Bachelard’s works on imagination have been used primarily by literary critics interested in the archetypal imagery of writers. His treatment of the imagination of matter has led to a method of classifying poets according to their favorite substances, based on a view of Bachelard as a “psychoanalyst” of the elements. But the phenomena of imagination, the images themselves, are not his fundamental concern. Bachelard’s physics and chemistry of imagination also imply a metaphysics. Definition of the contents (...) and function of imagination illustrating a philosophy of imagination in itself is the purpose of the present essay. (shrink)

In "De l’Allemagne", Mme de Staël develops a sophisticated philosophical psychology that centers not on reason, but imagination. She does this by bringing French Enlightenment philosophy, particularly Rousseau and Diderot, into dialogue with German thinkers, including Kant and Herder. For Mme de Staël, imagination transcends the epistemic limits of sensibility and reason by incorporating sentiment.

Rethinking the powers of the imagination, Søren Kierkegaard both anticipates and challenges contemporary approaches to a descriptive philosophy of religion. In contrast to the reigning approaches to religion in his day, Kierkegaard reconceives philosophy as, first of all, descriptive of human, including specifically ethical and religious, existence. To this end, he develops conceptual tools, including a descriptive ontology of human existence, a “pluralist epistemology” exploring both cognitive and passional dimensions of religion, and a role for the poetic (...) in philosophy, strikingly expressed in his observer figures who “imaginatively construct” “thought projects” to explore human existence. While this new descriptive account anticipates subsequent approaches to the philosophy of religion, it could be interpreted as another “objectivist” endeavor, yet Kierkegaard attempts more in this descriptive philosophy. He imaginatively deploys conceptual and rhetorical strategies maieutically to both describe and elicit self-reflection aimed at transformation, thus expanding the imagination’s uses for his readers. Comparing Kierkegaard to Pierre Hadot’s recovery of ancient Greek philosophy as “a way of life” will show how Kierkegaard also engages the particularity of “the Christian principle”, with implications for how philosophy can both describe and elicit the pathos of other religious traditions as well. (shrink)

Imagination occupies a central place in philosophy, going back to Aristotle. However, following a period of relative neglect there has been an explosion of interest in imagination in the past two decades as philosophers examine the role of imagination in debates about the mind and cognition, aesthetics and ethics, as well as epistemology, science and mathematics. This outstanding _Handbook_ contains over thirty specially commissioned chapters by leading philosophers organised into six clear sections examining the most important (...) aspects of the philosophy of imagination, including: Imagination in historical context: Aristotle, Descartes, Hume, Kant, Husserl, and Sartre What is imagination? The relation between imagination and mental imagery; imagination contrasted with perception, memory, and dreaming Imagination in aesthetics: imagination and our engagement with music, art, and fiction; the problems of fictional emotions and ‘imaginative resistance’ Imagination in philosophy of mind and cognitive science: imagination and creativity, the self, action, child development, and animal cognition Imagination in ethics and political philosophy, including the concept of 'moral imagination' and empathy Imagination in epistemology and philosophy of science, including learning, thought experiments, scientific modelling, and mathematics. The Routledge Handbook of Philosophy _of Imagination_ is essential reading for students and researchers in philosophy of mind and psychology, aesthetics, and ethics. It will also be a valuable resource for those in related disciplines such as psychology and art. (shrink)

A psychology, Phenomenology and ontology of creativity developed by this french epistemologist and historian of science (1884-1962) are systematically described. Starting from analysis of image networks in literature, Bachelard presents imagination as autonomous, A power of human transcendence, A force preceding perception and memory. He ultimately surpasses psychological reductionism. Imagination of form is inferior to imagination of matter (depth); yet they both are secondary to dynamic imagination. Bachelard's fundamental method is a phenomenological study of images as (...) origins of consciousness; a phenomenology of reverie and writing underlies his ontology. Reverie is the model upon which imaginative consciousness is judged. Man should extend the freedom and beauty of his inner cosmos to enhance relation with the world. (shrink)

