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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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261 found
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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 Husserl's (...)
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  2. The Aestheticization of Violence in Images.Remus Breazu - forthcoming - Philosophia:1-20.
    The paper aims to give a phenomenological account of the way in which the experience of violence is modified in the aesthetic images. The phenomenological framework in which I place my analysis is primarily given by Edmund Husserl’s conception. The investigation starts from the curious fact that violence cannot be aesthetically experienced when it is presented in person, but it can be aesthetically experienced in images. I claim that the reason for this asymmetry lies in the structure of image-consciousness, that (...)
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  3. Husserl on the Normativity of Intentionality and Its Neutralization.Di Huang - forthcoming - Husserl Studies:1-22.
    In this paper, I explore Husserl’s view on the normativity of intentionality and its neutralization. Husserl reaches his mature, normative-transcendental conception of intentionality by way of critical engagement with Brentano’s position. As opposed to Brentano, Husserl does not conceive of the normativity of intentionality as deriving from the more basic character of polar opposition. Normativity comes first and it is an original, though not universal determination of intentionality which is expressed in the identificatory achievement of constitution. Even where it is (...)
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  4. Saulius Geniusas: Phenomenology of Productive Imagination. Embodiment, Language, Subjectivity.Eugene Kelly - forthcoming - Husserl Studies:1-8.
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  5. Phenomenology of Phantasy and Emotion.Thiemo Breyer, Marco Cavallaro & Rodrigo Sandoval (eds.) - 2022 - Darmstadt: WBG.
  6. Dream and Worldliness.Ming-Hon Chu - 2022 - Human Studies 45 (4):777-792.
    The phenomenal character of dreaming has long been a matter of philosophical debates. Most of the time, dreaming is either likened to perception or likened to imagination, in order to decide whether it gets closer to normal or abnormal states of consciousness. This line of debates extends from the traditional dream argument to the contemporary movement of phenomenology. This article presents what specific contributions phenomenology has made to the millennial investigations of dreaming. Its structure is twofold. Firstly, we introduce how (...)
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  7. The paradoxes of analogical representation: The original and a copy in phenomenological imagination theory.Elena Drozhetskaya - 2022 - HORIZON. Studies in Phenomenology 11 (1):208-228.
    This article deals with a phenomenological standpoint on paradoxicality of image-consciousness, i.e., an analogical representation in which an image possesses material support. Contrary to tradition, E. Husserl thought of imagination as being both an intuitive and a mediate act. Husserl’s opinion results from paradoxical nature of an image itself: an image appears but it doesn’t exist, while the exhibited thing does exist but doesn’t appear in proper sense. The paradoxicality of an image results in its double conflict — with actual (...)
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  8. The Hyle of Imagination and Reproductive Consciousness: Husserl’s Phenomenology of Phantasy Reconsidered.Ka-yu Hui - 2022 - Husserl Studies 38 (3):273–292.
    The validity of Husserl’s early apprehension/content of apprehension schema (_Auffassung/Auffassungsinhalt Schema_) of intentionality has long been a subject of dispute. In the case of phantasy (_Phantasie_), commentators often assert that the talk of “non-intentional content,” i.e. the phantasm, is abandoned in Husserl’s mature phenomenology of phantasy, and his subsequent theory of reproductive consciousness aims precisely to replace the previous schema. Against the current dismissive stance in the literature, this paper argues for the centrality of the concept of phantasm in the (...)
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  9. Virada icônica E fenomenologia da consciência de imagem: Considerações em retorno às análises de Edmund Husserl E sua faceta semiótica.Alice Mara Serra - 2022 - Kriterion: Journal of Philosophy 63 (151):215-236.
    RESUMO Este texto discute alguns problemas metodológicos e históricos concernentes à fenomenologia da consciência de imagem elaborada por Edmund Husserl e algumas de suas repercussões teóricas. Primeiramente será tematizado o escopo mais amplo em que a abordagem filosófica das imagens auferiu relevância no século XX, a saber, a assim chamada “virada icônica” ou “pictórica”, conforme as respectivas formulações de Gottfried Boehm e William Mitchell. Será situada nesse contexto a fenomenologia da imagem e, mais especificamente, a fenomenologia da consciência de imagem (...)
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  10. Review of Jagna Brudzinska’s Bi-Valenz der Erfahrung: Assoziation, Imaginäres und Trieb in der Genesis der Subjektivität bei Husserl und Freud. [REVIEW]Roberto Juan Walton - 2022 - Husserl Studies 38 (3):385-396.
  11. Digital Imagination, Fantasy, AI Art.Galit Wellner - 2022 - Foundations of Science 27 (4):1445-1451.
    In this reply to my reviewers, I touch upon Husserl’s notion of fantasy. Whereas Kant positions fantasy outside the scope of his own work, Husserl brings it back. The importance of this notion lies in freeing imagination from the tight link to images, as for Husserl imagination is an activity that functions as a “quasi perception.” Ihde and Stiegler enrich Husserl’s analysis of imagination with various aspects of technology: Ihde shows how changes in the technologies that mediate our imagination will (...)
