Abstract

This paper addresses Husserl’s theory of image consciousness and phantasy, which, along with remembering, constitute three kinds of presentification, a sort of intuitive intentional relational different from perception. In the second place, the paper tries to highlight the significance of «neutralizatiom> - as a means to access the world of phantasy - for the understanding of the origin of the aesthetic attitude. Finally, the paper discusses the kind of spacial relations that arise from «neutralizatiom>, in contrast with life-world experience of space, and how those relations can be exemplified in Alfred Hitchcock’s The Rear Window.