This volume provides an articulate restatement of many of the themes of Husserlian phenomenology.

These lectures are the first extensive application of Husserl's newly developed genetic phenomenology to perceptual experience & to the way in which it is connected to judgments & cognition. Students of phenomenology will find this work indispensable.

One of the cornerstone books of Western philosophy, Critique of Pure Reason is Kant's seminal treatise, where he seeks to define the nature of reason itself and builds his own unique system of philosophical thought with an approach known as transcendental idealism. He argues that human knowledge is limited by the capacity for perception and attempts a logical designation of two varieties of knowledge: a posteriori, the knowledge acquired through experience; and a priori, knowledge not derived through experience. This accurate (...) translation by J. M. D. Meiklejohn offers a simple and direct rendering of Kant's work that is suitable for readers at all levels. (shrink)

Translator's introduction: The germinal structure of Derrida's thought -- Translator's note -- Introduction -- Sign and signs -- The reduction of indication -- Meaning as soliloquy -- Meaning and representation -- The sign and the blink of an eye -- The voice that keeps silent -- The originative supplement.

This paper demonstrates that Edmund Husserl’s frequently overlooked 1890 manuscript, “On the Logic of Signs,” when closely investigated, reveals itself to be the hermeneutical touchstone for his seminal 1891 Philosophy of Arithmetic. As the former comprises Husserl’s earliest attempt to account for all of the different kinds of signitive experience, his conclusions there can be directly applied to the latter, which is focused on one particular type of sign; namely, number signs. Husserl’s 1890 descriptions of motivating and replacing signs will (...) be respectively employed to clarify his 1891 understanding of the authentic and inauthentic presentations of numbers via number signs. Moreover, his schematic classification of replacement-signs in Semiotic will illuminate the reasons why he believed the number system to be necessary for the operation of replacing number signs. (shrink)

The ability to think of something not presently perceived, but spatio-temporally real. (2) The ability to think of whatever one acknowledges as possible in the spatio-temporal world. (3) The liability to think of something that the subject believes to be real, but which is not. (4) The ability to think of things that one conceives of as fictional. (5) The ability to entertain mental images. (6) The ability to think of anything at all. (7) The non-rational operations of the mind, (...) that is, those explicable in terms of causes rather than reasons. (8) The ability to form perceptual beliefs about public objects in space and time. (9) The ability to sensuously appreciate works of art or objects of natural beauty without classifying them under concepts or thinking of them as useful. (10) The ability to create works of art that encourage such sensuous appreciation. (11) The ability to appreciate things that are expressive or revelatory of the meaning of human life. (12) The ability to create works of art that express something deep about the meaning of life. (shrink)

QUESTIONS DE METHODE I. Au contraire de Sartre qui, a partir de quelques elements cueillis dans les ecrits de HusserI concernant la conscience ima geante, a bllti sa propre doctrine de!'imagination, nous nous proposons de reconstituer, a partir de ces m~mes elements, ce qu'on pourrait appeler la theort:e husserlienne de l'imagination, c'est-a-dire la theorie que HusserI eut lui-m~me construite, s'il avait reuni en une synthese les elements qu'il a laisses epars. Une entreprise de ce genre est toujours delicate et souleve (...) des prob!emes difficiles - a commencer par celui de sa legitimite. N ous ecartons d'emblee l'objection d'ordre general qui contesterait Ie droit de systematiser dans l'reuvre d'un auteur ce que lui-m~me a laisse disperse et eventuellement inacheve. Par un tel scrupule, on sacrifie sans doute a la rigueur historique mais on est beaucoup moins soucieux de penetrer une pensee dans son dynamisme in terne et profond et, en derniere analyse, on protege les droits de l'archeologie mais non pas ceux de la culture et de son progreso Nous pensons a une difficulte beaucoup plus serieuse; de sa so lution depend l'attitude a adopter en face des textes dont nous devons nous servir dans notre etude. Nous utilisons des ouvrages qui couvrent la totalite de la car riere philosophique de HusserIl. (shrink)

