Many have deemed ineluctable the tension between Husserl’s transcendental eidetics and his Crisis method of historical reflection. In this paper, I argue that this tension is an apparent one. I contend that dissolving this tension and showing not only the possibility, but also the necessity of the successful collaboration between these two apparently irreconcilable methods guarantees the very freedom of inquiry Husserl so emphatically stressed. To make this case, I draw from Husserl’s synthetic analyses of type and concept constitution as (...) well as his later work on sedimentation and streaming-in and develop a richer modal taxonomy than the one Husserl proposed. I employ this taxonomy in an examination of the structures and conditions for the possibility of transcendental eidetic variation in order to show this method’s reliance on historically sedimented epistemic and normative resources. This reliance brings to light the necessity for a methodological critique, which is precisely what I take to be the work of teleological–historical reflection as Husserl comes to conceive it in the Crisis. (shrink)

Husserl’s extensive analyses of image consciousness (Bildbewusstsein) and of the imagination (Phantasie) offer insightful and detailed structural explications. However, despite this careful work, Husserl’s discussions fail to overcome the need to rely on a most problematic concept: mental images. The epistemological conundrums triggered by the conceptual framework of mental images are well known—we have only to remember the questions regarding knowledge acquisition that plagued British empiricism. Beyond these problems, however, a plethora of important questions arise from claiming that mental images (...) are structural moments of imaging and imagining. Any attempt to clarify the structure and conditions for the possibility of aesthetic experience must first provide an unambiguous account of pictorial depiction—a task unattainable through the mental images discourse. Similarly, exposing the import of the imagination for theoretical scientific inquiries (be they positive or eidetic) requires an initial explication of the structure of this consciousness; this explication, however, must address our ability to imagine non-spatially determined objects—something the conceptual framework of mental images utterly fails to accomplish. In this paper I argue against Husserl’s reliance on mental images in his phenomenological analyses of imaging and imagining and propose an alternative structural account for both. This account is free of this reliance and able to steer clear of its insidious implications for epistemology, aesthetics, and methodological reflections. By closely following the development of Husserl’s account I suggest alternative descriptions while building on Husserl’s important work. (shrink)

Husserl famously argues that it is essential to perception to present the perceived object in perspectives. Hence, there is no – and there cannot be – perception without perspectival givenness. Yet, it seems that there are counterexamples to this essentialist claim, for we seem to be able to imagine beings that do not perceive in perspectives. Recently, there have been some accounts in the literature that critically discuss those counterexamples and assess to what extent they succeed in challenging Husserl’s essentialist (...) claim. In this paper I discuss three different answers to these counterexamples, all of them are found wanting. I offer a novel solution, taking into account some crucial findings of the contemporary debate about imagination and modality. I argue that this new solution is capable of fully vindicating Husserl’s essentialist claim. Finally, I reconstruct Husserl’s own way to treat such counterexamples, in order to showcase the notion of modality Husserlian phenomenology relies on. I argue for the hitherto widely underappreciated point that Husserl’s transcendental phenomenology cannot appeal to strictly absolute modality but that the kind of modality in Husserlian phenomenology is conditional on the facticity that we have the transcendental structure we do in fact have. (shrink)

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 (...) I call the “phenomenological question” about the qualitative feel of fictional emotions (section 1) and by showing that this is irreducible to questions about their cognitive, intentional, evaluative, and embodied nature (section 2). Drawing on some insights from early phenomenologists, the next two sections elaborate criteria to distinguish between real and sham emotions on the one side (section 3) and between genuine and non-genuine emotions on the other (section 4). Finally, I apply this orthogonal distinction to the particular case of fictional emotions (section 5). The paper argues that fictional emotions are neither sham emotions nor quasi-emotions, but full-fledged emotional experiences, despite them displaying the distinctive phenomenology of emotions experienced as non-genuine. In the particular case of fictional emotions, they are non-genuine because our psychology is in fact in a state dominated by aesthetic enjoyment. (shrink)

According to the so-called ‘artifactual theory’ of fiction, fictional objects are to be considered as abstract artifacts. Within this framework, fictional objects are defined on the basis of their complex dependence on literary works, authors, and readership. This theory is explicitly distinguished from other approaches to fictions, notably from the imaginary-object theory. In this article, I argue that the two approaches are not mutually exclusive but can and should be integrated. In particular, the ontology of fiction can be fruitfully supplemented (...) by a phenomenological analysis, which allows us to clarify the defining modes of givenness of fictional objects. Likewise, based on the results of the artifactual theory, some assumptions in the imaginary-object theory, which are liable to be interpreted as laying the ground to phenomenalism, can be corrected. (shrink)

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...

Desarrollamos un análisis comparativo de las vivencias del dolor físico y de la imaginación desde la perspectiva fenomenológica. Partimos de la hipótesis de que ambas vivencias forman los estados límite de la vida consciente. Nuestro objetivo es mostrar las características esenciales de dichas vivencias y para ello seguimos los textos más relevantes de la tradición fenomenológica, especialmente los de Husserl y Sartre. Los de Husserl dedicados al cuerpo vivido y a las sensaciones táctiles, por un lado, y los dedicados a (...) la conciencia de imagen y a la fantasía, por el otro, son totalmente imprescindibles, y los complementamos con los de Sartre dedicados a la imaginación. Recurrimos también a estudios fenomenológicos actuales sobre ambas vivencias. En primer lugar describiremos la vivencia del dolor físico como una auto-afección que en casos de dolor severo destruye el fundamento de la constitución de sentido que es el cuerpo vivido. En segundo lugar, describiremos la imaginación como la reproducción de una experiencia posible. La conciencia como auto-afección es opuesta a la conciencia como reproducción de modo que, efectivamente, ambas forman los limites extremos de la conciencia humana como subjetividad encarnada. (shrink)

