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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. added 2020-01-28
    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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  2. added 2020-01-28
    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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  3. added 2020-01-28
    Typification and Phantasia: New Possibilities for an Ontology of the Lebenswelt.Denisa Butnaru - 2009 - Schutzian Research. A Yearbook of Worldly Phenomenology and Qualitative Social Science 1:201-225.
    The main endeavor of this project is to elucidate the correlation of two basic phenomenological concepts, thereby allowing for a new discussion concerning the foundation of the life-world. While typification has been particularly developed in the social phenomenology of A. Schutz, Phantasia remains in a rather Husserlian “domain,” with regard to its phenomenological implications. In considering a new perspective, however, their discussion lends itself to a new understanding of the process of constitution. Namely, it will surpass the so-called egological sphere, (...)
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  4. added 2019-12-20
    What Do You See? The Phenomenological Model of Image Analysis: Fiedler, Husserl, Imdahl.Vlad6 Ionescu - 2014 - Image and Narrative 15 (3):93-.110.
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  5. added 2019-12-20
    Pictorial Concepts: Inquiries Into the Semiotic Heritage and Its Relevance to the Interpretation of the Visual World.Göran Sonesson - 1989 - Lund University Press.
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  6. added 2019-12-15
    Im Bilde sein. Husserls Phänomenologie des Bildbewusstseins.Christian Lotz - 2010 - In Roman Veressov & Simone Neuber (eds.), Das Bild als Denkfigur: Funktionen des Bildbegriffs in der Philosophiegeschichte von Platon bis Nancy. Wilhelm Fink. pp. 167–181.
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  7. added 2019-12-15
    On the Temporality of Images According to Husserl.Javier Carreño - 2008 - New Yearbook for Phenomenology and Phenomenological Philosophy 8 (1):73-92.
  8. added 2019-09-05
    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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  9. added 2019-08-25
    Zeichen Und Bedeutung Eine Untersuchung Zu Edmund Husserls Theorie des Sprachzeichens.Reto Parpan - 1985 - [S.N.].
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  10. added 2019-08-21
    Le rapport image-imaginaire: entre Husserl, Durand et Wunenburger.Salvatore Grandone - 2012 - Iris 33:131-141.
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  11. added 2019-08-17
    Phenomenology of the Poetic Element.Marc Richir - 2008 - Studia Phaenomenologica 8:177-186.
    As a development of his former researches on speech – that he distinguishes from instituted language and that he identifies to thought – the author points out a special kind of fantasy, already observed by Husserl himself: the perceptive Phantasie. Analysed here as a form of transition from perception to what is impossible to be represented, this form of fantasy aims at what Winnicot understood as a transitional object. Preceding any intentional and even imaginary foundation, the perceptive Phantasie is the (...)
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  12. added 2019-08-15
    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. added 2019-08-15
    Imagination: A Psychological Critique. [REVIEW]S. C. E. - 1962 - Review of Metaphysics 15 (4):678-679.
    This early study is a key work, along with several other preliminary essays, for understanding the genesis of Sartre's Being and Nothingness. Well translated and with an excellent introduction and notes, the book contains the critical thesis that former theories of the imagination confused perception with imagination, and that imagination was properly recognized first by Husserl and was subsequently further clarified by Sartre in his notion of the nihilating consciousness. --E. S. C.
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  14. added 2019-08-13
    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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  15. added 2019-08-12
    On Depicting.E. Marbach - 2000 - Facta Philosophica 2:291-308.
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  16. added 2019-08-01
    A Controversy Over the Existence of Fictional Objects: Husserl and Ingarden on Imagination and Fiction.Witold Płotka - 2019 - 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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  17. added 2019-08-01
    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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  18. added 2019-08-01
    Phantasie and Phenomenological Inquiry - Thinking with Edmund Husserl.Andreea Smaranda Aldea - 2012 - Dissertation,
    This dissertation explores and argues for the import of the imagination (Phantasie) in Edmund Husserl's phenomenological method of inquiry. It contends that Husserl's extensive analyses of the imagination influenced how he came to conceive the phenomenological method throughout the main stages of his philosophical career. The work clarifies Husserl's complex method of investigation by considering the role of the imagination in his main methodological apparatuses: the phenomenological, eidetic, and transcendental reductions, and eidetic variation - all of which remained ambiguous despite (...)
