Diese Arbeit wird wesentliche Fragen über das kollektive Imaginär und seine Beziehungen zur Realität und Wahrheit ansprechen. Zunächst sollten wir dieses Thema in einem konzeptionellen Rahmen ansprechen, gefolgt von der entsprechenden Tatsachenanalyse demonstrierbarer Verhaltensrealitäten. Wir werden nicht nur die Methodik, sondern vor allem die Prinzipien und Sätze der analytischen Philosophie annehmen. Die vorliegende Arbeit beruht analytischer Reflexion. Wir werden so umfassend und tief wie möglich spekulieren und die Ergebnisse unserer Gedanken ausdrücken. Trotz des multidisziplinären Charakters des Themas und der methodischen (...) Offenheit für die Annahme. Beiträge aus jedem Bereich der Wissenschaft, diese Arbeit gehört zu Psychologie und Ontologie oder, mit anderen Worten, soziale und ontologische Psychologie. Die freie Methodik, die solche Reflexionen leitet, umfasst und betrachtet alles, was sich der Kohärenz mit der philosophischen und psychologischen Epistemologie nähert. Diese Methodik verfolgt keine Beweise, sondern sucht nach der Wechselbeziehung zwischen bestehenden Beweisen jeglicher Art und Größe, die eine kohärente Bedeutung zu den realen Dingen ableiten. Der Hauptbereich dieses Titels besteht darin, zu beobachten, wie einige der wesentlichen evolutionären Attribute der Menschheit, wie Kreativität, Fantasie und Assoziation, zu einer gefährlichen Krankheit werden können, die in den Nebelschatten der Intelligenz versteckt ist. (shrink)

According to Phenomenal Conservatism (PC), if a subject S has an appearance that P, in the absence of defeaters, S has justification for believing P by virtue of her appearance's inherent justifying power. McCain and Moretti (2021) have argued that PC is affected by the problem of reflective awareness: if S becomes reflectively aware of an appearance, the appearance loses its inherent justifying power. This limits the explanatory power of PC and reduces its antisceptical bite. This paper provides a novel (...) argument to the same conclusion and contends that it does not apply to Phenomenal Explanationism, the appearance-based account of justification alternative to PC defended by McCain and Moretti (2021). (shrink)

I contend that the well-established phenomenological distinction between reflective and pre-reflective self-awareness needs to be further supplemented with more refined distinctions between different modes of pre-reflective self-awareness. Here I distinguish between five modes, which we come across in perception, lucid dreams, non-lucid dreams, daydreams, and episodic memory. Building on the basis of a phenomenological description, I argue that perception entails the pre-reflective self-awareness of the perceiving ego; non-lucid dreams implicate the pre-reflective self-awareness of the dreamed ego; in the case of (...) lucid dreams and daydreams, we are faced with a split pre-reflective self-awareness, which entails the self-awareness of the dreaming and the dreamed ego. Lastly, in the case of episodic recollection, we are confronted with a threefold pre-reflective self-awareness: the self-awareness of the remembered ego, the remembering ego, and of the temporal unity of experience. The phenomenological analysis here offered leads to the conclusion that pre-reflective self-awareness need not be spoken of in the singular, but in the plural, and that while some modes of pre-reflective self-awareness constitute the foundations of selfhood, others enable the subject of experience to flee its facticity and become someone other than it is. (shrink)

Several strands of contemporary cognitive science and its philosophy have emerged in recent decades that emphasize the role of action in cognition, resting their explanations on the embodiment of cognitive agents, and their embedding in richly structured environments. Despite their growing influence, many foundational questions remain unresolved or underexplored for this cluster of proposals, especially questions of how they can be extended beyond straightforwardly visuomotor cognitive capacities, and what constraints the commitment of embodiment places on the ontology of explanations. This (...) special issue aims to contribute to these foundational debates by drawing on important precursors to embodied cognition in mid-twentieth century gestalt psychology, its immediate successor ecological psychology, and their dialectical counterpart, phenomenology. Gestalt psychologists and phenomenologists wrestled with many of the same foundational questions that still haunt us today, in a manner that seems refreshing in hindsight, and poised to contribute constructively to contemporary debate. Looking back on this history reveals deep commonalities across competing embodied approaches, exposing fundamental tensions that remain unresolved, but also paving the way to a more ecumenical and conciliatory embodied cognitive science. (shrink)