Gaston Bachelard occupies a unique position in the history of European thinking. As a philosopher of science, he developed a profound interest in genres of the imagination, notably poetry and novels. While emphatically acknowledging the strength, precision and reliability of scientific knowledge compared to every-day experience, he saw literary phantasies as important supplementary sources of insight. Although he significantly influenced authors such as Lacan, Althusser, Foucault and others, while some of his key concepts are still widely used, his oeuvre (...) tends to be overlooked. And yet, as I will argue, Bachelard’s extended series of books opens up an intriguing perspective on contemporary science. First, I will point to a remarkable duality that runs through Bachelard’s oeuvre. His philosophy of science consists of two sub-oeuvres: a psychoanalysis of technoscience, complemented by a poetics of elementary imagination. I will point out how these two branches deal with complementary themes: technoscientific artefacts and literary fictions, two realms of human experience separated by an epistemological rupture. Whereas Bachelard’s work initially entails a panegyric in praise of scientific practice, he becomes increasingly intrigued by the imaginary and its basic images, such as the Mother Earth archetype. (shrink)

Descartes’ Rules for the direction of the mind presents us with a theory of knowledge in which imagination, considered as an “aid” for the intellect, plays a key role. This function of schematization, which strongly resembles key features of Proclus’ philosophy of mathematics, is in full accordance with Descartes’ mathematical practice in later works such as La Géométrie from 1637. Although due to its reliance on a form of geometric intuition, it may sound obsolete, I would like to (...) show that this has strong echoes in contemporary philosophy of mathematics, in particular in the trend of the so called “philosophy of mathematical practice”. Indeed Ken Manders’ study on the Euclidean practice, along with Reviel Netz’s historical studies on ancient Greek Geometry, indicate that mathematical imagination can play a central role in mathematical knowledge as bearing specific forms of inference. Moreover, this role can be formalized into sound logical systems. One question of general epistemology is thus to understand this mysterious role of the imagination in reasoning and to assess its relevance for other mathematical practices. Drawing from Edwin Hutchins’ study of “material anchors” in human reasoning, I would like to show that Descartes’ epistemology of mathematics may prove to be a helpful resource in the analysis of mathematical knowledge. (shrink)

Some popular views of Ernst Mach cast him as a philosopher-scientist averse to imaginative practices in science. The aim of this analysis is to address the question of whether or not imagination is compatible with Machian philosophy of science. I conclude that imagination is not only compatible, but essential to realizing the aim of science in Mach’s biologico-economical view. I raise the possible objection that my conclusion is undermined by Mach’s criticism of Isaac Newton’s famous “bucket experiment.” (...) I conclude that Mach’s issue lies not with thought experimentation, tout court, but with the improper use of thought experimentation as it relates to the aim of the biologico-economical development of science. (shrink)

The first English-language collection devoted to Hegel’s Philosophy of Subjective Spirit.

I argue that imagination has an inherently paradoxical structure: it enables one to flee one’s socio-cultural reality and to constitute one’s socio-cultural world. I maintain that most philosophical accounts of the imagination leave this paradox unexplored. I further contend that Paul Ricoeur is the only thinker to have addressed this paradox explicitly. According to Ricoeur, to resolve this paradox, one needs to recognize language as the origin of productive imagination. This paper explores Ricoeur’s solution by offering a (...) detailed study of reproductive and productive imagination in the framework of poetic imagination. My analysis subjects Ricoeur’s distinction between reproductive and productive imagination to a critique that relies upon the principles of classical phenomenology. According to my central thesis, the imaginative powers of language are themselves rooted in perception. This thesis broadens the scope and significance of Ricoeur’s solution by enabling one to resolve the paradox of imagination not only at the level of language-based imagination, but also at the level of dreams and daydreaming as well as at the level of non-language based art. No less significantly, this thesis enables one to open a fresh dialogue between phenomenology and hermeneutics. (shrink)

The theory of prophet hood, based on a competent imagination, is one of the original contributions of al-Farabi to Islamic thought. The purpose of this article is to examine the imaginative power that underlies the prophet's law-making in al-Farabi's political thought. In our research, we have concluded that the prophet can put the universal truths in the form of laws only with the representation ability of a competent imaginary. Emanation, overflowing from the separate intellects that form the supralunary world, (...) also constructs the sublunary world through the imagination of the prophet. In this system, the power of imagination is a central faculty that embodies and organizes the imaginary from Active Mind and makes it accessible to all levels of people. Without the imagination that transforms the reasonable into sensible forms, it is not possible to put laws and to deliver them to people. In order to be in contact with the higher principles, the prophet must also have a competent mental faculty. Finally, in our study, the connection of the imaginary, which represents the emanation coming from the Active Mind, with the intellect faculty in this context is also questioned in terms of law-making. (shrink)