This chapter concentrates on the nature of the image as it presents itself in experience, with its remarkable capacity to represent within itself people, events, emotions, and many other things, and with its place in art. The Husserlian perspective has many affinities with more recent investigations of images. The physical dimension of image plays an important role in imaging and has been largely neglected by philosophers, though not by artists. The uniqueness of image consciousness rests in its ability to see (...) something in something else. Then, the chapter assesses the differences between image consciousness and symbolic or signitive consciousness. The resemblance in image consciousness must precisely not be perfect; it must be paired with and permeated by difference and even conflict. Images improve experience by folding into themselves the world. (shrink)

The concept of imagination is notoriously ambiguous. Thus one must be cautious not to use ‘imagination’ as a placeholder for diverse phenomena and processes that perhaps have not much more in common than that they are difficult to assign to some other, better defined domain, such as perception, conceptual thought, or artistic production. However, this challenge also comes with great opportunities: the fecundity and openness of ‘imagination’ appeal to researchers from different disciplines with different approaches and questions, and it draws (...) together fields of enquiry that are initially considered far apart. Hence, arguably, the field of imagination is particularly poised for interdisciplinary enquiry. In the section on Imagination in Interdisciplinary Research, I will talk about some of the issues that have already entered that field of interdisciplinary inquiry. (shrink)

In the Logical Investigations, Husserl argues that “sign” is an ambiguous word because it refers to two essentially different signitive functions: indication and expression. Indications work in an evidential way, providing information through a direct association of the sign and the presence of an object or state of affairs. Expressions work in a non-evidential way, pointing to possible experiences and displaying that the speaker or someone else has had such experience. In this paper I show that Husserl went back to (...) the distinction between indications and expressions in a much later text, a manuscript from 1931, in order to distinguish between two kinds of communication with different essential features. I call these indicative and expressive communication. My claim is that Husserl’s distinction between these two types of communication is a crucial contribution to the phenomenology of knowledge sharing. In knowledge sharing, we appropriate someone else’s knowledge as someone else’s knowledge. Husserl shows that only expressive communication, and not indicative communication, makes this appropriation possible. Since Husserl argues that only humans use expressive communication, his analysis of indicative and expressive communication is also a contribution to understanding the uniquely human capacity for accumulating knowledge. (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)

It is commonly believed that Edmund Husserl (1859-1938), well known as the founder of phenomenology and as the teacher of Heidegger, was unable to free himself from the framework of a classical metaphysics of subjectivity. Supposedly, he never abandoned the view that the world and the Other are constituted by a pure transcendental subject, and his thinking in consequence remains Cartesian, idealistic, and solipsistic. The continuing publication of Husserls manuscripts has made it necessary to revise such an interpretation. Drawing upon (...) both Husserls published works and posthumous material, Husserls Phenomenology incorporates the results of the most recent Husserl research. It is divided into three parts, roughly following the chronological development of Husserls thought, from his early analyses of logic and intentionality, through his mature transcendental-philosophical analyses of reduction and constitution, to his late analyses of intersubjectivity and lifeworld. It can consequently serve as a concise and updated introduction to his thinking. (shrink)

Edmund Husserl (1859–1938) is the founder of the phenomenological movement which has profoundly influenced twentieth‐century Continental philosophy. The historical setting in which his thought took shape was marked by the emergence of a new psychology (Herbart, von Helmholtz, James, Brentano, Stumpf, Lipps), by research into the foundation of mathematics (Gauss, Rieman, Cantor, Kronecker, Weierstrass), by a revival of logic and theory of knowledge (Bolzano, Mill, Boole, Lotze, Mach, Frege, Sigwart, Meinong, Erdmann, Schröder), as well as by the appearance of a (...) new theory of language (Peirce, Marty). This context is thus very like that which gave birth to the Vienna Circle. Though Husserl's study of classical thinkers began with the British empiricists (Locke, Berkeley, and in particular Hume), he later turned almost exclusively to the writings of Kant, Descartes, and Leibniz. As for his contemporaries outside the phenomenological movement, Husserl's closest – though always critical – engagement was with the neo‐Kantians (Rickert and, above all, Natorp). (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)

Hegel's philosophy of mind -- Section I: Subjective mind. Anthropology, the soul ; Phenomenology of mind ; Psychology, the mind -- Section II: Objective mind. Right ; Morality ; Ethical life -- Section III: Absolute mind. Art ; Revealed religion ; Philosophy -- Commentary.