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  12. Violence and image.Cristian Ciocan - 2021 - Continental Philosophy Review 54 (3):331-348.
    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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  13. Gestures, Attunements and Atmospheres: On Photography and Urban Space.Nélio Rodrigues Conceição - 2021 - Journal of Aesthetics and Phenomenology 8 (2):135-153.
    Developed through a series of conceptual analyses (Edmund Husserl, Vilém Flusser, Ludwig Wittgenstein and Walter Benjamin) and case studies (Fernando Lopes’s Belarmino and Jeff Wall’s Mimic), this article delves into the relationship between gesture, attunement and atmosphere and how it unfolds in photographic works dealing with urban space. The first section focuses on the role played by photography in the film Belarmino, which raises questions about both the representation of urban phenomena and issues related to expression and gesture in boxing. (...)
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  14. The Phenomenology of Aesthetic Consciousness and Phantasy: Working with Husserl.Paul Crowther - 2021 - Routledge.
    This is the first book dedicated to Husserl's aesthetics. Paul Crowther pieces together Husserl's ideas of phantasy and image and presents them as a unified and innovative account of aesthetic consciousness. He also shows how Husserl's ideas can be developed to solve problems in aesthetics, especially those related to visual art, literature, theatre, and nature. After outlining the major components of Husserl's phenomenological method, Crowther addresses the scope and structure of Husserl's notion of aesthetic consciousness. For Husserl, aesthetic consciousness in (...)
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  15. Accounting for Imaginary Presence. Di Huang - 2021 - Sartre Studies International 27 (1):1-22.
    Both Husserl and Sartre speak of quasi-presence in their descriptions of the lived experience of imagination, and for both philosophers, accounting for quasi-presence means developing an account of the hyle proper to imagination. Guided by the perspective of fulfillment, Husserl’s theory of imaginary quasi-presence goes through three stages. Having experimented first with a depiction-model and then a perception-model, Husserl’s mature theory appeals to his innovative conception of inner consciousness. This elegant account nevertheless fails to do justice to the facticity and (...)
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  16. The primacy of the noematic. On the methodological relevance of art for phenomenology.Guenter Figal - 2021 - Continental Philosophy Review 54 (2):171-181.
    As Husserl already noticed, artworks themselves have a phenomenological character. This means, however, that to experience artworks as phenomena no “epoché” and no “phenomenological reduction” is necessary. The leading question of my essay is whether, and possibly how, this observation can be methodologically generalized for understanding phenomena. I discuss if, and possibly how, a phenomenological reflection on art allows and even demands a general conception of phenomenology that nevertheless does not confuse artworks with phenomena in general. My intention is to (...)
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  17. Analoga and Phantasmata: On the Intuitiveness of Imagination in Husserl and Sartre.Alain Flajoliet - 2021 - Research in Phenomenology 51 (2):221-245.
    In this essay, I study the departure performed in The Imaginary from the Husserlian position spanning from the Logical Investigations and the 1904/1905 lectures on the imagination. In Sartre’s conception, the imagination in its two forms is never intuitive. Moreover, in an act of imagination we can never find immanent sensible contents. In Husserl, the imagination in its two forms, is a sensible intuition, like perception. Furthermore, every act of imagination apprehends immanent sensible contents.
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  18. Conscious and Unconscious Phantasy and the Phenomenology of Dreams.Saulius Geniusas - 2021 - Research in Phenomenology 51 (2):178-199.
    My goal is threefold. First, building on the basis of Husserl’s phenomenology of the imagination, I will argue that phantasy is a specific type of intentional experience, which intends its objects as neutralized presentifications. Second, I will turn to dreams and argue that non-lucid dreams are unconscious phantasies, which cannot be conceived in the above-mentioned way. This realization will bring us to the third task. When recognized as the most extreme form of unconscious phantasy, dreams compel us to raise anew (...)
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  19. Image and Original in Plato and Husserl.Burt C. Hopkins - 2021 - Studia Phaenomenologica 21:245-272.
    I compare Plato’s and Husserl’s accounts of the non-original appearance and the original with a focus on their methodologies for distinguishing between them and the phenomenological—i.e., the answer to the question of the what and how of their appearance—criteria that drive their respective methodologies. I argue that Plato’s dialectical method is phenomenologically superior to Husserl’s reflective method in the case of phantasmata that function as apparitions. Plato’s method has the capacity to discern the apparition on the basis of criteria that (...)
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  20. La posibilidad de Una estética en la fenomenología de E. Husserl. Sobre la imaginación, la fantasía Y la conciencia de imagen.Azul Tamina Katz - 2021 - Investigaciones Fenomenológicas 12:71.