This paper is a response to Nenad Miščević’s “Reply to Michael Devitt”, the latest in an exchange on the source of linguistic intuitions. Miščević defends a modified version (“MoVoC”) of the received view that these intuitions are the product of a linguistic competence. I have earlier rejected all versions of the received view urging instead that intuitions are, like perceptual judgments, empirical theory-laden central-processor responses to phenomena. (1) I emphasize here, against Miščević, that this claim about a speaker’s intuitions about (...) strings is not to be conflated with a claim about her understanding of strings. (2) I develop my claim, addressed by Miščević, that MoVoC is implausible in three ways. But these are not the main problems for MoVoC. For further discussion of those, see Jutronić’s paper in this volume. (shrink)

The paper takes a fresh look at two essays that Adam Smith wrote at the very beginning of his career. In these essays, Smith explains his philosophy of science, which is social constructivist. A social constructivist reading of Smith strengthens the scholarly consensus that The Wealth of Nations needs to be interpreted in light of the general moral theory he explicates in The Theory of Moral Sentiments, as the two essays and TMS stress the importance of the same concepts: (...) e.g., moral imagination, the socially embedded individual, and humility. The connecting tissue between all three works is made up of sentiments and values. Smith regards the socially embedded human as the agent in all three realms, and humans are always driven by values. Smith not only conceives of economics as an applied moral philosophy, but also bases both research areas on a view of knowledge creation that stresses specific epistemic values. If mainstream economic theory wants to have any claim to Adam Smith, it would have to change not only what it argues but also how it argues. Economists would have to replace the language of mathematics with the language and logic of moral philosophy and give values centre stage. (shrink)

Guided by neuroscience, animal behavior, evolution, philosophy, and psychology, Asma burrows deep into the human psyche to look right at the enigmatic but powerful engine that is our improvisational creativity—the source, he argues, of our remarkable imaginational capacity. How is it, he asks, that a story can evoke a whole world inside of us? How are we able to rehearse a skill, a speech, or even an entire scenario simply by thinking about it? How does creativity go beyond experience (...) and help us make something completely new? And how does our moral imagination help us sculpt a better society? As he shows, we live in a world that is only partly happening in reality. Huge swaths of our cognitive experiences are made up by “what-ifs,” “almosts,” and “maybes,” an imagined terrain that churns out one of the most overlooked but necessary resources for our flourishing: possibilities. Considering everything from how imagination works in our physical bodies to the ways we make images, from the mechanics of language and our ability to tell stories to the creative composition of self-consciousness, Asma expands our personal and day-to-day forms of imagination into a grand scale: as one of the decisive evolutionary forces that has guided human development from the Paleolithic era to today. The result is an inspiring look at the rich relationships among improvisation, imagination, and culture, and a privileged glimpse into the unique nature of our evolved minds. (shrink)

Recent philosophy of mind has had a mistaken conception of the nature of psychological concepts. It has assumed too much similarity between psychological judgments and those of natural science and has thus overlooked the fact that other people are not just objects whose thoughts we may try to predict and control but fellow creatures with whom we talk and co-operate. In this collection of essays, Jane Heal argues that central to our ability to arrive at views about others' thoughts (...) is not knowledge of some theory of the mind but rather an ability to imagine alternative worlds and how things appear from another person's point of view. She then applies this view to questions of how we represent others' thoughts, the shape of psychological concepts, the nature of rationality and the possibility of first person authority. This book should appeal to students and professionals in philosophy of mind and language. (shrink)

In Force of Imagination, John Sallis develops an original systematic philosophical project from the vantage-point of philosophy at the limit, the point at which the classical distinction between the intelligible and the sensible is inverted ...

In order to understand the essence of COVID-19 pandemic, it is necessary to take a step back and question the hierarchy of emergency in relation to other emergencies that are not addressed. This will also allow us to imagine a “philosophy of warnings” capable to interpret absent emergencies.