In his paper, The Transparency of Experience, M.G.F. Martin has put forward a well- known – though not always equally well understood – argument for the disjunctivist, and against the intentional, approach to perceptual experiences. In this article, I intend to do four things: (i) to present the details of Martin’s complex argument; (ii) to defend its soundness against orthodox intentionalism; (iii) to show how Martin’s argument speaks as much in favour of experiential intentionalism as it speaks in favour of (...) disjunctivism; and (iv) to argue that there is a related reason to prefer experiential intentionalism over Martin’s version of disjunctivism. (shrink)

This paper seeks to integrate analytic philosophy and phenomenology. It does so through an approach generated, specifically, in relation to imagination and its cognitive significance. As an Introduction, some reservations about existing phenomenological approaches to imagination—in the work of Sartre and Edward S. Casey—are considered. It is argued that their introspective psychological approach needs to be qualified through a more analytic orientation that determines essence, initially, on the basis of public discourse concerning the term ‘imagination.’ Part One then articulates this (...) orientation through an ‘analytic reduction’ that identifies imagination’s essence in public discourse as thought in its quasi-sensory mode. Part Two offers a sustained phenomenological investigation of this essence, and identifies four major intrinsic features. On the basis of this, Part Three shows how imagination is implicated, centrally, in the capacity to acquire language. In Conclusion the proceeding arguments are defended against possible objections, and a final key summarizing argument is formulated to show that imagination must be regarded, also, as necessary to perception and its capacity to articulate a world. The paper ends with a few thoughts on the further potential of post-analytic phenomenology. (shrink)

When we see something in a picture, do we enjoy visual experience as of the depicted object? Gombrichians say yes: when viewing ordinary pictures we simultaneously see the picture and seem to see its object. But why, then, isn’t seeing-in contradictory, and how are these two elements somehow integrated into a single experience? Gombrichians’ attempts to answer appeal either to our awareness of the picture’s design, or to the idea that picture and object are not given as in the same (...) place. I argue that neither answer is successful, and thus that Gombrichianism is false. (shrink)

This essay engages ways in which the manifestation of ‘world’ occurs in poetry specifically through images, and how we can conceive of the imagination in this regard without reducing the imagination to a mimetic faculty of consciousness subordinate to cognition. Continental thought in the last century offers rich resources for this study. The notion of a ‘world’ is related to the poetic image in ways fundamental to the Heidegger’s theory of language, and may be seen in Continental poetics following Heidegger, (...) including Blanchot’s examination of poetry in his account of the space of literature. By means of images, I shall demonstrate, poetic language is exemplary in relation to ‘world’ in two ways. (1) Images, poetically arranged, generate and open up a sense or experience of a world, specific to that poem, for its reader. Poetic images then, exhibit a generative evocation of world. (2) Through images, a poem may evoke the way in which space and time are inhabited as a world of human dwelling in an ontologically or existentially meaningful way. The relation of images to world is, then, an illumination or a disclosure of world. The first of these relations remains, to a large extent, immanent to the poem, but may be seen as an analogue of the essentially human experience of inhabiting a world. The second relation transcends the poem and relates the poem immediately to the existential framework of human dwelling. (shrink)

In his paper, The Transparency of Experience, M.G.F. Martin has put forward a well- known – though not always equally well understood – argument for the disjunctivist, and against the intentional, approach to perceptual experiences. In this article, I intend to do four things: (i) to present the details of Martin’s complex argument; (ii) to defend its soundness against orthodox intentionalism; (iii) to show how Martin’s argument speaks as much in favour of experiential intentionalism as it speaks in favour of (...) disjunctivism; and (iv) to argue that there is a related reason to prefer experiential intentionalism over Martin’s version of disjunctivism. (shrink)

