The present paper explores anew the question of Husserl’s metaphysics by contrasting H. Philipse and D. Zahavi’s respective position on the matter. I argue that these positions fall victim to opposing exegetical pitfalls. On the one hand, while I concur with Philipse’s general characterisation of Husserl as an ontological phenomenalist, I disagree that this implies Husserl was a subjective idealist similar to Berkeley. On the other hand, while Zahavi’s correlationist interpretation of Husserl avoids this subjective idealist interpretation, I argue that (...) it inadvertently succumbs to the realist alternative that construes the world as existing independently from subjectivity. The way out of this dilemma is to interpret Husserl as an experiential monist, where the phenomenal stream (Erlebnisstrom) is taken to be ontologically primary, by virtue of its antecedence over the subject-object or mind-world dichotomy. (shrink)

Despite extensive discussion of naïve realism in the wider philosophical literature, those influenced by the phenomenological movement who work in the philosophy of perception have hardly weighed in on the matter. It is thus interesting to discover that Edmund Husserl’s close philosophical interlocutor and friend, the early twentieth-century phenomenologist Johannes Daubert, held the naive realist view. This article presents Daubert’s views on the fundamental nature of perceptual experience and shows how they differ radically from those of Husserl’s. The author argues, (...) in conclusion, that Daubert’s views are superior to those of Husserl’s specifically in the way that they deal with the phenomenon of perceptual constancy. (shrink)

Martin Heidegger closes his Winter Semester 1927–28 lectures by claiming that Kant’s Critique of Pure Reason, read through the lens of Edmund Husserl’s phenomenology, confirmed the accuracy of his philosophical path culminating in Being and Time. A notable interpretation of Heidegger’s debt to Kant, advanced by William Blattner, presents Heidegger as a temporal idealist. I argue that attention to Husserl’s adaptation of Kant’s critical philosophy shows that both Husserl and Heidegger are realists. I make my case by tracing a unified (...) philosophical problematic through three puzzling passages: the Schematism chapter of the first Critique, Husserl’s thought experiment of the destruction of the world in Ideas, and the passage in Being and Time that motivates Blattner’s idealist reading. Husserl and Heidegger give accounts, derived from Kant, of how the consciousness of time makes it possible for objects to be perceived as enduring unities, as well as ‘genealogies of logic’ that show how a priori knowledge, including ontology, is possible. These accounts are idealistic only in the sense that they concern the ideal or essential features of intentionality in virtue of which it puts us in touch with things as they are independently of the contributions of any mind of any type. -/- . (shrink)

European Journal of Philosophy, Volume 30, Issue 1, Page 182-204, March 2022.

El presente artículo defiende que las nociones de epojé y de modificación de neutralidad, a pesar de su aparente semejanza, deben mantenerse radicalmente diferenciadas. La razón de fondo es que ambas surgen en el seno de operaciones de la conciencia que son metodológica y jerárquicamente distintas. Para tal efecto, haré una descripción de sus funciones y estructura, de modo que se hagan visibles tanto sus respectivas esferas de aplicación como el alcance operativo de sus procedimientos.

Discusses Armstrong's and Roman Ingarden's ontology, criticises substance ontology, and defends tropes and a field ontology.

Is consciousness or the subject part of the natural world or the human world? Can we write intentionality, so central in Husserl's philosophy, into Quine's system of ontological naturalism and naturalized epistemology — or into Heidegger's account of human being and existential phenomenology? The present task is to show how to do so. Anomalous monism provides a key.

