl Studies 36 (3):287-302.
    In this article I address the idea that in Husserl’s eidetic ontology all possibilities are fixed ‘in advance’ so that actual objects and events—despite their contingency—can only ever unfold possibilities that are ‘permitted’ to them by their essences. I show how this view distorts Husserl’s ontology and argue that this distortion stems from a misconstrual of the relations between essences and facts, and between ideal and real possibilities. These ‘local’ misconstruals reflect, I contend, a ‘global’ misunderstanding that mistakes descriptive distinctions (...)
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  7. The Time of Phantasy and the Limits of Individuation.Dieter Lohmar - 2020 - Husserl Studies 36 (3):241-254.
    Husserl is known to have oriented many aspects of his extensive analyses of phantasy around a contrast to perception: what phantasy and perception have in common, for example, is their intuitiveness; yet, while in perception something is encountered ‘in the flesh,’ in phantasy this experience is modified by its ‘as if in the flesh’ character. However, both in the majority of Husserl’s reflections on phantasy and in much of the secondary literature on the topic, we find few further details concerning (...)
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  8. Husserl’s Image Worlds and the Language of Phenomenology.Michael McGillen - 2020 - In Philippe P. Haensler, Kristina Mendicino & Rochelle Tobias (eds.), Phenomenology to the Letter: Husserl and Literature. De Gruyter. pp. 23-44.
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  9. Phenomenology of Unclear Phantasy.Stefano Micali - 2020 - Husserl Studies 36 (3):227-240.
    Two disciplines have greatly contributed to a new understanding of phantasy and imagination in contemporary thought: phenomenology and psychoanalysis. These two different approaches to Phantasie developed almost simultaneously at the beginning of the twentieth century. The examination of Phantasie can focus on the concrete form of the phantasm as a unique object formation—or better, as scene. The attention can also be directed to the style of imagining as specific intentionality. Whereas the second line of research has been extensively studied in (...)
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  10. Absolute Gegebenheit: Image as Aesthetic Urphänomen in Husserl and Rilke.Thomas Pfau - 2020 - In Philippe P. Haensler, Kristina Mendicino & Rochelle Tobias (eds.), Phenomenology to the Letter: Husserl and Literature. De Gruyter. pp. 227-260.
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  11. A Controversy Over the Existence of Fictional Objects: Husserl and Ingarden on Imagination and Fiction.Witold Płotka - 2020 - Journal of the British Society for Phenomenology 51 (1):33-54.
    ABSTRACTThis paper explores the structure and elements of the intentional experiences of imagining fictional objects. The author critically examines the argument that whereas Husserl’s theory of imagination cannot do justice to fictional objects, Ingarden’s theory of purely intentional objects provides a basis for the theory of intentionality that explains the status of fictional objects. The paper discusses this argument to show that it is justified only in regard to Husserl’s early account of imagination, and on the condition of understanding contents (...)
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  12. Imagination and Its Critical Dimension – Lived Possibilities and An Other Kind of Otherwise.Andreea Smaranda Aldea - 2019 - New Yearbook for Phenomenology and Phenomenological Philosophy 2 (XVII):ch. 14.
    Following Husserl’s analyses of perception and imagination, the paper introduces two basic modes of intelligibility – the normalizing and the imagining – and argues that they are deeply intertwined, despite radical qualitative differences between them. What sets these two modes apart are their distinctive teleological orientations. To show this, the paper looks closely at the ways in which we experience difference in these respective modes. This discussion requires, however, that we challenge Husserl’s own framework for analyzing the imagination, which emerges (...)
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  13. A Phenomenological Analysis of a Type of Image in Sohrab Sepehri’s Poems.Saeed Karimi Qare Baba - 2019 - Journal of Philosophical Investigations 12 (25):189-207.
    The current studies have revealed that there are some similarities between the philosophical foundations of Sohrab Sepehri’s poems and some phenomenological notions. The essence of Sepehri’s message as well as that of phenomenologists is that human being should discover himself or herself through his or her pure cognitive nature, and not from science or books. Following a descriptive and content analysis approach, in this study, we have dealt with the phenomenological thoughts on the creation of some innovative image in Sepehri’s (...)
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  14. Towards a Phenomenological Analysis of Fictional Emotions.Marco Cavallaro - 2019 - Phainomenon. Journal of Phenomenological Philosophy 29:57-81.