This collection brings together a selection of my recently published or forthcoming articles. What unites them is their common concern with one of the central ambitions of philosophy, namely to get clearer about our first-personal perspective onto the world and our minds. Three aspects of that perspective are of particular importance: consciousness, intentionality, and rationality. The collected essays address metaphysical and epistemological questions both concerning the nature of each of these aspects and concerning the various connections among them. More generally, (...) given that intentionality and ratio- nality are both normative phenomena, the main theme of the articles is the relationship between consciousness and normativity and the centrality of this relationship to our first-personal perspective. -/- This focus culminates in the defense of two specific views, experiential rationalism and experiential intentionalism. The first is, very roughly, the view that how our mental episodes are given in consciousness reflects their rational role in our mental lives: it is part of what our mental episodes subjectively are like that we phenomenally experience them as providing and/or responding to certain kinds of reasons. The central claim of the second view, on the other hand, is that the intentionality of our mental episodes is essentially linked to consciousness and involves a token-reflexive element: they intentionally present not only the world, but also themselves as being a certain way. -/- Some of the essays also deal with the contrast between our first- and our third-personal perspectives and the — to some extent related — division of labour between philosophy and the empirical sciences. Both perspectives have their limitations and sometimes conflict with each other, raising the question of what the consequences are for accounts of our first-personal knowledge and its internal or external objects. (shrink)

In this paper, I would like to put forward the claim that, at least in some central cases, visualising consists literally in imagining seeing. The first section of my paper is concerned with a defence of the specific argument for this claim that M. G. F. Martin presents in his paper 'The Transparency of Experience' (Martin 2002). This argument has been often misunderstood (or ignored), and it is worthwhile to discuss it in detail and to illus­trate what its precise nature (...) is and why I take it to be sound. In the second section, I present a second and independent argument for the claim that visualising is imagining seeing, which is not to be found in Martin's writings, despite some crucial similarities with his own argument ‒ notably in the focus on the subjective aspects of visual experience. The last section deals with a particular objection to the idea that imagining takes perception as its direct object and says a bit more about how best to understand this claim. (shrink)

Although better known for his phenomenology of perception and the perceived world, Merleau-Ponty’s writings also contain the outlines of a rich and unique account of the imagination and the imaginary. In this paper, I explicate the phenomenology of the image that Merleau-Ponty develops throughout his work. I show how Merleau-Ponty develops this account of the image in critical response to Sartre and in a way that follows from his own descriptions of what painters do when they paint and of what (...) we experience when we look at their paintings. The investigation of the particular mode of being of images leads to a consideration of the body and Merleau-Ponty’s later ontology. (shrink)

Until now post-structuralism and phenomenology are widely regarded as opposites. Contrary to this opinion, I am arguing that they have a lot in common. In order to make my argument, I concentrate on Judith Butler’s poststructuralist concept of performativity to confront it with Maurice Merleau-Ponty’s phenomenological concept of expressivity. While Butler claims that phenomenological theories of expression are in danger of essentialism and thus must be replaced by non-essentialist theories of performativity, I hold that Merleau-Ponty’s concept of expressivity must strictly (...) be understood in anti-essentialist terms. Following this line of interpretation, “expressivity” and “performativity”—as well as phenomenology and post-structuralism—are not opposites but partners in the search for an anti-essentialist gender concept. Consequently, feminist phenomenology turns out to be a non-essentialist approach that combines phenomenological and post-structural insights. (shrink)