My intention is to show that, starting from an empiricist philosophy of mind, it is possible to give a systematic account of aesthetic experience. I argue that empiricism involves a certain theory of meaning and truth; one problem is to show how this theory is compatible with the activity of aesthetic judgment. I investigate and reject two attempts to delimit the realm of the aesthetic: one in terms of the individuality of the aesthetic object, and the other in terms (...) of 'aesthetic properties'. I go on to argue that aesthetic descriptions must not be thought to ascribe properties to their objects, and I show how the suggestion that they are non-descriptive need not conflict with the empiricist view of meaning. The problem is then seen to lie with the analysis of the 'acceptance-conditions' of aesthetic descriptions. I counter certain idealist objections to this approach, and then present a theory of imagination, in terms of which the acceptance conditions of aesthetic judgments may be described. This theory attempts to explain how the element of thought in aesthetic appreciation may become inseparable from an experience of its object, and how the aesthetic emotions are both like and unlike their equivalents in life. The first part concludes with an analysis of the general conditions of aesthetic experience. I try to show that aesthetic experience can be described in terms of certain 'formal' properties, independently of its material object. In the second part I am concerned to show that this empiricist theory of aesthetics does not, like most empiricist theories, make nonsense of our appreciation of art. First, I attempt to show that 'understanding' art is not merely a cognitive process, but involves certain experiences that can be accounted for in terms of the previous theory. I then analyse the concepts of representation and expression, and in the course of this analysis I attempt to refute what I take to be the most serious rival analysis of our appreciation of art - the semantic theory. (shrink)

Kieran Egan states that imagination "is a concept that has come down to us with a history of suspicion and mistrust" (2007, p. 4). Like experience and the emotions, the imagination is frequently thought to be an obstacle to reason. While reason is conceived of as an abstract, objective and rule-governed method of delivering absolute truths, the imagination is considered "unconstrained, arbitrary, and fanciful," as well as "particular, subjective, and idiosyncratic" (Jo 2002, p. 39). This negative view (...) of the imagination can be traced back at least as far as Plato, and it is still evident in contemporary educational ideas and practices. Dominant approaches to schooling emphasize the accumulation of facts and the .. (shrink)

Alain, 1920: Système des beaux-arts, Paris, Gallimard, 1920. Burdea, G.C., Coiffet P., 1993: Virtual Reality Technology, Hoboken, New Jersey, John Wiley & Sons Inc., 2003. Dufrenne M., 1953: Phenomenology of aesthetic experience, by E. Casey, Northwestern University Press, Evanston, 1973. Dufrenne M., 1963: Le poétique, Paris, P.U.F., 1963. Dufrenne M., 1966: Jalons, Nijhoff, La Haye, 1963. Dufrenne M., 1967: Esthétique et Philosophie, vol. I, Paris, Klincksieck, 1967. Dufrenne M., 1976a: Esthétique et Philosophi e, vol. II, Paris, Klincksieck, 1967. Dufrenne M., (...) 1981a: L'inventaire des a priori: recherche de l'originaire, Paris, Bourgois, 1981. Dufrenne M., 1981b: Esthétique et Philosophie, vol. III, Klincksieck, Paris. 1981. Dufrenne M., 1987: L'oeil et l'oreille, Montreal, L'HEXAGONE, 1987. Franzini E., 1982: Natura e Poesia, Su un inventario degli a priori di Mikel Dufrenne, in Fenomenologia e scienze dell'uomo, Padova, CLESP editrice, pp. 67-90. Sartre J.P., 1940: The psychology of imagination, New York, Philosophical library, 1948. (shrink)

Some popular views of Ernst Mach cast him as a philosopher-scientist averse to imaginative practices in science. The aim of this analysis is to address the question of whether or not imagination is compatible with Machian philosophy of science. I conclude that imagination is not only compatible but essential to realizing the aim of science in Mach’s biologico-economical view. I raise the possible objection that my conclusion is undermined by Mach’s criticism of Isaac Newton’s famous “bucket experiment.” (...) I conclude that Mach’s issue lies not with thought experimentation, tout court, but with the improper use of thought experimentation as it relates to the aim of the biologico-economical development of science. (shrink)

In this Part II, I investigate different approaches to the question of what makes imagining different from belief. I find that the sentiment-based approach of David Hume falls short, as does the teleological approach, once advocated by David Velleman. I then consider whether the inferential properties of beliefs and imaginings may differ. Beliefs, I claim, exhibit an anti-symmetric inferential governance over imaginings: they are the background that makes inference from one imagining to the other possible; the reverse is not true, (...) and this allows us to distinguish the two attitudes. I then go on to consider the action theory of imagining and the role that imaginings play in generating emotion. (shrink)