    What are fictional emotions and what has phenomenology to say about them? This paper argues that the experience of fictional emotions entails a splitting of the subject between a real and a phantasy ego. The real ego is the ego that imagines something; the phantasy ego is the ego that is necessarily co-posited by any experience of imagining something. Fictional emotions are phantasy emotions of the phantasy ego. The intentional structure of fictional emotions, the nature of their fictional object, as (...)
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  15. ‘Estrangement’ in Aesthetics and Beyond: Russian Formalism and Phenomenological Method.Georgy Chernavin & Anna Yampolskaya - 2019 - Continental Philosophy Review 52 (1):91-113.
    We investigate the parallelism between aesthetic experience and the practice of phenomenology using Viktor Shklovsky’s theory of “estrangement”. In his letter to Hugo von Hofmannsthal, Husserl claims that aesthetic and phenomenological experiences are similar; in the perception of a work of art we change our attitude in order to concentrate on how the things appear to us instead of what they are. A work of art “forces us into” the aesthetic attitude in the same way as the phenomenological epoché drives (...)
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  16. Hegel, Husserl and Imagination.Alfredo Ferrarin - 2019 - In Danilo Manca, Elisa Magrì, Dermot Moran & Alfredo Ferrarin (eds.), Hegel and Phenomenology. Springer Verlag. pp. 115-130.
    In this essay I deal with Hegel and Husserl on imagination. I show both the unsuspected centrality of this notion for their relative philosophies and the intrinsic merits of their positions which, though quite far apart in their conclusions, turn around very similar aspects, such as the relation between imagination and perception, presence and absence, universality and particularity, signitive and intuitive reference, negation and distance, layers of consciousness.
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  17. Phenomenology and the Challenge of Virtuality.Daniel O’Shiel - 2019 - In Joaquim Braga (ed.), Conceiving Virtuality: From Art to Technology. Springer. pp. 21-43.
    This piece explicates some chief modes of consciousness in phenomenology in order to show that a very significant challenge of virtuality surfaces both within, as well as outside of, the discipline. This issue is of no small importance today, where the difference between perception and imagination, real and irreal, as well as presence and absence, are all becoming increasingly vague because of new technologies and the intrinsic virtualities involved therein. In this context, the question is: Where does virtuality fit in (...)
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  18. El dolor y la imaginación, dos vivencias en los límites de la conciencia.Pau Pedragosa - 2019 - Isegoría 60:189.
    Desarrollamos un análisis comparativo de las vivencias del dolor físico y de la imaginación desde la perspectiva fenomenológica. Partimos de la hipótesis de que ambas vivencias forman los estados límite de la vida consciente. Nuestro objetivo es mostrar las características esenciales de dichas vivencias y para ello seguimos los textos más relevantes de la tradición fenomenológica, especialmente los de Husserl y Sartre. Los de Husserl dedicados al cuerpo vivido y a las sensaciones táctiles, por un lado, y los dedicados a (...)
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  19. The Visual Claim Within Medical Science and Popular Culture.Angela Schröder - 2019 - In Arno Görgen, German Alfonso Nunez & Heiner Fangerau (eds.), Handbook of Popular Culture and Biomedicine: Knowledge in the Life Sciences as Cultural Artefact. Springer Verlag. pp. 115-121.
    Looking at different types of images, as medical images and those of computer games, they do not seem to have much in common. If there is an analytical access within the cultural sciences to these technical pictures, it is usually that of a reference. Thus, diagnostic images, for example those of the virtual coloscopy, are quickly assumed to use a computer game aesthetics. In fact, these images are similar in their structure and aesthetics, but to reduce this similarity to a (...)
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  20. Is Make-Believe Only Reproduction?Michela Summa - 2019 - Social Imaginaries 5 (1):97-119.
    This paper develops an analysis of the relation between fiction and make-believe based on the achievements of imagination. The argument aims at a “reciprocal supplementation” between two approaches to fiction. According to one approach, pretense or make-believe structures play a crucial role in our experience of fiction. Discussing Husserl’s view on bound imagining and Walton’s account of fiction as make-believe, I show why pretense and make-believe cannot thereby be reduced to the mere reproduction of something we would experience as original. (...)