Husserl’s allegiance to realism came under attack following his Ideas. Ingarden was a fierce critic of his teacher’s turn to transcendental idealism and provided compelling arguments both for his idealist reading of Husserl and for his rejection of idealism. One of the main arguments Ingarden devised against Husserl’s turn was based on his aesthetics. Against Husserl, Ingarden established literary works and fictional objects as purely intentional objects that are (1) doubly structured, vis-à-vis their formal ontology, and (2) endowed with spots (...) of indeterminacy. These facts, Ingarden argues, necessitate the transcendence of the purely intentional object. In this paper, I explore his argument, while establishing the ontological foundation on which it rests. (shrink)

Un des enjeux les plus importants pour la compréhension des Recherches Logiques et pour l’unité de la pensée d’Edmund Husserl réside dans la question du caractère idéaliste ou réaliste du projet philosophique de l’ouvrage. Dans cet article, je me penche sur cette question et établis, à partir d’un commentaire de passages clefs du texte, que la philosophie du jeune Husserl est bel et bien réaliste, à la fois en ce qui concerne le réal et l’idéal. Je montre aussi ce qu’il (...) y a d’erroné dans deux autres lectures de Husserl sur cette question, à savoir la lecture idéaliste et celle voulant qu’il adhère à une forme de neutralité métaphysique.One of the most important issues for the understanding of the Logical Investigations and for the unity of Edmund Husserl’s thought consists in the question of the realistic or idealistic character of its philosophical project. In this paper, I address this issue and establish on the basis of a close commentary of the text that the philosophy of the young Husserl is realistic both regarding the realm of the real and the one of the ideal. I also show what is wrong with two other readings of Husserl on this question : the idealistic and the neutral point of view readings. (shrink)

Taking the problem of perception and illusion as a leading clue, this article presents a new phenomenological approach to perception and the world: holism of experience. It challenges not only Husserl’s transcendentalism, but also what remains of it in Heidegger’s early thought, on the grounds that it is committed to the skeptical inference: Since we can always doubt any perception, we can always doubt perception as a whole. The rejection of such an implicit inference leads to a relational paradigm of (...) Being-in-the-World that differs from Heidegger’s on many points. (shrink)

Phenomenology of music has been a perspective trend of phenomenological aesthetics for more than a hundred years. The topic of the paper is fixation the main problems and vectors of development of phenomenology of music. The authors execute an analysis of Roman Ingarden’s position in the discussions concerning the methodological and ontological problems of phenomenology of music. The paper aims at revealing succession in Roman Ingarden’s solutions to the phenomenology of music problems. The other aim is reflection on the originality (...) of Ingarden’s ideas in the context of phenomenological interpretations of music in 20th and 21st centuries. The solution to these tasks allows the authors to fix key problems and identify the principal positions of phenomenology of music. The main sources of the comparative and historical analysis are the studies carried out by Husserl, Sartre, Merleau-Ponty, Clifton, and Ihde. The most important ontological problems of phenomenology of music are: spatiotemporal constitution of music, reduction of a work of music to its performance, and ontological status of a work of music. The analysis of Ingarden’s position on these problems allows us to characterize it as something different from the existing versions. According to the conception, the time of music is a special type of time, that is, quasi-time. A piece of music is a purely intentional, heteronomous, and intersubjective object. There are a number of methodological specificities of Ingarden’s approach: a refusal of reduction of musical theoretical data, a tendency for independence of a piece of music from conscious and mental processes, and an interpretation of a piece of music as a non-sounding phenomenon. In conclusion, the authors demonstrate how the originality and radical nature of Ingarden’s conclusions made his position defenseless against critique and simultaneously marked the tendency in the contemporary phenomenological studies of music. (shrink)

ABSTRACTThe guiding question of this comparative study is the relation between transcendental theory and common-sense realism: how to understand their compatibility, but also possible tensions between the two. This question concerns, in a broader sense, the relation between philosophy and natural life, or more precisely, what philosophy possibly can and cannot do for natural life. In the following discussion, I first introduce the idealism-realism controversy in Husserl’s transcendental phenomenology. I then move on to McDowell’s theory and look into a significant (...) convergence between the two philosophies, namely, their insistence on the “unboundedness” of subjectivity, and I clarify how this shared viewpoint makes their proposals compatible with common-sense realism. In a third section, I elaborate the relation between a transcendental and a natural stance by turning to Husserl’s method of phenomenological reduction. In the end, by attending to the anti-naturalism of Husserl and McDowell, I wish to shed s... (shrink)