My aim in this paper is to analyze the way in which Edmund Husserl deals with the problem of the constitution of image in his writings. The difference between a common thing and a work of art lies in the fact that the ‘thing’ is submitted as an object to perception, while the work of art is the product of the human capacity called imagination or fantasy (Phantasie). Therefore, the difference between perception (which is an objectifying act) and imagination (which (...) refers to a mental representation) is the fundamental difference Husserl operates with in his analysis of the phenomenological problem of the image building. I also want to show that Husserl’s analysis of the constitution of the image is fundamental in the understanding of the work of art (aesthetic phenomena including) and of its difference from a common thing. From the point of view of the History of Philosophy, the Husserlian analysis presupposes the overcoming of the classical opposition between subject and object, and the aesthetic experience is one of the (privileged) ways through which this overcoming can be achieved. (shrink)

According to a prominent view of organism persistence, organisms cease to exist at death. According to a rival view, organisms can continue to exist as dead organisms. Most of the arguments in favor of the latter view rely on linguistic and common sense intuitions. I propose a new argument for somaticism by appealing to two other sources that have thus far not figured in the debate: the concept of naturalness, and biological descriptions of organisms, in particular in ethology and ecology. (...) I show that if we hone in on the relevant notion of naturalness, we can show that organisms can continue to instantiate the natural property being an organism after death. (shrink)