There is widespread agreement among philosophers that we refer to, think or talk about non-existent objects in much the same way as we refer to, think or talk about other objects. This paper explores the case of objects of fiction in the perspective of Husserlian philosophical phenomenology. In this perspective, everything objective is dealt with as object of some consciousness and as presenting itself in subjective modes. Within the scope of this paper, the focus of the descriptive analysis will be (...) on showing in some detail how conscious experiences of intentionally referring to something fictive in pre-linguistic intuitive acts of imagining something are to be articulated with regard to the object of consciousness, i.e. noematically, and with regard to the intentional act, i.e. noetically. Special attention will be given to the reflective finding of some consciousness being intentionally implied and thereby modified in the very performance of an intentional act of representifying (vergegenwärtigen) something in fiction and to the question of identity and individuation of objects in fiction. It will be argued that modifications occurring in representificational consciousness, which Husserl called ‘as-if’ or ‘quasi’ modifications, provide the key for understanding the phenomenology of fictional intentionality and reference. (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)

While Roman Ingarden is well known for his work in aesthetics and studies in ontology, one of his most important and lasting contributions has been largely overlooked: his approach to a general ontology of social and cultural objects. Ingarden himself discusses cultural objects other than works of art directly in the first section of “The Architectural Work”1, where he develops a particularly penetrating view of the ontology of buildings, flags, and churches. This text provides the core insight into how his (...) more lengthy studies of the ontology of works of art in The Literary Work of Art and the rest of The Ontology of the Work of Art, combined with the ontological distinctions of Der Streit um die Existenz der Welt, may be used to understand social and cultural objects. The view that results, I will argue, is based in foreseeing problems with the reductivist and projectivist views that remain popular, and is capable of resolving central problems still thought to plague those who would offer a theory of cultural objects. (shrink)

For Meinong, familiarly, fictional entities are not created, but rather merely discovered (or picked out) from the inexhaustible realm of Aussersein (beyond being and non-being). The phenomenologist Roman Ingarden, in contrast, offers in his Literary Work of Art of 1931 a constructive ontology of fiction, which views fictional objects as entities which are created by the acts of an author (as laws, for example, are created by acts of parliament). We outline the logic of fiction which is implied by Ingarden’s (...) approach, showing how it distinguishes the properties possessed by fictional objects (for instance of having been created by such and such an author in such and such a work) from characteristics (for instance of smoking a pipe, of living in Baker Street) which are merely associated with such objects. (shrink)

This paper (1) sketches a phenomenological analysis of visual mental imagery; (2) applies this analysis to the mental imagery debate in cognitive science; (3) briefly sketches a neurophenomenological approach to mental imagery; and (4) compares the results of this discussion with Dennett’s heterophenomenology.

This paper sketches a phenomenological analysis of visual mental imagery and uses it to criticize representationalism and the internalist-versus-externalist framework for understanding consciousness. Contrary to internalist views of mental imagery imagery experience is not the experience of a phenomenal mental picture inspected by the mind’s eye, but rather the mental simulation of perceptual experience. Furthermore, there are experiential differences in perceiving and imagining that are not differences in the properties represented by these experiences. Therefore, externalist representationalism, which maintains that the (...) properties of experience are the external properties represented by experience, is an inadequate account of conscious experience. (shrink)

Ingarden distinguishes four strata making up the structure of the literary work of art: the stratum of word sounds and sound-complexes; the stratum of meaning units; the stratum of represented objectivities (characters, actions, settings, and so forth); and the stratum of schematized aspects (perspectives under which the represented objectivities are given to the reader). It is not only works of literature which manifest this four-fold structure but also certain borderline cases such as newspaper articles, scientific works, biographies, and so forth. (...) Ingarden specifies what is characteristic of a work of literature by asserting that all declarative sentences appearing in the stratum of meaning units of such work possess what he calls a quasi-judgmental character. We discuss here Ingarden’s theory of quasi-judgments and draw out its implication that all works of literature are works of fiction through and through. (shrink)

As is made plain in the critical apparatus and editorial matter appended to the original German publication of Hussed's Ideas II, I this is a text with a history. It underwent revision after revision, spanning almost 20 years in one of the most fertile periods of the philosopher's life. The book owes its form to the work of many hands, and its unity is one that has been imposed on it. Yet there is nothing here that cannot be traced back (...) to Hussed himself. Indeed, the final" clean copy" for publication, prepared by an assistant, was completely reviewed by the master three times and emended by him in detail on each occasion. Nevertheless, in the end the work was in fact not submitted for publication, and after Hussed's pen last touched the manuscript in 1928 it was set aside until posthumously edited and published by the Hussed-Archives in 1952. The story of the composition of Ideas II begins with the "pencil manuscript" of 1912. This is the ultimate textual source for both Ideas II and Ideas III. 2 It has been preserved as a folio of 84 sheets in very dense shorthand of the Gabelsberger system, written mostly with a pencil. It was composed by Hussed "in one stroke" immediately after the completion of I Edmund Husser!: Ideen zu einer reinen Phiinomenologie und phiinomenologischen Philosophie. Zweites Buch: Phiinomenologische Untersuchungen zur Konstitution. Edited by Marly Biemel. The Hague: Martinus NijhofT, 1952 (Husserliana IV). (shrink)

