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  1. Against discontinuism: Mental time travel and our knowledge of past and future events.Kourken Michaelian - 2016 - In Kourken Michaelian, Stanley B. Klein & Karl K. Szpunar (eds.), Seeing the Future: Theoretical Perspectives on Future-Oriented Mental Time Travel. New York, NY: Oxford University Press. pp. 62-92.
    Continuists maintain that, aside from their distinct temporal orientations, episodic memory and future-oriented mental time travel (FMTT) are qualitatively continuous. Discontinuists deny this, arguing that, in addition to their distinct temporal orientations, there are qualitative metaphysical or epistemological differences between episodic memory and FMTT. This chapter defends continuism by responding both to arguments for metaphysical discontinuism, based on alleged discontinuities between episodic memory and FMTT at the causal, intentional, and phenomenological levels, and to arguments for epistemological discontinuism, based on alleged (...)
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  • "My So-Called Delusions": Solipsism, Madness, and the Schreber Case.Louis A. Sass - 1994 - Journal of Phenomenological Psychology 25 (1):70-103.
    This paper offers a critique of a central psychopathological concept, the notion of "poor reality-testing. "Using ideas from the philosopher Ludwig Wittgenstein, I consider the nature of delusions in schizophrenia, largely through examining Daniel Paul Schreber's famous Memoirs of My Nervous Illness. Many schizophrenic individuals do not in fact mistake their fantasies for reality, as is traditionally assumed. Rather, I argue, they engage in a solipsistic mode of experience, a felt subjectivization of the lived world that is associated with a (...)
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  • Th e pRivate Theater : a Phenomenological Investigation of Daydreaming.James Morley - 1998 - Journal of Phenomenological Psychology 29 (1):116-134.
    This is an empirical phenomenological inquiry into everyday experiences of daydreaming. The theoretical literature was found to be deficient in accounting for the ambiguity inherent to the phenomenon and lacking in concrete empirical descriptions. This study's phenomenological method was implemented in response to a body of natural scientific studies utilizing methods that were found to be inadequate to the task of comprehending and understanding the lived subjective experience of the phenomenon. From five subject interviews and their subsequent analysis via the (...)
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  • Fictionalism about musical works.Anton Killin - 2018 - Canadian Journal of Philosophy 48 (2):266-291.
    The debate concerning the ontological status of musical works is perhaps the most animated debate in contemporary analytic philosophy of music. In my view, progress requires a piecemeal approach. So in this article I hone in on one particular musical work concept – that of the classical Western art musical work; that is, the work concept that regulates classical art-musical practice. I defend a fictionalist analysis – a strategy recently suggested by Andrew Kania as potentially fruitful – and I develop (...)
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  • Perceptual symbol systems.Lawrence W. Barsalou - 1999 - Behavioral and Brain Sciences 22 (4):577-660.
    Prior to the twentieth century, theories of knowledge were inherently perceptual. Since then, developments in logic, statis- tics, and programming languages have inspired amodal theories that rest on principles fundamentally different from those underlying perception. In addition, perceptual approaches have become widely viewed as untenable because they are assumed to implement record- ing systems, not conceptual systems. A perceptual theory of knowledge is developed here in the context of current cognitive science and neuroscience. During perceptual experience, association areas in the (...)
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  • Narrative and the Literary Imagination.John Gibson - 2014 - In Allen Speight (ed.), Narrative, Philosophy & Life. Springer. pp. 135-50.
    This paper attempts to reconcile two apparently opposed ways of thinking about the imagination and its relationship to literature, one which casts it as essentially concerned with fiction-making and the other with culture-making. The literary imagination’s power to create fictions is what gives it its most obvious claim to “autonomy”, as Kant would have it: its freedom to venture out in often wild and spectacular excess of reality. The argument of this paper is that we can locate the literary imagination’s (...)
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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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