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  21. The Relation Between Husserl’s Phenomenological Account of Imaginative Empathy and High-Level Simulation, and How to Solve the Problem of the Generalizability of Empathy.Heath Williams - 2019 - Grazer Philosophische Studien 96 (4):596-619.
    This article provides an overview of Edmund Husserl’s lesser known account of high-level imaginative empathy. The author discusses Husserl’s solution to what we might call the ‘generalizability problem’; if empathy is conceived as a relation whereby the understanding I have of my own mind allows me to understand your mind, then how does empathy account for potential differences between us? The author also discusses some features that make empathy more generalizable than might be initially thought, as well as its limits. (...)
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  22. Das Durchscheinende Bild. Konturen Einer Medialen Phänomenologie.Emmanuel Alloa - 2018 - diaphanes.
    Dass Bilder zwischen dem Regime der Dinge und dem Regime der Zeichen niemals einen angestammten Platz erhielten und nicht Gegenstand einer eigenen Wissenschaft wurden, ist keinem wiedergutzumachenden Vergessen geschuldet, sondern Ausdruck eines anfänglichen Skandalons, das historisch auch die Geburtsstunde der Philosophie einläutete. Bilder lassen sich nicht einmal als reine Erscheinungen absondern, weil in ihnen als Wasserzeichen stets durchscheint, was sie sichtbar werden ließ. An Husserls Grundlegung einer Phänomenologie des Bildes lässt sich das obstinate Unterfangen verfolgen, die Bilderscheinung von jeder medialen (...)
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  23. Husserl and Dufrenne on the Temporalization of the Pictorial Space.Javier Enrique Carreño Cobos - 2018 - Anuario Filosófico 51 (2):301-323.
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  24. Depicting and Seeing-In. The ‘Sujet’ in Husserl’s Phenomenology of Images.Patrick Eldridge - 2018 - Phenomenology and the Cognitive Sciences 17 (3):555-578.
    In this paper I investigate an underappreciated element of Husserl’s phenomenology of images: the consciousness of the depicted subject, which Husserl calls the Sujetintention, e.g. the awareness of the sitter of a portrait. Husserl claims that when a consciousness regards a figurative image, it is absorbed in the awareness of the depicted subject and yet this subject some how withholds its presence in the midst of its appearance in the image-object. Image-consciousness is an intuitive consciousness that intends a being that (...)
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  25. “Seeing-in” and Twofold Empathic Intentionality: A Husserlian Account.Zhida Luo - 2018 - Continental Philosophy Review 51 (3):301-321.
    In recent years, the phenomenological approach to empathy becomes increasingly influential in explaining social perception of other people. Yet, it leaves untouched a related and pivotal question concerning the unique and irreducible intentionality of empathy that constitutes the peculiarity of social perception. In this article, I focus on this problem by drawing upon Husserl’s theory of image-consciousness, and I suggest that empathy is characterized by a “seeing-in” structure. I develop two theses so as to further explicate the seeing-in structure in (...)
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  26. Husserl’s Theory of the Image Applied to Conceptual Art.Regina-Nino Mion - 2018 - Polish Journal of Aesthetics 49 (2):59-70.
    Edmund Husserl has famously declared that “Without an image, there is no fine art.” The aim of the article is to find out whether conceptual art can be experienced as image as well. It will be shown that Joseph Kosuth’s conceptual artwork One and Three Chairs (1965) perfectly illustrates Husserl’s theory of image consciousness and the concept of “image.” Thus, Husserl’s theory makes a valuable contribution in understanding conceptual (and contemporary) art.
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  27. Phantasms and Physical Imagination in Husserl’s Theory of Pictorialization.Regina-Nino Mion - 2018 - Anuario Filosófico 51 (2):325-345.
    The aim of the article is to argue against the claim that Edmund Husserl does not adequately distinguish physical imagination from phantasy in his early texts. Thus, the article examines Husserl’s early theory of imagination according to which phantasy and image consciousness (understood as physical imagination) have a similar structure of pictorialization but differ with respect to apprehension contents and the number of apprehended objects: phantasy involves phantasms and two apprehended objects but physical imagination involves sensations and can have three (...)
