Two disciplines have greatly contributed to a new understanding of phantasy and imagination in contemporary thought: phenomenology and psychoanalysis. These two different approaches to Phantasie developed almost simultaneously at the beginning of the twentieth century. The examination of Phantasie can focus on the concrete form of the phantasm as a unique object formation—or better, as scene. The attention can also be directed to the style of imagining as specific intentionality. Whereas the second line of research has been extensively studied in (...) the context of phenomenological investigation, psychoanalytical inquiry has greatly contributed to the understanding of the phantasm as scene. In the present paper, the author primarily examines the notion of phantasy from a phenomenological perspective. More specifically, the author intends to show the inner tensions between the concept of pure phantasy as intentional act and the manner of appearance of unclear phantasy. If we consider the essential traits of the appearances of unclear phantasies, the unclear phantasies cannot be considered as quasi-perceptions of a fictional object, since no intentional object constitutes itself in this confused dimension. (shrink)

This is an empirical phenomenological interview study into the experiences of professional actors as they create and perform roles for the stage. Prior research was inadequate for capturing actors’ changing life worlds over time. Analyzing the interviews using the descriptive phenomenological method yielded general structural descriptions and pointed to the relevance of Schütz’s description of multiple realities. Being cast in a role changes the pace and goals of actors’ everyday worlds and leads the actors intermittently and with intention to enter (...) other realities—fictional, theoretical, and/or pictorial. A province unique to acting is the drama world in which the actors live incarnate as their characters. The drama world is infused pre-reflectively with discoveries from other provinces of meaning, unfolds spontaneously, and, in performance, has the audience as horizon. The drama world and the experiences that give rise to it provide new material for comparative phenomenological analysis of various forms of imagining. (shrink)

In this paper we discuss the definitional problems of altered states of consciousness and their potential relevance in phenomenological investigation. We suggest that visionary states or visionary phantasy working induced by psychedelics, as extraordinary types of altered states, are appropriate subjects for phenomenological analysis. Naturally, visionary states are not quite ordinary workings of the human mind, however certain cognitive psychological and evolutionary epistemological investigations show that they can give new insights into the nature of consciousness. Furthermore, we suggest that contemporary (...) inquiries concerning altered states in consciousness studies give an opportunity to complete the contemporary phenomenological investigations of phantasy with the notion of visionary phantasy. Here we propose that the similarities and differences between Dieter Lohmar’s weak phantasy and Benny Shanon’s concept of vision are precisely discernible, and, consequently, it may be possible that weak phantasy and visionary phantasy are situated on the two outermost poles of the colorful spectrum of phantasy activity. (shrink)