It has been observed, by D. Z. Phillips among others, that philosophy suffers from a “lack of imagination”. That is, philosophers often fail to see possibilities of sense in forms of life and discourse due to narrow habits of thinking. This is especially problematic in the philosophy of religion, not least when cross-cultural modes of inquiry are called for. This article examines the problem in relation to the philosophical investigation of reincarnation beliefs in particular. As a remedial (...) strategy, I argue for increased attention both to ethnographic sources and to the articulation of distinctively religious moral visions that reincarnation-talk facilitates. (shrink)

The "ethics of imagination" or the "ethics of fantasy" encompasses the various ways in which we can morally evaluate the imagination. This topic covers a range of different kinds of imagination: (1) fantasizing, (2) engaging with fictions, and (3) dreaming. The clearest, live ethical question concerns the moral value of taking pleasure in undeserved suffering, whether willfully imagined, represented, or dreamed. Much of this entry concerns general theoretical considerations and how they relate to the ethics of fantasy. (...) In the final sections I walk through the three types of imagination and point out some of the open questions concerning each type. (shrink)

According to the additive view of sensory imagination, mental imagery often involves two elements. There is an image-like element, which gives the experiences qualitative phenomenal character akin to that of perception. There is also a non-image element, consisting of something like suppositions about the image's object. This accounts for extra- sensory features of imagined objects and situations: for example, it determines whether an image of a grey horse is an image of Desert Orchid, or of some other grey horse. (...) The view promises to give a simple and intuitive explanation of some puzzling features of imagination, and, further, to illuminate imagination 's relation to modal knowledge. I contend that the additive view does not fulfil these two promises. The explanation of how images come to be determinate is redundant: the content constituting the indeterminate mental images on which the view relies is sufficient to deliver determinate images too, so the extra resources offered by the view are not required.. (shrink)

The present work is, as its title indicates, a study of Hume's theory of imagination. Naturally, it is a study of a particular sort. It has a certain scope and limitations, takes a certain line of approach, exhibits certain emphases, has certain ends-in-view, etc. As an initial step in specifying the nature of this study, I shall indicate its central problem, i. e. , that problem to the solution of which the solutions of the various other problems with which (...) it is concerned are merely means. The central problem of this study is that of determining how Hume's theory of im agination is related to, or involved in, the generic features and main lines of argument of his philosophy of the human understanding. The expression "philosophy of the human understanding" is obvious to allude to a restriction on the scope of this investigation. ly intended Actually, it is a title suggested to me by two of Hume's philosophical writings; and to anyone who is even modestly acquainted with these writings, its reference should be no mystery. Hume published the first two so-called "Books" of his A Treatise of Human Nature in 1739. The first of these two Books was entitled "Of the Human Understanding. " Nine years later, he published a work under the title, An Enquiry Con cerning Human Understanding. (shrink)

This essay unites current philosophical thinking on imagination with a burgeoning debate in the philosophy of memory over whether episodic remembering is simply a kind of imagining. So far, this debate has been hampered by a lack of clarity in the notion of imagining at issue. Several options are considered and constructive imagining is identified as the relevant kind. Next, a functionalist account of episodic remembering is defended as a means to establishing two key points: first, one need (...) not defend a factive view of remembering in order to hold that causal connections to past experiences are essential to how rememberings are typed; and, second, current theories that equate remembering with imagining are in fact consistent with a functionalist theory that includes causal connections in its account of what it is to remember. This suggests that remembering is not a kind of imagining and clarifies what it would take to establish the contrary. (shrink)

Introduction Why philosophize about imagination? Why turn one of the great gifts of human existence into an object of intellectual interrogation? ...

_The Politics of Imagination_ offers a multidisciplinary perspective on the contemporary relationship between politics and the imagination. What role does our capacity to form images play in politics? And can we define politics as a struggle for people’s imagination? As a result of the increasingly central place of the media in our lives, the political role of imagination has undergone a massive quantitative and a qualitative change. As such, there has been a revival of interest in the (...) concept of imagination, as the intimate connections between our capacity to form images and politics becomes more and more evident. Bringing together scholars from different disciplines and theoretical outlooks, _The Politics of Imagination_ examines how the power of imagination reverberates in the various ambits of social and political life: in law, history, art, gender, economy, religion and the natural sciences. And it will be of considerable interest to those with contemporary interests in philosophy, political philosophy, political science, legal theory, gender studies, sociology, nationalism, identity studies, cultural studies, and media studies. (shrink)