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  28. Threefold Pictorial Experience and Aesthetic Attitude.Regina-Nino Mion - 2018 - In Jérôme Pelletier & Alberto Voltolini (eds.), The Pleasure of Pictures: Pictorial Experience and Aesthetic Appreciation. Routledge. pp. 107–124.
    The paper discusses Edmund Husserl’s threefold pictorial experience and the threefold aesthetic experience of pictures accordingly. It aims to show what the advantages are of the threefold account of pictorial experience, in contrast to the twofold account, to explain aesthetic experience. More specifically, it explains the role of the image object’s fold in aesthetic experience. The paper is divided into three parts. The first part explains and defends Husserl’s theory of threefold pictorial experience, which is an experience of seeing-in or, (...)
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  29. Review of Phenomenology and the Arts, Ed. Peter R. Costello and Licia Carlson. [REVIEW]Christine Rojcewicz - 2018 - Continental Philosophy Review 51 (2):289-294.
    Through an exploration of the arts, Phenomenology and the Arts traces the relationship between phenomenology qua historical movement and qua descriptive method. Serving as an artistic undertaking, the phenomenological method itself echoes its content when describing artistic matters such as painting, drama, literature, and music. After establishing the thematics and structure of the volume, contributors analyze in rich and groundbreaking ways specifically Kant, Hegel, Husserl, Heidegger, Merleau-Ponty, and Derrida, and works of art, including select jazz composers, the visual arts of (...)
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  30. Nell'immagine. Realtà, fantasia, esperienza estetica.Claudio Rozzoni - 2018 - Mondadori Education.
    In un panorama come quello contemporaneo, in cui gli studi sulla nozione di immagine proliferano attraversando molteplici ambiti disciplinari, questo volume propone un'analisi fenomenologica dell'immagine volta a descriverne le strutture essenziali e a indagarne il rapporto con la realtà. Più in particolare, a partire dagli scritti husserliani sulla fantasia e sull'immagine, il testo mira a mostrare come le distinzioni fatte emergere dall'occhio fenomenologico possano risultare decisive per la caratterizzazione dell'esperienza estetica, nella quale sembra messo fuori gioco l'interesse per l'esistenza delle (...)
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  31. Ontology and Phenomenology.Kristupas Sabolius - 2018 - Proceedings of the XXIII World Congress of Philosophy 27:107-111.
    The contradictory function of imagination could be noticed as early as in Plato’s Sophist – eikon and phantasma dialectics reveals the process of confusion by which we are unable to unambiguously diagnose truth or deceit and accurately draw the line between reality and unreality. Both Sartre and Husserl admit that imagination is necessary to phenomenology and brings up new data that are important of the understanding of truth. The provision by Husserl also recognizes the nature of simulacrum experience and a (...)
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  32. Istantanee. Note su «fotografia» e «tempo» a partire da La Jetée di Chris Marker.Francesco Vitale - 2018 - Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 11 (2):189-196.
    La Jetée is a Chris Marker movie composed by still images, photographs, with the exception of a very short sequence. The paper aims to account for the experience of temporality induced by photography, framing the structural analysis of the movie in a phenomenological horizon, in particular with regard to the Husserlian’s notion of “Living Present”.
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  33. Between Transcendence and Immanence.Adam Wells - 2018 - Diakrisis 1:165-178.
    The trajectory of Edmund Husserl’s thought on “phantasy” points toward a de-emphasis of both perception and presence as tools for understanding the imagination. I will argue, however, that Husserl’s treatment of “phantasy” is ultimately deficient inasmuch as it focuses on the epistemological function of the imagination, while neglecting its ontological significance. As a corrective, I will develop an ontological concept of imagination by drawing on the work of the 12thcentury Sufi philosopher, Ibn al-‘Arabi. It will be shown that the imagination (...)
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  34. Art as Alchemy: The Bildobjekt Interpretation of Pictorial Illusion.Jens Dam Ziska - 2018 - Journal of Aesthetics and Art Criticism 76 (2):225-234.
    I argue that if we read E. H. Gombrich's Art and Illusion with the charity that it deserves, we will find a much subtler theory of depiction than the illusion theory that is usually attributed to Gombrich. Instead of suggesting that pictures are illusory because they cause us to have experiences as of seeing the depicted objects face to face, I argue that Art and Illusion is better read as making the point that naturalistic pictures are illusory because they cause (...)