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  19. added 2019-08-01
    Thing and Space: Lectures of 1907. [REVIEW]Miles Groth - 1999 - Review of Metaphysics 52 (4):948-950.
    With the publication of these lectures, given in the summer semester of 1907 at the University of Göttingen, all of Husserl’s course on the “Main Parts of the Phenomenology and Critique of Reason” is now available. They were preceded by the publication in 1964 of a translation of the first five lectures of the course under the title The Idea of Phenomenology, which was first published in German in 1950. As Husserl wrote in a private notebook, the themes of the (...)
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  20. added 2019-07-20
    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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  21. added 2019-07-20
    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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  22. added 2019-07-20
    Bringing Back Color, Bringing Back Emotion: Exploring Phenomenological Empathy in the Reclamation of the Female Nude in Painting.Sophia R. Forman - 2013 - Dissertation, Scripps College
    At the nexus of the seemingly disparate art-theoretical topics of color and the female nude is a critical consideration of phenomenology in both one of its most basic senses—as the first-person experience of perceived phenomena—and as a larger philosophical position which, through its abstraction of perception to subject-object relationships, implicates the painted figure. Specifically, this paper conflates the phenomenology of color with the transcendental phenomenology of Edmund Husserl and Maurice Merleau-Ponty in investigating empathy. Structured as a dialectic, it establishes the (...)
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  23. added 2019-07-20
    Between Art and Philosophy II Aesthetic Experience and the Ideal Work of Art.Piotr Schollenberger - 2010 - Dialogue and Universalism 20 (3-4):59.
    This essay discusses certain problems raised by Edmund Husserl’s conception of meaning with regard to the analysis of aesthetic experience. By referring to Jacques Derrida’s critique of phenomenological idealism I show that the metaphor of “stratification”, adopted by Husserl in his “Ideas” to a problem of discursive expression, if applied to the analysis of a work of art i.e. painting, allows to avoid the objection of “metaphysics of presence” commonly raised towards the phenomenological method.To present the major issue from the (...)
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  24. added 2019-07-20
    Derrida and the Truth of Drawing: Another Copernican Revolution?Eliane Escoubas - 2006 - Research in Phenomenology 36 (1):201-214.
    I begin with the hypothesis that Jacques Derrida's Memoirs of the Blind: The Self-Portrait and Other Ruins is in a way the illustration of Speech and Phenomena and therefore Derrida's critique of phenomenology, intuition, perception, and seeing. I also want to show in this regard parallels with both Husserl and Kant. I emphasize that what is at issue in Memoirs of the Blind is art, visual arts; and in the great thematic richness of this text, I note the high points (...)
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  25. added 2019-07-20
    Impulse and Strategy in the "Vestiges" Series: A Painting Project Examined.Isabel Maria Pavao - 1994 - Dissertation, New York University
    This study was an investigation of the conceptual and the poetic dimensions in the artist's series of paintings entitled "Vestiges." It was begun in 1989 and continued through 1993. The series has had its initial impetus and inspiration from a conceptual, as well as a poetic dimension. ;The artist systematically examined, by sustained critical discourse, the extensive series of her works continually produced for a period of five years. ;The phenomenological analysis of the paintings was derived from Edmund Husserl's model (...)
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  26. added 2019-07-20
    Perceiving, Remembering, Image-Awareness, Feigning Awareness.Dorion Cairns - 1973 - In Dorion Cairns, Fred Kersten & Richard M. Zaner (eds.), Phenomenology: Continuation and Criticism. The Hague: M. Nijhoff.
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  27. added 2019-07-20
    The Art of Free Phantasy in Rigorous Phenomenological Science.Richard M. Zaner - 1973 - In Dorion Cairns, Fred Kersten & Richard M. Zaner (eds.), Phenomenology: Continuation and Criticism. The Hague: M. Nijhoff. pp. 192--219.