What is Imagination? What is the relationship between aesthetics and ethics in a contemporary civilization dominated by the image? How can we reconcile the right to imagine with the right to justice? Are the claims of artistic creativity and moral responsibility compatible? With an extended foreword and an afterword chapter, and fascinating new material on the narrative imagination, Poetics of Imagining: Modern to Post-modern provides a critically developed and accessible account of the major theories of imagination in (...) modern European thought. It analyses and assesses the decisive contributions made to our understanding of the imaginary life by phenomenology (Husserl, Sartre, Merleau-Ponty, Bachelard), hermeneutics (Heidegger, Ricoeur), and post-modernism (Vattima, Kristeva, Lyotard). Richard Kearney achieves this with a coherent and committed approach, which displays his own passionate concern for the claims of imagination in our post-modern world of fragmentation and fracture. This is essential reading for those interested in current leading debates on the role of imagining in continental philosophy, ethics, psychoanalysis, art theory and literary criticism. (shrink)

Contents: 1) Peter Kung, Why We Need Something Like Imagery; 2) Derek Lam, An Imaginative Person’s Guide to Objective Modality; 3) Rebecca Hanrahan, Crossing Rivers: Imagination and Real Possibilities; 4) Michael Omoge, Imagination, Metaphysical Modality, and Modal Psychology; 5) Joshua Myers, Reasoning with Imagination; 6) Franz Berto, Equivalence in Imagination; 7) Christopher Badura, How Imagination Can Justify; 8) Antonella Mallozzi, Imagination, Inference, and Apriority; 9) Margherita Arcangeli, Narratives and Thought Experiments: Restoring the Role of (...) Imagination; 10) Margot Strohminger, Two Ways of Imagining Galileo’s Experiment; 11) Eric Peterson, Attention to Details: Imagination, Attention, and Epistemic Significance; 12) Amy Kind, Bridging the Divide: Imagining Across Experiential Perspectives; 13) Julia Langkau, On Imagining Being Someone Else; 14) Luke Roelofs, “Imagine If They Did That to You!”: The Complexity of Empathy; 15) Nick Wiltsher and Bence Nanay, Imagination, Selves, and Knowledge of Self: Pessoa’s Dreams in The Book of Disquiet . (shrink)

This book departs from much of the scholarship on Kant by demonstrating the centrality of imagination to Kant's philosophy as a whole. In Kant's works, human experience is simultaneously passive and active, thought and sensed, free and unfree: these dualisms are often thought of as unfortunate byproducts of his system. Gibbons, however, shows that imagination performs a vital function in "bridging gaps" between the different elements of cognition and experience. Thus, the role imagination plays in Kant's (...) works expresses his fundamental insight into the complexity of cognition for finite rational beings such as ourselves. (shrink)

We often talk of people as being more or less imaginative than one another – as being better or worse at imagining – and we also compare various feats of imagination to one another in terms of how easy or hard they are. Facts such as these might be taken to suggest that imagination is often implicitly understood as a skill. This implicit understanding, however, has rarely (if ever) been made explicit in the philosophical literature. Such is the (...) task of this chapter. I first attempt to flesh out several conditions for an activity to count as a skill. I then attempt to show how imagination can meet such conditions. The chapter concludes with an attempt to answer various worries that might be raised to the claim that imagination should be thought of as a skill. (shrink)

Samantha Matherne defends a systematic interpretation of the philosopher Immanuel Kants theory of imagination. In contrast with more traditional theories of imagination, as a kind of fantasy that we exercise only in relation to objects that are not real or not present, Matherne argues that Kant theorizes imagination as something that we exercise just as much in relation to objects that are real and present. In short, she attributes to Kant a view of imagining as something that (...) pervades our lives. In order to bring out this pervasiveness, Matherne offers an account of what kind of mental capacity Kant takes imagination to be in general. She then explores Kants picture of how we exercise our imagination in perception, ordinary experience, the appreciation of beauty and sublimity, the production of art, the pursuit of happiness, and the pursuit of morality. However, she makes the case that Kants analysis of this wide range of phenomena is underwritten by a unified theory of what imagination is, as a remarkably flexible cognitive capacity that we can exercise in constrained and creative, playful and serious ways. (shrink)