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  1. On Picturing a Candle: The Prehistory of Imagery Science.Matthew MacKisack, Susan Aldworth, Fiona Macpherson, John Onians, Crawford Winlove & Adam Zeman - 2016 - Frontiers in Psychology 7.
  • Are Theories of Imagery Theories of Imagination? An Active Perception Approach to Conscious Mental Content.Nigel J. T. Thomas - 1999 - Cognitive Science 23 (2):207-245.
  • Re-Reading Fichte’s Science of Knowledge After Castoriadis: The Anthropological Imagination and the Radical Imaginary.John Rundell - 2013 - Thesis Eleven 119 (1):3-21.
    In many of his writings, Castoriadis argues that ‘the discovery of the imagination’ occurs in the works of Aristotle, Kant, Fichte, Freud, Heidegger and Merleau-Ponty. Although he has systematically encountered and interrogated the works of Aristotle, Kant, Freud, and Merleau-Ponty, the work of Fichte remains an enigmatic absence within the orbit of Castoriadis' work. This study is an attempt to address this enigma through a close reading of Fichte’s The Science of Knowledge.
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  • Quiasmo e imaginación en el “último” Merleau-Ponty.Germán Osvaldo Prósperi - 2018 - Dianoia 63 (80):71-95.
    Resumen El concepto de “quiasmo” es fundamental en la filosofía del “último” Merleau-Ponty. Me interesa retomar este concepto para mostrar que, en la nueva ontología esbozada en Le visible et l’invisible y en las notas de la misma época, su función guarda correspondencia con la tarea que, a lo largo de la historia de la filosofía, ha desempeñado la imaginación. En este sentido, una ontología del quiasmo supone por necesidad pensar una ontología de la imaginación. Además, este concepto permite arrojar (...)
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  • Imagination and the Will.Fabian Dorsch - 2005 - Dissertation, University College London
    The principal aim of my thesis is to provide a unified theory of imagining, that is, a theory which aspires to capture the common nature of all central forms of imagining and to distinguish them from all paradigm instances of non-imaginative phenomena. The theory which I intend to put forward is a version of what I call the Agency Account of imagining and, accordingly, treats imaginings as mental actions of a certain kind. More precisely, it maintains that imaginings are mental (...)
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  • Idols of the Imagination: Francis Bacon on the Imagination and the Medicine of the Mind.Sorana Corneanu & Koen Vermeir - 2012 - Perspectives on Science 20 (2):183-206.
  • Interdependent Concepts and Their Independent Uses: Mental Imagery and Hallucinations.Eden T. Smith - 2018 - Perspectives on Science 26 (3):360-399.
    The scientific concepts of mental imagery and hallucinations are each used independently of the other; uses that simultaneously evoke and obscure their historical connections. In this paper, I aim to illustrate the relevance of examining one of these historical connections for studying the current uses of these two concepts in neuroimaging experiments. To this end, I will highlight interdependent associations within the histories of each of the concepts that continue to contribute to their independent uses.That mental imagery and hallucinations are (...)
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  • Imaginal Politics.Chiara Bottici - 2011 - Thesis Eleven 106 (1):56-72.
    The aim of this article is to reassess the conceptual link between politics and our capacity to create images. Although a lot has been written on what we can call the ‘politics of imagination’, much less has been done to critically assess the conceptual link between the two in a systematic way. This paper introduces the concept of imaginal, understood simply as what is made of images, to go beyond the current impasse of the opposition between theories of imagination as (...)
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  • Examining Tensions in the Past and Present Uses of Concepts (Preprint).Eden T. Smith - 2020 - Studies in History and Philosophy of Science Part A 84:84-94.
    Examining tensions between the past and present uses of scientific concepts can help clarify their contributions as tools in experimental practices. This point can be illustrated by considering the concepts of mental imagery and hallucinations: despite debates over their respective referential reliabilities remaining unresolved within their interdependent histories, both are used as independently stable concepts in neuroimaging experiments. Building on an account of how these concepts function as tools structured for pursuit of diverging goals in experiments, this paper explores this (...)
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  • Imagination in the metaphysical and mystical tradition: from Plato to Marsilio Ficino.Alicja Walerich - 2015 - Veritas: Revista de Filosofía y Teología 33 (33):123-142.
    El objetivo de este artículo es examinar el papel de la imagen y de la imaginación desde la perspectiva del proceso ternario místico basado en la tradición del Pseudo Dionisio Areopagita. Destaco en este proceso la etapa primera relacionada con la teología simbólica y la experiencia exterior y sensorial; la etapa intermedia relacionada con el conocimiento racional y con la experiencia interior; la etapa tercera relacionada con la teología mística, esto es con la experiencia sobrenatural. Llego a la conclusión de (...)
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  • The 'Physical Prophet' and the Powers of the Imagination. Part I: A Case-Study on Prophecy, Vapours and the Imagination (1685–1710). [REVIEW]Koen Vermeir - 2004 - Studies in History and Philosophy of Science Part C: Studies in History and Philosophy of Biological and Biomedical Sciences 35 (4):561-591.
    I argue that the imagination was a crucial concept for the understanding of marvellous phenomena, divination and magic in general. Exploring a debate on prophecy at the turn of the seventeenth century, I show that four explanatory categories were consistently evoked and I elucidate the role of the imagination in each of them. I introduce the term ‘floating concept’ to conceptualise the different ways in which the imagination and the related ‘animal spirits’ were understood in diverse discourses. My argument is (...)
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  • Imagination.Nigel J. T. Thomas - 1999 - Dictionary of Philosophy of Mind.
    A brief historical and conceptual account of the concept of imagination.
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  • Invention, Wit and Melancholy in the Art of Annibale Carracci.Frances Gage - 2014 - Intellectual History Review 24 (3):389-413.