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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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164 found
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1 — 50 / 164
  1. 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 (...)
  2. 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 (...)
  3. 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 (...)
  4. 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 (...)
  5. added 2019-01-24
    Husserl.Julia Jansen - 2016 - In Amy Kind (ed.), The Routledge Handbook of Philosophy of Imagination. Routledge. pp. 69-81.
  6. 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 (...)
  7. 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 (...)
  8. 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.
  9. 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 (...)
  10. added 2019-01-18
    Letter to Hofmannstahl (1907).Edmund Husserl - 2009 - SITE 26:2.
  11. added 2019-01-16
    Michela Summa: Spatio-Temporal Intertwining: Husserl’s Transcendental Aesthetic. [REVIEW]Marco Cavallaro - 2016 - Husserl Studies 32 (1):91-99.
  12. 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 (...)
  13. added 2019-01-16
    Le Concept Psychologique de la Représentation de la Fantaisie Chez Brentano Et Sa Réception Chez Husserl.Ion Tănăsescu - 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 (...)
  14. added 2019-01-16
    Aesthetic Experience and the Ideal Work of Art.Piotr Schollenberger - 2010 - Dialogue and Universalism 20 (3-4):59-69.
    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 (...)
  15. added 2019-01-16
    Michel Henry's Phenomenology of Aesthetic Experience and Husserlian Intentionality.Jeremy H. Smith - 2006 - International Journal of Philosophical Studies 14 (2):191-219.
    In Voir l'invisible Michel Henry applies his philosophy of autoaffection (which is both inspired by, and critical of, Husserl) to the realm of aesthetics. Henry claims that autoaffection, as non-objective experience, is essential not only to self-experience, but also to the experience of objects and their qualities. Intentionality tempts us to experience objects merely from the 'outside', but aesthetic experience returns us to the inner life of objects as a lived experience. On the basis of an examination of Henry's aesthetic (...)
  16. added 2019-01-16
    Remarks on Aesthetic Intentionality: Husserl or Kant.Danielle Lories - 2006 - International Journal of Philosophical Studies 14 (1):31-49.
    It is sometimes claimed that Husserl's writings provide an inspiration for considering art today. More specifically we ask here whether Husserl's description of aesthetic attitude is rich and original. The comparisons he draws between the aesthetic attitude and the phenomenological attitude always aim to clarify the phenomenological attitude and thus take it for granted that the typical features of the aesthetic attitude are well known. In this way Husserl presupposes and retrieves the teaching of Kant, although in certain working notes (...)
  17. added 2019-01-16
    Spacing Imagination. Husserl and the Phenomenology of Imagination.John Sallis - 1992 - In P. van Tongeren, P. Sars, C. Bremmers & K. Boey (eds.), Eros and Eris: Contributions to a Hermeneutical Phenomenology Liber Amicorum for Adriaan Peperzak. Springer. pp. 201-215.
    Although imagination is not one of the subjects treated extensively in Husserl's phenomenology, it is one of its most important 'instruments'. In his phenomenology as a work of imagination, imagination even acquires for Husserl primacy over perception. But in his phenomenology of imagination as its subject matter, Husserl seems to repeat the old distinction between original and image in his differentiation between perception as the reaIization of full bodily presence and imagination as referring to inferior modes of presence. -/- The (...)
  18. added 2019-01-16
    Aesthetic Experience, The Aesthetic Object and Criticism.Martin Eshleman - 1966 - The Monist 50 (2):281-298.
    The aesthetic experience, In husserl's language, Brackets or suspends the natural standpoint. Consciousness perceives the work of art not as an object of the factual world, But as a man-Made artifact to be enjoyed just for certain immediately experienced qualities. The work of art is neither a real physical entity nor a real psychical entity, But a purely intentional object, For which the physical object serves as a substratum. The critic must recreate the purely intentional object by completing the schema (...)
  19. added 2019-01-15
    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 (...)
  20. added 2019-01-15
    Beyond Husserl, Heidegger, and Merleau-Ponty.Alexander Schnell - 2016 - Symposium: Canadian Journal of Continental Philosophy/Revue canadienne de philosophie continentale 20 (1):213-229.
    In this article, I aim to introduce Marc Richir’s refoundation of transcendantal phenomenology. Starting from the double—“symbolic” and properly “phenomenological”—constitution of the concept of phenomenon, I present the key concepts of Richir’s “phenomenology nova methodo”: hyperbolical phenomenological epoché, schematism, affectivity, phantasy, and so on. Beneath the distinction between theory of knowledge and ontology, I seek to understand both the sense of what he calls the “endogenization” of the phenomenological field and, “beyond Husserl, Heidegger and Merleau-Ponty,” the role of temporality in (...)
  21. added 2019-01-15
    Phenomenological Kaleidoscope.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” (Ähnlichkeit). 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 (...)