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)

The validity of Husserl’s early apprehension/content of apprehension schema (_Auffassung/Auffassungsinhalt Schema_) of intentionality has long been a subject of dispute. In the case of phantasy (_Phantasie_), commentators often assert that the talk of “non-intentional content,” i.e. the phantasm, is abandoned in Husserl’s mature phenomenology of phantasy, and his subsequent theory of reproductive consciousness aims precisely to replace the previous schema. Against the current dismissive stance in the literature, this paper argues for the centrality of the concept of phantasm in the (...) phenomenology of phantasy. This is achieved in three steps. First, I argue for a functional interpretation of the schema, which maintains that it is not an empirical-genetic account of how non-intentional “sense-data” is transformed into presentations of intentional objects, but a structural exposition of the essential moments of objectifying consciousness. Second, I revisit Husserl’s theory of reproductive consciousness, arguing that in reproduction, what is reproduced is not only the noetic experience but also the hyletic substrate. Hence, the theory of reproductive consciousness, far from calling for an abandonment of the concept of phantasm, instead clarifies this concept and its function in phantasy. To fortify the point that the phantasm is crucial for the phenomenology of phantasy, I examine two features of phantasy, namely the perspectivalness of phantasized objects and the experience of my phantasy Ego being the “zero point of orientation” in phantasy, arguing that these two essential features can only be accounted for by appealing to the concept of phantasm. (shrink)

This paper addresses the question why the issue of reason and evidence as the central concern in the mainstream contemporary philosophy of religion has to be displaced by the issue of suspension according to Lao-Zhuang and the Augustine of Hippo. For both Lao-Zhuang and Augustine, in making room for the Other to appear at the core of the self’s being, it shows that there is an inseparable relationship of the self to the Other. In suspending its own understanding, admitting its (...) own ignorance in humility, the subject is not in sheer darkness, but can follow a new light not generated from itself; in suspending its own will, the subject is not paralyzed, but follows the will of the Other. The selfhood of the subject is constituted in its relation to the Other. (shrink)

Straipsnyje analizuojamos moderniosios vaizduotės sampratos transformacijos fenomenologinėse Edwardo Casey, Mikelio Dufrenne’o ir Vosyliaus Sezemano koncepcijose. Straipsnio tikslas – parodyti, kad estetinėje patirtyje akivaizdžiai atsiskleidžia kūniškas vaizduotės pobūdis. Casey kritikuoja Dufrenne’o bandymą vaizduotę susieti su estetine raiška. Jis pabrėžia vaizduotės autonomiją, tačiau tokiu atveju lieka neaiškus vaizduotės ir suvokimo santykis. Dufrenne’o ir Sezemano pozicija vaizduotės klausimu iš dalies sutampa. Abu jie teigia, kad vaizduotė yra ne produktyvi, bet reproduktyvi ta prasme, kad ji yra apribota materialinio a priori formomis. Kitaip sakant, estetinė (...) raiška yra negalima, jeigu ji nesilaiko suvokiamojo ir suvokiančiojo koreliacijos principo. Sukurti galima tik reprodukuojant išraiškoje kito suvokimo galimybę. Sezemanas pabrėžia kūniškos vaizduotės pirmumą. Įkūnytas vaizduotės judesys atskleidžia būtiną objekto ir subjekto koreliaciją. Vaizduotės kūniškumas pabrėžia buvimo pasaulyje pirmumą, nes vaizduotė yra laisva veikla ir ją riboja tik „pasaulio horizonto stilius“. (shrink)

This dissertation explores and argues for the import of the imagination (Phantasie) in Edmund Husserl's phenomenological method of inquiry. It contends that Husserl's extensive analyses of the imagination influenced how he came to conceive the phenomenological method throughout the main stages of his philosophical career. The work clarifies Husserl's complex method of investigation by considering the role of the imagination in his main methodological apparatuses: the phenomenological, eidetic, and transcendental reductions, and eidetic variation - all of which remained ambiguous despite (...) his extensive programmatic discussions. The work illuminates and clarifies aspects of the Husserlian phenomenological method never before explored. -/- In order to clarify Husserl's eidetic method of inquiry, I propose a new way of thinking about the imagination - as direct intuitive presentation (eigentliche anschauliche Vorstellung) and as horizonal-nexic level of consciousness exhibiting the neutrality, freedom, and possibility as its essential features. Following Husserl's studies of the imagination, I propose a three-level model of consciousness (realizing, imagining, and eidetic) and explore the dynamic flexibility of each level (as horizon within which acts such as judgments or memories can unfold). This model of consciousness allows for a rethinking of the sources and conditions for the possibility of eidetic phenomenological inquiry - topics Husserl was mostly silent about. -/- Through a rethinking of the model of consciousness, I propose a tight and substantial relationship between the natural (everyday) and artificial (methodological, theoretical) attitudes. I argue that the structure and systems of possibilities pertaining to the artificial attitude - i.e., our actual as well as possible methodological tools - are structurally and well as informationally bound to the structure and system of possibilities pertaining to the natural attitude. In order to explore the nature of the relationship between these two attitudes I argue that we must take a closer look at the structure and abilities of imagining consciousness - the sole nexic-horizonal level that can function both naturally and artificially. This insight regarding the nature of consciousness clarifies Husserl's transcendental idealism in its intimate connection to the everyday. Understanding Husserl's philosophical stance is thus purged of all possibility of mistakenly labeling it as entailing immanent detachment, solipsism, or Platonic idealism. (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)