This dissertation is a contribution to the contemporary field of phenomenological psychopathology, or the phenomenological study of psychiatric disorders. The work proceeds with two major aims. The first is to show how a phenomenological approach can clarify and illuminate the nature of psychopathology—specifically those conditions typically labeled as major depressive disorder and bipolar disorder. The second is to show how engaging with psychopathological conditions can challenge and undermine many phenomenological presuppositions, especially phenomenology’s status as a transcendental philosophy and its corresponding (...) anti-naturalistic outlook. In the opening chapter, I articulate the three layers of the subject matter of phenomenological research—what I refer to as “existentials,” “modes,” and “prejudices.” As I argue, while each layer contributes to what we might call the “structure” of human existence, they do not do so in the same way, or to the same degree. Because phenomenological psychopathology—and applied phenomenology in general—aims to characterize how the structure of human existence can change and alter, it is paramount that these layers be adequately delineated and defined before investigating these changes. In chapters two through five, I conduct hermeneutic and phenomenological investigations of psychopathological phenomena typically labeled as major depressive disorder or bipolar disorder. These investigations address the affective aspects of depression and mania, and the embodied aspects of depression. In addition to clearly articulating the nature of these phenomena, I show how certain psychopathological conditions involve changes in the deepest or most fundamental layer of human existence—what I refer to as existentials. As I argue, many of the classical phenomenologists (including Husserl and Heidegger) believed that these structural features were necessary, unchanging, and universal. However, this presupposition is challenged through the examination of psychopathological and neuropathological conditions, undermining the status of phenomenology as a transcendental philosophy. While this challenge to classical phenomenology is only sketched in the early chapters, in chapters six and seven I develop it in more detail in order to achieve two distinct ends. In chapter six I argue that psychopathology and neuropathology not only challenge phenomenology’s status as a transcendental philosophy, but also supply a key to developing a phenomenological naturalism (which I contrast with a naturalized phenomenology). Phenomenological naturalism, as I articulate it, is a position in which phenomenology is not subsumed by the metaphysical and methodological framework of the natural sciences, but nonetheless maintains the capacity to investigate how the natural world stands independent of human subjectivity (and how events in the natural world can bring about changes in the most fundamental structures of human existence). In the seventh chapter I argue that a phenomenology in which existentials are contingent and variable rather than necessary and unchanging allows phenomenologists to contribute to new dimensional approaches to psychiatric classification. Rather than begin from distinct categories of disorder, these approaches begin from distinct core features of human existence. These features, referred to as either dimensions or constructs, can vary in degree and are studied in both normal and pathological forms. (shrink)

I argue that imagination has an inherently paradoxical structure: it enables one to flee one’s socio-cultural reality and to constitute one’s socio-cultural world. I maintain that most philosophical accounts of the imagination leave this paradox unexplored. I further contend that Paul Ricoeur is the only thinker to have addressed this paradox explicitly. According to Ricoeur, to resolve this paradox, one needs to recognize language as the origin of productive imagination. This paper explores Ricoeur’s solution by offering a detailed study of (...) reproductive and productive imagination in the framework of poetic imagination. My analysis subjects Ricoeur’s distinction between reproductive and productive imagination to a critique that relies upon the principles of classical phenomenology. According to my central thesis, the imaginative powers of language are themselves rooted in perception. This thesis broadens the scope and significance of Ricoeur’s solution by enabling one to resolve the paradox of imagination not only at the level of language-based imagination, but also at the level of dreams and daydreaming as well as at the level of non-language based art. No less significantly, this thesis enables one to open a fresh dialogue between phenomenology and hermeneutics. (shrink)

The consensus is that repeatable artworks cannot be identified with particular material individuals. A perennial temptation is to identify them with types, broadly construed. Such identification, however, faces the so-called “Creation Problem.” This problem stems from the fact that, on the one hand, it seems reasonable to accept the claims that (1) repeatable artworks are types, (2) types cannot be created, and (3) repeatable artworks are created, but, on the other hand, these claims are mutually inconsistent. A possible solution to (...) the Creation Problem is to argue that claim (2) can be rejected because (a) the only motivation for it is that a type, being abstract, cannot stand in causal relations, but (b) this motivation is ungrounded, since types can, in fact, stand in such relations. Clearly, in order for this solution to be successful, it is necessary to substantiate the possibility of types to be causally efficacious. In this essay, I examine an attempt to do this with the help of Yablo’s principle of proportionality, which has been undertaken by Walters (2013) and, more recently, Juvshik (2018). Although the argument they advance may seem to provide strong support for the causal efficacy of types, I think it actually fails to do this. To explain why this is so, I first show that this argument commits us to the existence of widespread causal overdetermination involving types and then argue that this commitment is both epistemically and ontologically problematic. (shrink)

