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 (...) unravel the phenomenological distinctions which, respectively, oppose phantasy to perception, on the one hand, and phantasy to other forms of the so-called “intuitive re-presentations”. Second, I introduce the difference between presentative and representative acts, arguing that this cannot help us to single out the defining feature of phantasy experiences. The third section draws again an important distinction between pure phantasy and neutrality modification, which allows me to finally determine an internal trait of phantasy experiences, which Husserl refers to as the “Ego-splitting”. In this way, I hope to contribute to a refined characterization of Husserl’s phenomenology of imagination. (shrink)

The implications of commonalities in the contributions of five key thinkers in twentieth century phenomenology are discussed in relation to both original aims and contemporary projects. It is argued that, contrary to the claims of Husserl, phenomenology can only operate as hermeneutic phenomenology. Hermeneutics arose within German idealism. It began with Friedrich Ast and Heinrich Schleiermacher and was further developed by, among others, Wilhelm Dilthey and Martin Heidegger. Hermeneutics claims that current understanding is created on the basis of the prior (...) understanding taken to any new situation, in that what is initially understood or believed determines the direction and scope for inquiry or action. Subsequent action and conclustions are similarly based on what has been previously understood and believed. As a consequence, however, what may, in some cases, result is the confirmation of prior inaccurate understanding. For these reasons, it is important to be clear about how initial understandings are formed and how they inform a discipline, be it the Husserlian phenomenology of intentionality or any empirical phenomenological approach. Indo-Pacific Journal of Phenomenology , Volume 8, Edition 1 May 2008. (shrink)

The lectures we examine in this essay, and which took place in 1978, are at the genesis of the trilogy Sentient Intelligence by X. Zubiri. In the first place, they demonstrate that Zubiri`s Philosophical project does not fit in with today´s fashionable concept of new realism, or with idealism. In the second place, they make it clear that what he considers Actuality cannot be understood as the passivity of intelligence. And lastly, maybe more than in any of his other writings, (...) these lectures concisely clarify how reality is meant to be understood in his work, as what he refers to as total concept. In all, these lectures needed an examination to reveal these key concepts and is the objective of the article at hand. (shrink)

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 (...) well as the process of constituting the phantasy ego in representificational acts of consciousness are further elaborated to provide the groundwork for a phenomenological analysis of fictional emotions. (shrink)