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  35. The Bodily Texture of Phantasy.Jagna Brudzińska - 2017 - Gestalt Theory 39 (1):64-78.
    Summary In opposition to the traditional empiricist understanding of phantasy as a copy of perception and therefore as a weakened form of experience, this paper interprets phantasy as an independent and creative modus of consciousness that is responsible for the individuation of the subject. The article reconstructs Husserl’s approach to phantasy as a specific kind of intentional operation as well as its relationship with mood-intentionality, bodily-kinesthetic expressivity and with hyletic anticipation as a structure of sensibility. In this way, the bi-valence (...)
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  36. The Phenomenon of Ego-Splitting in Husserl’s Phenomenology of Pure Phantasy.Marco Cavallaro - 2017 - Journal of the British Society for Phenomenology 48 (2):162-177.
    Husserl’s phenomenology of imagination embraces a cluster of different theories and approaches regarding the multi-faced phenomenon of imaginative experience. In this paper I consider one aspect that seems to be crucial to the understanding of a particular form of imagination that Husserl names pure phantasy. I argue that the phenomenon of Ego-splitting discloses the best way to elucidate the peculiarity of pure phantasy with respect to other forms of representative acts and to any simple form of act modification. First, I (...)
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  37. Image Consciousness and the Horizonal Structure of Perception.Walter Hopp - 2017 - Midwest Studies in Philosophy 41 (1):130-153.
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  38. From Abbild to Bild? Depiction and Resemblance in Husserl’s Phenomenology.Claudio Rozzoni - 2017 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 10 (1):117-130.
    In a well-known course he gave in 1904-1905, Edmund Husserl developed a ‘threefold’ notion of image revolving around the notion of depiction [Abbildung]. More specifically, the phenomenological description allows a seeing-in to emerge as an essential characteristic of the image consciousness, in which an image object assumes the role of a representant [Repräsentant] in order to allow us to see the image subject in the image itself. Nevertheless, our paper – focusing particularly on what might be called the depictive art (...)
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  39. Phantasie, Interaktion und Perspektivenübernahme in Als-ob-Situationen. Eine phänomenologische Analyse/ Fantasy, Interaction and Perspective-Taking in Pretense Situations. A Phenomenological Analysis.Michela Summa - 2017 - Gestalt Theory 39 (2-3):175-196.
    The aim of this article is to develop a phenomenological analysis of pretense. In different forms of pretense, something we take to be fictive is somehow transposed into a context that we experience as real. Due to this ‘transposition’, the context itself, under certain respects, becomes unreal or fictional. When we ‘live’ in a pretense context, we bracket or conceal what we take for real. Departing from both meta-representational and simulationist approaches, the phenomenological interpretation of pretense is developed based, on (...)
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  40. La primacía de la percepción en la teoría husserliana temprana de la imaginación.Rodrigo Y. Sandoval - 2017 - In Andrés Gatica Gatamelatti (ed.), Incursiones fenomenológicas sobre el análisis intencional, la reducción y la angustia. Santiago, Región Metropolitana, Chile: pp. 43-59.
    Este artículo está enfocado en la primera etapa de las investigaciones husserlianas sobre la imaginación, enmarcadas en su obra “estática” y determinadas, especialmente, por las características de una concepción centrada en la imagen figurativa (Abbild).
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  41. Michela Summa: Spatio-Temporal Intertwining: Husserl’s Transcendental Aesthetic: Cham, Heidelberg, New York, Dordrecht, London: Springer, 2014 , 347 Pp. US-$129 , US-$99 , ISBN 978-3-319-06236-5. [REVIEW]Marco Cavallaro - 2016 - Husserl Studies 32 (1):91-99.
  42. Aesthetic Horizons: A Phenomenologically Motivated Critique of Zuidervaart.Eric Chelstrom - 2016 - Journal of Aesthetics and Phenomenology 3 (1):1-14.
    One of the more ambitious and yet fruitful attempts in recent years to untangle general questions about the nature of aesthetic phenomena and their socially constituted nature rests in Lambert Zuidervaart’s critical hermeneutical theory of artistic truth. In this paper, I explore one part of Zuidervaart’s project, namely his conception of “aesthetic validity as a horizon of imaginative cogency.” I seek to develop Zuidervaart’s conception by bringing his thesis into dialogue with phenomenological analyses of “horizon” and the collective intentional approach (...)