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  28. added 2019-06-20
    Fotografieren als phänomenologische Tätigkeit. Zur Husserl-Rezeption bei Flusser.Lambert Wiesing - 2010 - Flusser Studies 10 (1).
    Vilém Flusser not only defines his theoretical work as phenomenology, he considers the act of photography itself a phenomenological act. For this reason this contribution seeks to answer the question how much Flusser’s conception of phenomenology owes to Edmund Husserl and in what ways he has transformed Husserl’s own philosophical tenets. The main idea of this essay is that Flusser has reduced Husserl’s phenomenology to the concept of phenomenography. Nowhere in Flusser, in fact, can we trace any mention of Husserl’s (...)
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  29. added 2019-06-20
    Picturing Phenomena: Husserl on Photography.Victor Biceaga - 2010 - Journal of the British Society for Phenomenology 41 (1):78-93.
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  30. added 2019-06-05
    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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  31. added 2019-05-27
    A imaginação segundo Husserl.Maria Manuela Saraiva - 1995 - Fundação Calouste Gulbenkian.
  32. added 2019-05-27
    Imagination, Metaphor, and Cognition: Inside the Concept.Thomas Winter Leddy - 1983 - Dissertation, Boston University Graduate School
    I argue that imagination is central to cognition not merely as a heuristic device but essentially. This claim rests on an interpretation of the role of metaphor in creative thinking, and of the role of the image in the experience of metaphor. The term "imagination" includes here the construction of external representations and the process of "seeing as" as well as internal visualization. Metaphorical meaning and truth are taken to have both a making and a seeing dimension. ;I begin by (...)
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  33. added 2019-04-08
    Moments in Space, Spaces in Time: Phenomenology and the Embodied Depth of Cinematic Image.Trevor G. Elkington - 2001 - Dissertation, University of Washington
    This study discusses the perception of depth in film, focusing upon how the spectator perceives cinematic spatiality. Pointing to recent examples, new cinematic technologies are shown to mandate new theoretical paradigms in accounting for a developing spatial logic. Contrary to Lacanian, Neo-Formalist, and postmodern paradigms, which posit the film as superficial and passively perceived, the work presents the spectator as an active body engaged with an image that is perceptually deep. Drawing upon the perceptual phenomenology of Edmund Husserl, Michel de (...)
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  34. added 2019-02-26
    New Ways of Seeing the Old: Cubism and Husserlian Phenomenology.Randall Slettene - 1997 - The European Legacy 2 (1):104-109.
  35. added 2019-02-26
    Hintikka on Cubism.Meirlys Lewis - 1980 - British Journal of Aesthetics 20 (1):44-53.
    An examination of the criteria implied in claims about the realism of cubism, Typified by those of hintikka in "concept as vision". It is argued that his analysis of cubism is inadequate and incoherent and that the artistic component of his attempted analogy between cubism and husserlian phenomenology is distorted and ineffective. For the realism of cubist preoccupation is to be understood, Not merely as a departure from so-Called illusionistic painting, But in terms of new pictorial techniques and emphases: in (...)
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  36. added 2019-02-23
    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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  37. added 2019-02-23
    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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  38. added 2019-02-17
    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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  39. added 2019-02-17
    Esquisse d'Une Phénoménologie des Fantômes. Vers Une Nouvelle Conception du Réel À Partir de l'Anayse Merleau-Pontyenne Do Membre Fantôme.Annabelle Dufourcq - 2015 - Ostium 11 (2).
    This article is an introduction to the study of the close connection between phenomenology and the investigations on phantoms. We want to show that there is a deep kinship between phenomena and phantoms and that Husserl’s phenomenological project, as well as, more specifically, its original reinstitution by Merleau-Ponty, lead us to think the real on the basis of a reference to phantoms regarded as ontological models. Our analyses will be based more precisely on Merleau-Ponty’s study of the phantom-limb in Phenomenology (...)