It is a widely held view among scholars and commentators on the works of Jean-Paul Sartre that his corpus can be roughly divided into an early, largely a-political, non-Marxist period, and a later, more overtly political, post-liberation period. InThe Early Sartre and Marxism, Sam Coombes seeks to problematise this interpretation of Sartre’s corpus by undertaking a re-evaluation of a wide array of pre-liberation and early post-liberation writings in order to establish the extent to which views fully consistent with a certain (...) brand of Marxism are already present therein. The later period, he argues, does not so much constitute a break from the early work as a more complete development of certain nascent themes and concerns. There are difficulties inherent in any claim that Sartre’s early work is consonant with Marxism, primarily due to the fundamental incompatibilities between Sartre’s ontological description of liberation as a project of individual freedom and the inherent hostility of interpersonal relations, and Marxism’s requirements of the development of class consciousness and social solidarity for revolutionary action. Nonetheless, the modest claim that through the 1930s and early ’40s themes and ideas are appearing in Sartre’s work that are indeed not abandoned but constitute the basis of Sartre’s later more directly Marxist writings is compelling and may serve to reopen fruitful speculative philosophical dialogue between Sartre’s early existentialism and Marxism. (shrink)

Imagination is crucial to Joseph Margolis’ philosophy: he addresses its significance for the experience of works of art and, more importantly, he portrays it as constitutive of human reality itself. I explicate these claims and define Margolis’ notion of imagination vis-à-vis Jean-Paul Sartre’s, whose own conception of imagination Margolis rejects. Studying Margolis and Sartre in relation to each other illuminates crucial differences between their positions and highlights the different commitments that underlie their philosophical anthropology as a whole. In the conclusion (...) of this paper, I argue that there are in fact certain affinities between their positions and suggest that we think of the problem of imagination meta-philosophically, as a problem that guides philosophical thought in its various attempts to define the human. (shrink)

Through the concept of enjoyment in Levinas, this paper examines the phenomenological and ontological dimension of everyday aesthetics. Enjoyment, in Levinas, forms an essential element in the constitution of the subjectivity of the human being and is no longer to be seen as a moment of ‘inauthenticity’ or ‘alienation’. The experience of the objects of everyday experience is not related to that of objects of representation or of tools, but rather to that of a system of nourishment into which the (...) subject is integrated, as in an ‘element’ or ‘atmosphere’. This constitutive closeness of enjoyment indicates the fundamental difference between what we understand as everyday aesthetics and other aesthetics characterised by contemplation or disinterest. (shrink)

Seemingly a minor part of L’Imaginaire, Sartre’s literary examples therein are of great significance especially in the way they highlight the implicit yet crucial role of linguistic signs and words in his psychology of the image. While commenting on the act of reading a novel, he views literary words practically as images, endowing them with both an affective and representative status and illustrating the word-image through the figure of a drawing or dessin. The novel’s word-images or dessins solve an important (...) problem in his phenomenology: in order to represent, they do not need an original perception as other, more typical images do. While the dessin suggests the opportune possibility of representation without presentation, it also introduces ambiguity in meaning, running counter to Sartre’s demand that linguistic signification be clear and transparent. Sartre attempts to contain such ambiguity by ascribing the image-like, representative use of words to poetry in What’s Literature? but I argue that the dessin indeed allows for a more comprehensive understanding of the linguistic sign and representation that covers both poetry and prose. (shrink)