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El presente artículo se propone explorar la noción de mundo ficcional desde la filosofía de Edmund Husserl, destacando la potencialidad de la fenomenología para los campos de la estética y la teoría de la ficción. Para ello, partiré de la descripción de las estructuras sobre las que se erige la vivencia ficcional, que aquí será tratada como una vivencia de fantasía. Bajo este enfoque, el análisis muestra primero la correlación entre conciencia de fantasía y mundo de fantasía, pasando a continuación (...) |
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El presente artículo se propone explorar la relación entre neutralización y conciencia del ‘como si’ en la fenomenología de Husserl, en particular, a partir de su convergencia en las intuiciones de fantasía. Partiendo de una crítica a una línea de interpretación que, en su intento de aproximarse fenomenológicamente a una «conciencia estética», homologa la modificación de neutralidad con la epojé, el artículo busca exponer la función metodológica que cumplen la modalización de la creencia en el proyecto de Ideas I, así (...) |
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Contemporary accounts on fictional emotions, i.e., emotions experienced towards objects we know to be fictional, are mainly concerned with explaining their rationality or lack thereof. In this context dominated by an interest in the role of belief, questions regarding their phenomenal quality have received far less attention: it is often assumed that they feel “similar” to emotions that target real objects. Against this background, this paper focuses on the possible specificities of fictional emotions’ qualitative feel. It starts by presenting what (...) |
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1. Phenomenology is first and foremost about intentionality. As Husserl puts it, “Intentionality is the name of the problem encompassed by the whole of phenomenology”.1 Broadly understood, the phen... |
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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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This paper consists in a study of the development of Husserl’s thought on the notions of phantasy and image consciousness. It shows how, following a first phase in which he still identified phantasy with image consciousness, Husserl gradually began to distinguish the two and define what is proper to each in an increasingly precise manner. The paper then shows how Husserl came to view pure phantasy as a modification of perception. Concerning image consciousness, it shows how the status of the (...) |
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This article aims to explore the relationship between neutralization and “as if” consciousness in Husserl’s phenomenology, in particular, from its convergence in intuitions concerning phantasy. Starting from a critique of a line of interpretation that, in its attempt to approach phenomenologically to an “aesthetic consciousness”, homologates the neutrality modification with the Epoché, the article seeks to expose the methodological function that the modalization of belief fulfills in the project of Ideas I, as well as highlighting the growing importance that phantasy (...) |
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Our environment is changing rapidly, as is the spectrum of possible relationships we can entertain with it. Against this background, one important task emerging in contemporary philosophical discussion concerns defining the status of contemporary images and the "iconic spaces" we encounter with ever-increasing frequency in their various forms. Within this context, the dimension of perception seems to be losing its primacy over the image, making a philosophical description of the relationships between image and reality all the more necessary. Among images, (...) |
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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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Este artículo busca establecer en primer lugar una doble distinción: de un lado, entre fantasía y conciencia de imagen; y, por el otro, entre fantasía y conciencia estética, ambas a partir de los trabajos de Edmund Husserl. Las dos series de distinciones se encuentran ligadas una con otra por el especial estatuto fenomenológico que Husserl concede a la imagen, el cual debe ser también sometido a aclaración. El artículo propone tres conclusiones: que la así llamada “conciencia estética” no es resultado (...) |
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In a late notation from 1932, Husserl emphasizes the fact that a broad concept of “apperception” should also include, alongside his usual examples, the apprehension of objects as bearers of an individual or inter-subjective past, specifically “indicated” with them; thus, he distinguishes between apperceptions “appresenting” a simultaneous content (co-presentations), anticipatory apperceptions pointing to future incidents, and retrospective apperceptions referring to “ad-memorized” ( hinzuerinnert , ad - memoriert ) features and events. The latter sort of apperceptions are involved not only in (...) |
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The paper aims to give a phenomenological account of the way in which the experience of violence is modified in the aesthetic images. The phenomenological framework in which I place my analysis is primarily given by Edmund Husserl’s conception. The investigation starts from the curious fact that violence cannot be aesthetically experienced when it is presented in person, but it can be aesthetically experienced in images. I claim that the reason for this asymmetry lies in the structure of image-consciousness, that (...) |
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In this paper I investigate an underappreciated element of Husserl’s phenomenology of images: the consciousness of the depicted subject, which Husserl calls the Sujetintention, e.g. the awareness of the sitter of a portrait. Husserl claims that when a consciousness regards a figurative image, it is absorbed in the awareness of the depicted subject and yet this subject some how withholds its presence in the midst of its appearance in the image-object. Image-consciousness is an intuitive consciousness that intends a being that (...) |
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