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  40. added 2019-02-17
    Da Platone a Hollywood: Due Problemi Della Fiction.Luca Mori - 2013 - Lebenswelt: Aesthetics and Philosophy of Experience 3:58-74.
    The argument of fiction with respect to spectators’ illusion is very vast. This paper outlines the interconnection between two particular issues of this immense area of study, which pertain to two paradoxical effects of fiction: the spectator’s cognitive and emotional illusion induced either by theatrical or by cinematographic representation and the more unclear and long-run effects of such representations on everyday life. Plato’s myth of the cave, and some of Husserl’s ideas about “artistic illusion” awakened through the stage performance, will (...)
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  41. added 2019-02-15
    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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  42. added 2019-01-24
    Husserl.Julia Jansen - 2016 - In Amy Kind (ed.), The Routledge Handbook of the Philosophy of Imagination. Routledge. pp. 69-81.
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  43. added 2019-01-22
    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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  44. added 2019-01-19
    Phenomenological Kaleidoscope: Remarks on the Husserlian Method of Eidetic Variation.Daniele De Santis - 2011 - New Yearbook for Phenomenology and Phenomenological Philosophy 11:16-41.
    The main goal of this article is to examine Edmund Husserl’s method of “eidetic variation”—that is, to examine the way this method is supposed to work in connection with the notion of “similarity”. Unlike most interpretations, it will be suggested that similarity represents the leading methodologicalprinciple of eidetic variation. We will argue, therefore, that, on the one hand, this method is rooted in the sphere of association and passivity while, on the otherhand, it is constituted by the transposition of a (...)
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  45. added 2019-01-19
    Phantasy's Systematic Place in Husserl's Work: On the Condition of Possibility for a Phenomenology of Experience.Julia Jansen - 2005 - In Rudolf Bernet & Donn Welton (eds.), Edmund Husserl: Critical Assessments of Leading Philosophers. London, New York: Routledge. pp. 221-243.
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  46. added 2019-01-19
    The Experience of Integrity: A Phenomenological Study.Jody Dee Timms - 1988 - Dissertation, California Institute of Integral Studies
    This dissertation presents an existential-phenomenological investigation into the experience of integrity. Six co-researchers, three women and three men, were engaged in two in-depth interviews exploring their response to the question, "Can you tell me about a time or an experience in your life when you felt a deep sense of personal integrity?" Interviews were tape recorded and transcripts explicated by the researcher and by a team of phenomenologists using both a hermeneutical interpretive reading of the texts and Husserl's method of (...)
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  47. added 2019-01-18
    Letter to Hofmannstahl (1907).Edmund Husserl - 2009 - SITE 26:2.
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  48. added 2019-01-16
    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.
  49. added 2019-01-16
    Practical Aesthetic Knowledge: Goodman and Husserl on the Possibilities of Learning by Aesthetic Practices.Iris Laner - 2015 - Estetika 52 (2):164-189.
    In this article I aim to shed light on the question of whether aesthetic experience can constitute practical knowledge and, if so, how it achieves this. I will compare the approaches of Nelson Goodman and Edmund Husserl. Both authors treat the question of which benefits aesthetic experience can bring to certain basic skills. Though one could argue together with Goodman that repeated aesthetic experience allows for a trained and discriminating approach to artworks, Husserl argues that by viewing aesthetic objects we (...)
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  50. added 2019-01-16
    Le Concept Psychologique de la Représentation de la Fantaisie Chez Brentano Et Sa Réception Chez Husserl.Ion Tąnąsescu - 2010 - Studia Phaenomenologica 10:45-75.
    The article analyses the psychological aspects of “phantasy presentation” in Brentano’s lecture Ausgewählte Fragen aus Psychologie und Ästhetik dated 1885/1886. It focuses primarily on two major aspects of Brentano’s work: (1) the traditional understanding of phantasy presentation as intuitive presentation, and as fundamentally related to the perceptual presentation; (2) Brentano’s conception according to which phantasy presentations are “concepts with intuitive nucleus”. In this context, the text focuses on the following topics: the relation between the inauthentic presentations of the phantasy and (...)
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