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  1. Seeing-in an Image: Husserl and Wollheim on Pictorial Representation Revisited.Rodrigo Yllaric Sandoval - 2020 - Kunstiteaduslikke Uurimusi 29 (3-4):31-55.
    This paper proposes a parallel between the theories of pictorial representation put forward by Edmund Husserl and Richard Wollheim. By doing so, it aims to facilitate a dialogue that can provide some new elements for an appropriate understanding of threefold seeing-in. The first section offers a comprehensive interpretation of Husserl’s theory of image-consciousness. This experience is considered a threefold perceptual phantasy, different from perception and sign-consciousness. The second section presents a review of Wollheim’s theory of twofold seeing-in and addresses a (...)
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  2. Towards a Phenomenological Analysis of Fictional Emotions.Marco Cavallaro - 2019 - Phainomenon. Journal of Phenomenological Philosophy 29:57-81.
    What are fictional emotions and what has phenomenology to say about them? This paper argues that the experience of fictional emotions entails a splitting of the subject between a real and a phantasy ego. The real ego is the ego that imagines something; the phantasy ego is the ego that is necessarily co-posited by any experience of imagining something. Fictional emotions are phantasy emotions of the phantasy ego. The intentional structure of fictional emotions, the nature of their fictional object, as (...)
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  3. The Phenomenon of Ego-Splitting in Husserl’s Phenomenology of Pure Phantasy.Marco Cavallaro - 2017 - Journal of the British Society for Phenomenology 48 (2):162-177.
    Husserl’s phenomenology of imagination embraces a cluster of different theories and approaches regarding the multi-faced phenomenon of imaginative experience. In this paper I consider one aspect that seems to be crucial to the understanding of a particular form of imagination that Husserl names pure phantasy. I argue that the phenomenon of Ego-splitting discloses the best way to elucidate the peculiarity of pure phantasy with respect to other forms of representative acts and to any simple form of act modification. First, I (...)
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  4. La primacía de la percepción en la teoría husserliana temprana de la imaginación.Rodrigo Y. Sandoval - 2017 - In Andrés Gatica Gatamelatti (ed.), Incursiones fenomenológicas sobre el análisis intencional, la reducción y la angustia. Santiago, Región Metropolitana, Chile: pp. 43-59.
    Este artículo está enfocado en la primera etapa de las investigaciones husserlianas sobre la imaginación, enmarcadas en su obra “estática” y determinadas, especialmente, por las características de una concepción centrada en la imagen figurativa (Abbild).
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  5. Transzendentale Erfahrung als gedankliches Experiment.Alexei Krioukov - 2015 - HORIZON. Studies in Phenomenology 4 (2):54-62.
    In my talk I would like to discuss a topic concerning the idea of the mental experience as an experiment in the transcendental philosophy. One can see a big difference between two branches of knowledge: humanitarian sciences and „exact“ sciences. The main difference consists in the fact that the experimental dates of the exact sciences can be verified by other researchers, but the mental dates in the mind of one humanitarian researcher cannot be repeated in the mind of another. It (...)
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  6. Seeing-in as Three-Fold Experience.Regina-Nino Kurg - 2014 - Postgraduate Journal of Aesthetics 11 (1):18-26.
    It is generally agreed that Edmund Husserl’s theory of depiction describes a three-fold experience of seeing something in pictures, whereas Richard Wollheim’s theory is a two-fold experience of seeingin. The aim of this article is to show that Wollheim’s theory can be interpreted as a three-fold experience of seeing-in. I will first give an overview of Wollheim and Husserl’s theories of seeing-in, and will then show how the concept of figuration in Wollheim’s theory is analogous to the concept of the (...)
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  7. Husserl’s Struggle with Mental Images: Imaging and Imagining Reconsidered.Andreea Smaranda Aldea - 2013 - Continental Philosophy Review 46 (3):371-394.
    Husserl’s extensive analyses of image consciousness (Bildbewusstsein) and of the imagination (Phantasie) offer insightful and detailed structural explications. However, despite this careful work, Husserl’s discussions fail to overcome the need to rely on a most problematic concept: mental images. The epistemological conundrums triggered by the conceptual framework of mental images are well known—we have only to remember the questions regarding knowledge acquisition that plagued British empiricism. Beyond these problems, however, a plethora of important questions arise from claiming that mental images (...)
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  8. Aesthetic Consciousness of Site-Specific Art.Regina-Nino Kurg - 2013 - South African Journal of Philosophy 32 (4):349–353.
    The aim of this article is to examine Edmund Husserl’s theory of aesthetic consciousness and the possibility to apply it to site-specific art. The central focus will be on the idea of the limited synthetic unity of the aesthetic object that is introduced by Husserl in order to differentiate positional and aesthetic attitude towards the object. I claim that strongly site-specific art, which is a work of art about a place and in the place, challenges the view that the synthetic (...)
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  9. Phantasie and Phenomenological Inquiry - Thinking with Edmund Husserl.Andreea Smaranda Aldea - 2012 - Dissertation,
    This dissertation explores and argues for the import of the imagination (Phantasie) in Edmund Husserl's phenomenological method of inquiry. It contends that Husserl's extensive analyses of the imagination influenced how he came to conceive the phenomenological method throughout the main stages of his philosophical career. The work clarifies Husserl's complex method of investigation by considering the role of the imagination in his main methodological apparatuses: the phenomenological, eidetic, and transcendental reductions, and eidetic variation - all of which remained ambiguous despite (...)
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  10. More Than Meets The Eye: Connections Between Phenomenology And Art.Tavi Meraud - 2010 - Postgraduate Journal of Aesthetics 7 (3):25-35.
    In a letter dated 12 January 1907, written to the poet Hugo von Hofmannsthal, the philosopher Edmund Husserl presents a half-formed analogy between the artist and the phenomenologist. Husserl writes that both the artist and the phenomenologist, in their respective efforts to study the world, share the common attitude of indifference regarding the world’s existence; they both experience the world as phenomena. Both the aesthetic and phenomenological intuitions, then, are marked by the departure from the “natural” attitude, the everyday ordinary (...)
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  11. On the Temporality of Images According to Husserl.Javier Carreño - 2008 - New Yearbook for Phenomenology and Phenomenological Philosophy 8 (1):73-92.
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  12. Husserl and the Phenomenological Description of Imagery: Some Issues for the Cognitive Sciences?Carmelo Calì - 2005 - ARHE 2 (4):25-37.
    This paper deals with two theories Husserl worked out on imagery in order to see if the properties a phenomenological description ascribes to imagery are fit to give meaningful constraints upon theoretical models that guide empirical research. Husserlian descriptions and Kosslyn and colleagues models are hence compared as to their explanatory strategy and implications.
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