This paper accomplishes two tasks. First, I examine in detail Edmund Husserl’s earliest philosophy of surrogates, as it is found in his 1890 “On the Logic of Signs ”. I analyze his psychological and logical investigations of surrogates, where the former is concerned with explaining how these signs function and the latter with how they do so reliably. His differentiation of surrogates on the basis of their genetic origins and degrees of necessity is discussed. Second, the historical importance of this (...) text is disclosed by showing how Semiotic serves as both the inspiration for, and the foil to, Husserl’s 1901 First Logical Investigation. Husserl not only adopts the idea that linguistic signs can function via association, but also maintains that such signs can motivate me to execute one of two experiences. The key difference between the texts is that Husserl abandons his theory of surrogates in 1901, instead holding that I can experience absent objects by means of empty intentions. The reasons why Husserl found it necessary to transform this tenet of his philosophy are discussed at length. (shrink)

By examining the evolution of Husserl’s philosophy from 1901 to 1914, this essay reveals that he possessed a more robust philosophy of gestures than has been accounted for. This study is executed in two stages. First, I explore how Husserl analyzed gestures through the lens of his semiotics in the 1901 Logical Investigations. Although he there presents a simple account of gestures as kinds of indicative signs, he does uncover rich insights about the role that gestures play in communication. Second, (...) I examine how Husserl augmented his theory of gestures in his 1914 Revisions to the Sixth Logical Investigation. Husserl describes some gestures as signals, which are experienced as intersubjective communication, as having a temporally diachronic structure, and as possessing an obliging tendency. Husserl also contrasts gestures to language by showing how language habitually leaves traces on us. (shrink)

When putting semiotics and phenomenology in juxtaposition, the first task necessarily is to find out what a study of meaning, conceiving of itself as an empirical science, has to do with a philosophical school, the business of which it is to secure the epistemological foundations of all the sciences (broadly understood). Our answer, in short (but we will go at some length to show it), is that since all results of phenomenology also count as contributions to phenomenological psychology, the phenomenological (...) method constitutes a part of the panoply of methods offered to semiotics. Our second task will be to review the fragmentary semiotics proposed, originally employing that term, by Edmund Husserl, to gauge its value for contemporary semiotics. Since our investigation of Husserl’s semiotics will demonstrate that it sometimes concerns the sign in a narrow sense, and sometimes broadens up to a study of meaning in general, our third and final task, in this paper, will be to consider a proposal made by a close follower of Husserl, Alfred Schütz, whose idea of a system of relevancies, wedded to Husserl’s notion of sedimentation, might be amended when considered in connection with Umberto Eco’s idea of the encyclopaedia. (shrink)

It is well-known that Husserl denies bodily behaviour as expressive in the I. Logical Investigation but he dramatically changes his view and holds that bodily behaviour is essentially expressive in...

Husserl’s philosophy of culture relies upon a person’s body being expressive of the person’s spirit, but Husserl’s analysis of expression in Logical Investigations is inadequate to explain this bodily expressiveness. This paper explains how Husserl’s use of “expression” shifts from LI to Ideas II and argues that this shift is explained by Husserl’s increased understanding of the pervasiveness of sense in subjective life and his increased appreciation for the unity of the person. I show how these two developments allow Husserl (...) to better describe the bodily expressiveness that is the source of culture. Husserl’s account of culture is thoroughly intentionalistic, but it does not emphasize thought at the expense of embodiment. Culture originates not in an abstract subjectivity, but by persons’ expressing themselves physically in the world. By seeing how Husserl develops his mature position on bodily expressiveness, we can better appreciate the meaningfulness and the bodily concreteness of cultural objects. (shrink)