  22. added 2019-01-15
    Showing and Seeing: Film as Phenomenology.John B. Brough - 2011 - In Joseph D. Parry (ed.), Art and Phenomenology. London; New York: Routledge. pp. 192-214.
  23. added 2019-01-15
    The Seduction of Images: A Look at the Role of Images in Husserl’s Phenomenology.John Brough - 2011 - In Kevin Hermberg Pol Vandevelde (ed.), Variations on Truth: Approaches in Contemporary Phenomenology. Continuum International Publishing. pp. 41-56.
  24. added 2019-01-15
    Art and Aesthetics.John B. Brough - 2011 - In Søren Overgaard & Sebastian Luft (eds.), The Routledge Companion to Phenomenology. Routledge. pp. 287-296.
  25. added 2019-01-15
    Quasi-Constitution And Consciousness Of Opportunity In Husserl / Quasi-Konstitution Und Möglichkeitsbewusstsein Bei Husserl.Christian Ferencz-Flatz - 2009 - Studia Universitatis Babeş-Bolyai Philosophia 2.
    The article comments upon Husserl’s attempts to outline, in a brief text dated 1922/23, the concept of Quasi-Konstitution. With its help, Husserl wishes to address the way objects are and can be constituted in the realm of pure phantasy. In discussing the various strata of their constitution, he reaches several problematic issues, concerning concordance, individuality, inter-subjectivity or reality. However, the chief aspect that governs Husserl’s reflections is the questionable relation between phantasy and the manifold senses of “possibility”.
  26. added 2019-01-15
    Husserl e l’immagine.Carmelo Calì - 2002 - Palermo: Centro Internazionale Studi di Estetica.
    This volume intends to contribute to the study of Husserl's phenomenology from an aesthetic point of view. It focuses on little-known texts which have appeared only in the Husserliana series, as well as on manuscripts from the Husserl Archive, which complement the analysis Husserl proposes in his better-known works. The main goal of this study is to articulate a comprehensive theory based on that material. For this reason, the volume examines not only the phenomenological literature but also the literature of (...)
  27. added 2019-01-15
    Art and Non-Art: A Millennial Puzzle.John Brough - 2001 - In Steven Crowell, Lester Embree & Samuel J. Julian (eds.), The Reach of Reflection: Issues for Phenomenology's Second Century. An Electron Press Original. pp. 1-16.
  28. added 2019-01-15
    Der Phänomenologe in der Galerie. Husserl Und Die Malerei.Detlef Thiel - 1998 - Axiomathes 9 (1-2):35-47.
  29. added 2019-01-15
    Art and Phenomenology in Edmund Husserl.Milan Uzelac - 1998 - Axiomathes 9 (1-2):7-26.
  30. added 2019-01-15
    Image and Artistic Value.John B. Brough - 1997 - In Lester Embree James G. Hart (ed.), Phenomenology of Values and Valuing. Springer. pp. 29-48.
  31. added 2019-01-15
    Picturing Revisited: Picturing the Spiritual.John B. Brough - 1996 - In James G. Hart John J. Drummond (ed.), The Truthful and the Good: Essays in Honor of Robert Sokolowski. Kluwer Academic Publishers. pp. 47-62.
  32. added 2019-01-15
    Husserl's Cartesian Heritage and the 'Fifth Meditation'.Terry Stephen Kasely - 1992 - Dissertation, Duquesne University
    Husserl claims to attain objective knowledge of any ego whatever by using a phantasy-ideation procedure. He interprets the objection of solipsism as attacking this claim, and hence the validity of phenomenological psychology. In the fifth meditation Husserl defends the claim to objective knowledge of other egos with a dialectical investigation. He reveals what the claim presupposes, and shows that the "psychological theory of empathy" ultimately entails a "transcendental theory of empathy." The "abstraction to ownness" is treated as a starting point (...)
  33. added 2019-01-15
    Art and Artworld: Some Ideas for a Husserlian Aesthetics.John Barnett Brough - 1988 - In Robert Sokolowski (ed.), Edmund Husserl and the Phenomenological Tradition: Essays in Phenomenology. Washington, DC: The Catholic University of America Press. pp. 25-45.
  34. added 2019-01-15
    Der Horizontbegriff Husserls in Anwendung auf die ästhetische Erfahrung.Hermann Schmidt - 1967 - Zeitschrift für Philosophische Forschung 21 (4):499 - 511.
  35. added 2019-01-13
    Phantasy, Image Consciousness, and Memory (1898-1925).Edmund Husserl - 2005 - Dordrecht, The Netherlands: Springer.
  36. added 2019-01-11
    Innere Wahrnehmung Und Innere Vergegenwärtigung.Andrea Borsato - 2009 - Koenigshausen-Neumann.