The systematic importance of the eidetic account of phantasy for Husserlian phenomenology in general is undisputed, but whether this account can be relevant for Aesthetics has often been put into question. In this paper I argue that Husserl’s rich phenomenology of phantasy, and in particular his account of perceptual phantasy, can nevertheless significantly enhance our understanding of how we recognize and imaginatively participate in artistic fictions. Moreover, I show how Husserl’s peculiar formulation of a non-intuitive phantasy at stake in artistic (...) representation anticipates some uses of the imagination in Aesthetics suggested by Ernst Gombrich and Kendall Walton. (shrink)

What is fiction? It permeates contemporary life: via novels we read, stories we tell, box-sets we watch, and as philosophers, thought experiments we use. Many think it should be characterised in terms of a relation to the imagination. In this essay, I’ll consider prominent expressions of this view, as well as rejections of it. Before this, I’ll introduce two methodological approaches that it’s helpful to distinguish.

Der Herausgeber dieses Jahrbuchs hat geglaubt, mit derVerof- 5 fentlichung der seit dem Erscheinen des ersten Bandes eingelaufenen und zum Teil schon im Herbst 1913 in den Druck gegebenen Arbei­ ten nieht Hinger zogern zu diirfen. So viele geistige Krafte dieser unheilvolle Krieg fesselt und leider auch zerstort, wirklich unterbin­ den kann und wird er das deutsche Geistesleben nieht. Nach wie vor 10 ist es beseelt von der ererbten Liebe zu den Ewigkeitswerten der Kultur, und immerfort wirkt es sich aus (...) in treuer Arbeit an ihren groBen Aufgaben. 1m besonderen unsere phanomenologische Philo­ sophie hat nicht geruht, auch ist ihr unverkennbar das warme Inter­ esse wissenschaftlicher Kreise erhalten geblieben. So diirften die bei- 15 den Bande, in die wir die bereitliegenden Arbeiten verteilt haben, nieht unwillkommen geheiBen werden. Die neuen Jahrbuchsarbeiten unterscheiden sieh ganz so wie die des ersten Bandes nieht nur durch ihre Themen, sondern auch durch die merklich nuancierten Auffas­ sungen, die sieh ihre Verfasser iiber Ziele, Methoden und mancherlei 20 Einzelfragen der phlinomenologisehen Forsehung gebildet haben. Es brauchte eigentlich nieht gesagt zu werden und muG es doeh ange­ siehts vorgekommener MiBverstlindnisse, daB der Herausgeber nur fiir seine eigenen Arbeiten die Verantwortung iibernimmt so wie jeder Mitarbeiter fiir die seinen. Sieherlieh ist die innere Gemein- 25 samkeit der "Phanomenologen" darum doch keine geringere, ja eher eine groBere als innerlhalb irgendwelcher sonstigen Forschungs- [VI] gemeinschaften, z. B. der der Experimental-Psychologen. (shrink)

This paper explores the close connection in early phenomenology between the problem of objectless presentations and the concept of intentional objects. It clarifies how this basic concept of Husserl’s early phenomenology emerged within the horizons of Bolzano’s logical objectivism, Brentano’s descriptive psychology, Frege’s mathematical logicism, Twardowski’s psychological representationalism, and Meinong’s object theory. It shows how in collaboration with these thinkers Husserl argued that a theory of intentionality is incomplete without a concept of the intentional object. It provides a brief history (...) of the concept of intentional objects in the philosophical logic of the nineteenth century that demonstrates its relevance to the problem of objectless presentations in the early phenomenology of the twentieth century. It suggests that Husserl accepts Bolzano’s objectivism and Frege’s logicism, rejects Brentano’s conception of immanent objects and Twardowski’s notion of representational pictures, and ignores Meinong’s theory of objects. Thus the paper employs the formation of Husserl’s concept of the intentional object to enhance the understanding of the historical and philosophical relationships between early phenomenology and contemporaneous philosophical movements. (shrink)

