The paper provides a reconstruction of the notion of genetic phenomenology while trying to demonstrate that its elaboration leads Husserl to dismiss de facto the main motivation of his idealism—namely the idea that at the basis of constitution is an immanent and formless stuff shaped or animated by subjective acts. Indeed genetic analysis shows that the original stuff of constitution consists of sensuous contents structured according to a material lawfulness grounded on their peculiarity. By affecting the subject, such contents motivate (...) the performing of intentional acts and are the genuine motor of constitution. The genetic ground of apperceptions is thus material content. (shrink)

According to Husserl’s so-called Exhibition Principle, the propositions “x exists” and “The exhibition of x’s existence is possible” are equivalent. The overall aim of this paper is to debate EP. First, I raise the question whether EP can properly be said to be a principle. Second, I give a general formulation of EP. Third, I examine specific formulations of EP, namely those regarding eidetic and individual objects. Fourth, I identify the readings of EP I hold to be exegetically plausible, that (...) is the transcendental reading, the metaphysical reading, and the hybrid reading. Fifth, I present Husserl’s refutation of Berkeleyan idealism developed in 1902/03 lectures, and I argue that under certain assumptions, both esse est percipi and the metaphysical EP engender an infinite regress. In this regard, I claim there are two options for avoiding such a regress: either to commit oneself to reflexive exhibition of the ego’s actuality or to deny the universality of EP. I show that Husserl has a good argument for rejecting the first option, and I conclude that if the Husserlian idealist chooses the second option while affirming the ego’s actuality, he turns out to be as “dogmatic” as the realist. (shrink)

In the first edition of Husserl’s 5th Logical Investigation we find a relatively unknown reductive method, which Husserl identifies retrospectively in the second edition as a ,Reduktion auf den reellen Bestand‘. In the 1913 version of the Logical Investigations the descriptions of this first reduction are nearly completely obscured by Husserl’s tendency to see them as tentative hints to his transcendental reduction. In this paper I will delineate the aims and the methodical context, but also the shortcomings, of Husserl’s first (...) attempt at a reduction, taking into account also the problems of the sense and the motivation of transcendental reduction. This first reduction seems strongly steeped in the methods and presuppositions of empiricism, a stance that was highly problematic already in the phenomenology of the first edition. Thus the present investigation opens up some new ways of understanding the formation of the method of reduction in phenomenology. (shrink)

EinleitungDer Begriff Kinästhese ist in der Husserl-Literatur durchaus geläufig. Trotzdem fehlt bis heute eine umfassende Erörterung seiner Bedeutung und seiner Spielformen sowie auch seiner konkreten Entwicklungsgeschichte bei Husserl.Zu erwähnen wären in dieser Hinsicht besonders: Claesges (1964), Claesges’ „Einleitung des Herausgebers“ zu Hua XVI, Drummond (1984), Melle (1983), S. 114–120, Piedade (2001), Przybylski (2006) und Mattens (2009). Vermutlich würde fast jeder Husserl-Kenner – wenn danach fragt – ohne weiteres antworten, Kinästhesen seien jene Bewegungsmöglichkeiten des leiblichen Subjekts, durch die sich seine Wahrnehmungsgegenstände (...) auf ihrer elementarsten Stufe (jene der sogenannten „Sinnesdinge“) konstituieren. Das ist bestimmt richtig, da für Husserl in der Tat Wahrnehmung ihre Gegenstände eben nicht in einer augenblicklichen „Impression“ voll erschließt, sondern sie vielmehr in mannigfaltigen Zusammenhängen von „Abschattungen“, d. h. in zusammenhängenden Sequenzen pa. (shrink)

Regarding Husserl’s analysis of perception, the validity of concepts like visual sensation and ‘raw’, viz. ‘unapprehended’ sensation has been questioned. In this paper I discuss the issue with two American interpreters of Husserlian phenomenology: William McKenna and Quentin Smith, who respectively defend and criticize Husserl’s account. My aim is to show that their attempts remain controversial. Moreover, I will mention a textual source in which Husserl indirectly justifies the existence of visual sensations.

The aim of this work is to elucidate the meaning of 'infinity' from a phenomenological perspective, especially within the framework of Husserl’s theory of knowledge and perception. In the first chapter I firstly sketch the basics of Husserl’s phenomenology of knowledge. Thereafter I delve into the questions concerning the reduction to the 'reellen Bestand', which is hold to be the ground of verification of purports in the "Logical Investigations". I then propose an interpretation of the categorial intuition as directed to (...) the laws an 'Auffassung' follows when it organizes the sensual contents related to an object. In the second chapter I briefly expound Husserl’s phenomenology of perception and I show how perception can be hold as an intentional experience. Afterwards I concentrate on the constitution of space and of thing (Ding). I show in which sense the structures of both constitutions are dependent on the sensations and kinesthesis (i.e. proprioceptions) experienced by the subject. In the third chapter I finally deal with the problem of infinity. I face some recent interpretations of Husserl’s theory of perception according to which infinity is somehow intertwined in and even intuited through thing-perception (Dingwahrnehmung). I claim that thing-perception can not be hold as an access to infinity, i.e. no thing-perception is a perception of something as infinite. Following I show how some other kinds of sensual experience can correspond to a perception of infinity. On the base of some Husserl’s manuscripts and through a brief confrontation with Kant’s Analytic of the Sublime I sustain that infinity can be sensually intuited in the senses of limitlessness and of formlessness. I then show that categorial intuition is necessary in order to constitute the meaning of mathematical infinity, i.e. an endless whole of discrete parts. In fact, the idea of such an “entity” is dependent on the capacity of grasping the law of a serial production. In the conclusion I establish that mathematical infinity is the only kind of infinity which can not find any sensual correlate. This is due to the fact that it is a meaning composed by two contradictory prescriptions: 'reach the limitless' and 'go on without an end'. I consequently argue that the idea of infinity is grounded on sensual experience and does not need any supernatural origin. (shrink)