    Si bien es cierto que Husserl no ha escrito sistemáticamente sobre estética, consideramos no sólo posible y legítimo, sino también establecer las condiciones de posibilidad para una conciencia estética desde el punto de vista de la fenomenología trascendental de Husserl. Motivados por esta idea, en el presente trabajo examinamos, en primer lugar, el tipo de estética que puede deducirse de aquellos pasajes en los que Husserl considera explícitamente experiencias artísticas, para arribar a la idea de que, analizado desde la perspectiva (...)
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  21. Neutral phantasies and possible emotions. A phenomenological perspective on aesthetic education.Francesco Pisano - 2021 - Philosophical Inquiries 9 (1-2021):29-48.
    In this paper I draw from Husserl’s lectures on ethics and manuscripts on phantasy to clarify the role and the structure of aesthetic education within a phenomenological theory of value experience. First, I show that Husserl’s take on emotions as material contents of value experiences involves the problem of justifying the validity of the relation between factual emotional states and ideal values. I then suggest, on the basis of some of Husserl’s phenomenological arguments on phantasy, that this discrepancy can be (...)
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  22. Hacia una fenomenología de la lectura. Ricoeur y Husserl en diálogo en torno a las variaciones imaginativas en la lectura de textos de ficción.Manuel Alejandro Prada Londoño & José Luis Luna Bravo - 2021 - Investigaciones Fenomenológicas 17:155.
    En este texto se describe la estructura del acto de la lectura como encuentro entre la conciencia del lector y el texto de ficción —teniendo en la base la imaginación—. Con este propósito en mente, se lleva a cabo una lectura complementaria entre la hermenéutica del texto de Ricoeur y los análisis sobre la conciencia de fantasía de Husserl, en tres momentos: 1) explicitación de la autonomía semántica del texto de ficción sobre la base de la constitución de mundos de (...)
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  23. The manifold role of Phantasie in Husserl’s philosophy.Tanja Todorovic - 2021 - Filozofija I Društvo 32 (2):246-260.
    Husserl?s concept of imagination has been systematically presented in Husserliana XXIII, in which its manifold role has been set out. Through the different texts, the author shows that phantasy should be considered as one of the modifications of pure re-presentation. The article first tries to underline the distinction between Husserl?s deliberation on this phenomenon and the traditional concept of imagination. Second, it shows the fundamental moments of constitu?tional consciousness in order to relate the notion of imagination to perceptual apprehension. At (...)
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  24. 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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  25. 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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  26. Asunto de abstracción o de carácter: Husserl y Brentano en torno a la Wahrnehmungsvorstellung y la Phantasievorstellung.Felipe Guerrero Cordero - 2020 - Hybris, Revista de Filosofí­A 11 (2):289-313.
    The distinction between perception and fantasy is not a cliché among others. Tracing the path to its correct elaboration even allows us to think this distinction as the engine of the early Husserlian phenomenology. For this reason, this brief article aims to contrast Brentano and Husserl's vision of this subject. For the former, fantasy is an improper representation [Vorstellung] with an intuitive nucleus; for the latter, it has a properly intuitive character. In this transit, it will be shown that this (...)
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  27. 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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  28. 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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  29. 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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  30. 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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  31. 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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  32. 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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  33. 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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  34. Seeing-in an Image: Husserl and Wollheim on Pictorial Representation Revisited.Rodrigo Yllaric Sandoval - 2020 - Kunstiteaduslikke Uurimusi 29 (3-4):31-55.
    This paper proposes a parallel between the theories of pictorial representation put forward by Edmund Husserl and Richard Wollheim. By doing so, it aims to facilitate a dialogue that can provide some new elements for an appropriate understanding of threefold seeing-in. The first section offers a comprehensive interpretation of Husserl’s theory of image-consciousness. This experience is considered a threefold perceptual phantasy, different from perception and sign-consciousness. The second section presents a review of Wollheim’s theory of twofold seeing-in and addresses a (...)
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  35. 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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  36. 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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  37. 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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  38. Phantasying, How to Get Out of Oneself and Yet to Remain Within: Alfred Schutz’s Interpretation of Husserl’s Phenomenological Reduction.Marek Chojnacki - 2019 - Schutzian Research 11:121-141.
    Assuming the importance of Alfred Schutz’s “protosociology” in social theory as a given, the paper tries to explore its philosophical core, treating Schutz’s sociophenomenology as an answer to the most fundamental questions of phenomenology, such as evidence and phenomenological reduction. It analyses Schutz’s point of departure – the problematization of Max Weber’s concept of the meaning of social action and its deepening by means of Henri Bergson’s and Edmund Husserl’s notion of time – and tries to unravel the double structure (...)
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  39. 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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  40. 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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  41. 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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  42. 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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  43. 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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  44. 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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  45. 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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  46. 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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  47. ‘Estrangement’ in aesthetics and beyond: Russian formalism and phenomenological method.Georgy Chernavin & Anna Yampolskaya - 2018 - 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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  48. 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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  49. 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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  50. 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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