Unser Beitrag versucht eine systematische Auslegung des Begriffs der „perzeptiven Phantasie , den Husserl in einigen Aufzeichnungen zum Bildbewusstsein anwendet. Dabei werden drei der wesentlichen Aspekte, die in der Husserl-Literatur das Thema Bild durchgehend bestimmen, einer gründlichen Analyse unterzogen: der Begriff des „Widerstreitbewusstseins , die Idee der „Neutralität und die Scheidung zwischen Impression und Reproduktion. Jedes dieser Themen spielt eine wesentliche Rolle in der husserlschen Auslegung des Bildbewusstseins. Dabei sind aber alle diese Themen, wie wir zeigen wollen, letztlich von einem (...) Einstellungsunterschied bestimmt, der im späteren Nachlass Husserls zwischen Erfahrung und Phantasie besteht. Ausgehend von Husserls Unterscheidung zweier Bedeutungsrichtungen des Begriffs „Phantasie – als „Reproduktion einerseits und als „Modus des Vollzugs andererseits – soll bewiesen werden, dass der Ausdruck „perzeptive Phantasie keineswegs den Beitrag von reproduktiven Akten zur Konstitution der Bildlichkeit betrifft, sondern eben die Tatsache, dass der Bildbetrachtung eine eigentümliche Einstellung, jene des „Als-ob , entspricht. (shrink)

Because imagination constitutes an indispensable tool of phenomenology, e.g., in understanding another author’s description, in eidetic reduction, etc., the practicability of phenomenological method and its claim to objectivity ought to be reconsidered with regard to its dependence on imagination. Auditory imagery serves to illustrate problems involved in grasping and analyzing imaginative contents – loudness in this case. Similar to phonetic segmentation and classification, phenomenologists segment and classify mental acts and contents. Just as phoneticians rely on experts’ evaluations of notations to (...) reach valid results, phenomenologists may try to develop similar agreement procedures to escape the ‘subjectivism’ of their solitary first-person approach. (shrink)

In this paper I trace Husserl’s transformation of his notion of phantasy from its strong leanings towards empiricism into a transcendental phenomenology of imagination. Rejecting the view that this account is only more incompatible with contemporary neuroscientific research, I instead claim that the transcendental suspension of naturalistic (or scientific) pretensions precisely enables cooperation between the two distinct realms of phenomenology and science. In particular, a transcendental account of phantasy can disclose the specific accomplishments of imagination without prematurely deciding upon a (...) particular scientific paradigm for its experimental investigation; a decision that is best left to the sciences themselves. (shrink)

A good phenomenological theory must be able to account equally well for our experiences of veridical perception and hallucination, for our thoughts about universities, colors, numbers, mythical figures and more. For all of these are characteristic mental acts, and a theory of intentionality should be a theory of conscious acts in general, not just of consciousness of a specific kind of thing or of a specific kind of consciousness. In so far as phenomenology purports to be a general study of (...) intentional acts of consciousness, it must be able to account for acts with all kinds of objects and with all kinds of thetic character. Any limitation of these features puts the theory in danger of being an explanation of only some kinds of mental act, and of mis-characterizing the nature of intentionality in general. (shrink)

The years of study on Husserl’s theory of intentionality have led to a number of non-equivalent interpretations. The present work attempts to investigate the most prominent of these by presenting both their advantages and difficulties. However, its key point is specifically the analysis of Husserl’s theory. This is made in several stages that are concerned with the relation between noesis and noema: whether it is one-to-one or many-to-one, the kind of transcendency and dependency between them, and whether noema supervenes on (...) noesis. Moreover, Husserl’s theory is also examined in—usually ignored—instances of contradiction, nonsense and intentional conflict. The outcome is a fresh reading in which noema occurs as the possibly thinkable content capable of constituting multi-objective references and composed of pure X explained in terms of syntactic matter and form. (shrink)

Weak phantasmata have a decisive and specifically transcendental function in our everyday perception. This paper provides several different arguments for this claim based on evidence from both empirical psychology and phenomenology.

Until now, a systematic new evaluation of transcendental phenomenology that gives due attention to the analytic philosophy of mind has been lacking, despite several recent studies in this area. With an emphasis on Husserl’s anti-representationalist theory of the intentionality of consciousness, the present study demonstrates phenomenology’s descriptive and explanatory potential and presents it as a serious interlocutor not only for the philosophy of mind and cognition but also for contemporary language philosophy and epistemology.

Im ersten Teil der »Formalontologie« werden zunächst alle in Frage kommenden Begriffe der Form, die häufig genug in der Philosophie ohne genügende Klärung verwendet werden, geschieden, analysiert und genau definiert. Die Aufklärung der Grundform des seinsautonomen individuellen Gegenstandes und seiner Abwandlungen - des Ereignisses, des Vorgangs und des in der Zeit verharrenden Gegenstandes - bildet das erste Hauptthema der formalontologischen Untersuchung. Sodann werden die Formen des rein intentionalen Gegenstandes, der Idee, des Sachverhalts und des Verhältnisses analysiert. Die Gegenüberstellung schließlich des (...) Wesens eines zeitlich bedingten Gegenstandes und seiner veränderlichen Bestimmtheiten ermöglicht es, das schwierige Problem der Identität des in der Zeit verharrenden Gegenstandes zu fassen und eine Lösung vorzubereiten, die im zweiten Halbband gegeben wird, ehe das Problem der Form eines Seinsgebietes und insbesondere einer Welt aufgeworfen werden kann. (shrink)