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  43. L’Ésser En L’Aparença. Estètica, Imaginari I Ontologia En les Fenomenologies de Husserl I Merleau-Ponty.Annabelle Dufourcq - 2016 - Enrahonar: Quaderns de Filosofía 57:121-139.
    https://revistes.uab.cat/enrahonar/article/view/v57-dufourcq.
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  44. Imagination Et Temporalisation Chez Kant, Husserl Et Richir.Istvan Fazakas - 2016 - Meta: Research in Hermeneutics, Phenomenology, and Practical Philosophy 8 (2):502-521.
    The purpose of this article is to lay out the close connection between temporality and imagination. We suggest that Husserl’s discovery of the field of phantasy implies a specific concept of temporalization, of which Kant may have had a glimmering in his third Critique. In order to expose this specific temporalization we will first outline the Husserlian conception of imagination and phantasy taking the example of a landscape. We will then show how the Kantian aesthetics can resolve some problems, which (...)
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  45. Husserl.Julia Jansen - 2016 - In Amy Kind (ed.), The Routledge Handbook of the Philosophy of Imagination. Routledge. pp. 69-81.
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  46. Toward a Husserlian Foundation of Aesthetics: On Imagination, Phantasy, and Image Consciousness in the 1904/1905 Lectures.Azul Tamina Katz - 2016 - Journal of Speculative Philosophy 30 (3):339-351.
    Monotheism of reason & heart, polytheism of imagination and art: That is what we need!Even today aesthetics is not considered among Edmund Husserl’s main interests. It is true, however, that there are many other phenomenological approaches to aesthetics among his “heretic” disciples, as Ricoeur calls them. I am thinking here especially of Sartre’s L’Imagination and L’imaginaire, Roman Ingarden’s Untersuchungen zur Ontologie der Kunst and Das literarische Kunstwerk, and Mikel Dufrenne’s Phénoménologie de l’expérience esthétique. Nevertheless, it may be objected that in (...)
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  47. The Shape of Things.Rajiv Kaushik - 2016 - Chiasmi International 18:313-331.
    This paper begins by pointing to an obvious difficulty in Merleau-Ponty’s late philosophy: undoing the decisive separation between linguistic connotation and the denotated, undoing the decisive separation between linguistic meaning and the sensible world. This difficulty demands that we understand how the sensible and the symbolic have a sort of spontaneous relation. How can this be? The history of this problem is then traced back to Husserl, and in particular to his The Origin of Geometry. For Husserl, ‘abstract geometry’ is (...)
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  48. The Routledge Handbook of the Philosophy of Imagination.Amy Kind (ed.) - 2016 - Routledge.
    Imagination occupies a central place in philosophy, going back to Aristotle. However, following a period of relative neglect there has been an explosion of interest in imagination in the past two decades as philosophers examine the role of imagination in debates about the mind and cognition, aesthetics and ethics, as well as epistemology, science and mathematics. This outstanding _Handbook_ contains over thirty specially commissioned chapters by leading philosophers organised into six clear sections examining the most important aspects of the philosophy (...)
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  49. Husserl and Cinematographic Depictive Images: The Conflict Between the Actor and the Character.Regina-Nino Mion - 2016 - Studia Phaenomenologica 16:269-293.
    According to John Brough, we can use Husserl’s theory of image consciousness to explain the conflict between the actor and the character in cinematographic depictions in terms of an empirical conflict between the “image object” and the “physical thing.” I disagree with him and I shall show that the conflict between the actor and the character can only be explained in terms of a non-empirical conflict between two “image subjects.” The empirical conflict that concerns the subject is between how the (...)
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  50. Cinema Consciousness: Elements of a Husserlian Approach to Film Image.Claudio Rozzoni - 2016 - Studia Phaenomenologica 16:295-324.
    By drawing on Husserl’s manuscripts on Phantasy, Image Consciousness and Memory, this paper aims to shed light on some of the primary concepts defining his notion of image—such as “belief,” “presentification” and perzeptive Phantasie—and endeavours to show how such concepts could be profitably developed for the sake of a phenomenological description of film image. More in particular, these analyses aim to give a phenomenological account of the distinction between positing film images, presupposing a claim to reality—for example the ones we (...)
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