  37. added 2019-01-11
    On the Function of Weak Phantasmata in Perception: Phenomenological, Psychological and Neurological Clues for the Transcendental Function of Imagination in Perception. [REVIEW]Dieter Lohmar - 2005 - Phenomenology and the Cognitive Sciences 4 (2):155-167.
    Weak phantasmata have a decisive and specifically transcendental function in our everyday perception. This paper provides several different arguments for this claim based on evidence from both empirical psychology and phenomenology.
  38. added 2019-01-11
    Wenn Gedächtnis Erinnerungsbild Wird: Husserl Und Freud.Iris Därmann - 2001 - In StephanHG Hauser (ed.), Homo Pictor. De Gruyter. pp. 187-204.
  39. added 2019-01-10
    Look Again: Phenomenology and Mental Imagery. [REVIEW]Evan Thompson - 2007 - Phenomenology and the Cognitive Sciences 6 (1-2):137-170.
    This paper (1) sketches a phenomenological analysis of visual mental imagery; (2) applies this analysis to the mental imagery debate in cognitive science; (3) briefly sketches a neurophenomenological approach to mental imagery; and (4) compares the results of this discussion with Dennett’s heterophenomenology.
  40. added 2019-01-09
    Towards a Phenomenological Analysis of Fictional Intentionality and Reference.Eduard Marbach - 2013 - International Journal of Philosophical Studies 21 (3):428-447.
    There is widespread agreement among philosophers that we refer to, think or talk about non-existent objects in much the same way as we refer to, think or talk about other objects. This paper explores the case of objects of fiction in the perspective of Husserlian philosophical phenomenology. In this perspective, everything objective is dealt with as object of some consciousness and as presenting itself in subjective modes. Within the scope of this paper, the focus of the descriptive analysis will be (...)
  41. added 2019-01-09
    Translator's Introduction.John B. Brough - 2005 - In Phantasy, Image Consciousness, and Memory (1898-1925). Dordrecht, The Netherlands: Springer.
  42. added 2019-01-09
    Plastic Time: Time and the Visual Arts.John B. Brough - 2000 - In The Many Faces of Time. Dordrecht: Kluwer Academic. pp. 223--244.
  43. added 2019-01-09
    Mental Representation and Consciousness: Toward a Phenomenological Theory of Representation and Reference.Eduard Marbach - 1993 - Kluwer Academic Publishers.
  44. added 2019-01-09
    Einleitung des Herausgebers.Eduard Marbach - 1980 - In Phantasie, Bildbewusstsein, Erinnerung: Zur Phänomenologie der Anschaulichen Vergegenwärtigungen. Texte aus dem Nachlass (1898–1925). The Hague; Boston; London: Martinus Nijhoff Publishers.
  45. added 2019-01-08
    On the Intuitiveness of Empathy in Husserl.Christian Ferencz-Flatz - 2014 - Tijdschrift Voor Filosofie 76 (1):87-118.
    The paper discusses Husserl’s conception of empathy by contrasting it to the classical interpretation of empathy as a phantasy transposition. I start by sketching out a brief historical overview of the classical conception of empathy, which Husserl encountered through its formulation in the work of Theodor Lipps. Following Husserl’s often employed analogy between empathy and memory, I try to work out the distinction between intuitive and non-intuitive empathy. Through this distinction, I will show that, in his later notations, Husserl was (...)
  46. added 2019-01-08
    Is Modernity Really so Bad? John Deely and Husserl's Phenomenology.Derek S. Jeffreys - 2010 - Semiotica 2010 (178):115-133.
  47. added 2019-01-06
    Towards a Phenomenology of Painting: Husserl's Horizon and Rothko's Abstraction.Espen Dahl - 2010 - Journal of the British Society for Phenomenology 41 (3):229-245.
  48. added 2019-01-06
    Real Time And Imaginary Times. On The Husserlian Conception Of Temporal Individuation / Le Temps Reel Et Les Temps Imaginaires. Sur La Conception Husserlienne De L’individuation Temporelle.Rudolf Bernet - 2002 - Studia Philosophica 2.
    Après avoir donné une idée générale du processus d’individuation chez Husserl, l’étude analyse minutieusement la manière dont la temporalité propre aux actes de la perception interne et externe, du ressouvenir et de la phantasia constitue, d’après les Manuscrits de Bernau, l’individualité de l’objet intentionnel. Une attention toute particulière est accordée à ce qui distingue les objets fictifs des objets idéaux et qui permet de leur attribuer une forme spécifique d’individuation . L’étude apporte également des éclaircissements en ce qui concerne la (...)
  49. added 2019-01-06
    La vérité de l'apparence.Marc Richir - 1991 - la Part de l'Oeil 7:229 – 236.
  50. added 2019-01-06
    Kandinsky, Husserl, Zen.Hans Rainer Sepp - 1991 - la Part de l'Oeil 7:205-211.
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