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By Edmund Husserl
This is often the 1st English translation of Husserliana XXIII, the amount within the severe variation of Edmund Husserl's works that gathers jointly a wealthy array of posthumous texts on representational cognizance. The lectures and sketches comprising this paintings make on hand the main profound and accomplished Husserlian account of snapshot awareness. They discover phantasy intensive, and provide nuanced debts of conception and reminiscence.
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Extra info for Phantasy, Image Consciousness, and Memory (1898–1925)
Example text
Re-present their object in the phantasy image, just as ordinary image presentations do their re-presenting in the physical image” (117). In texts from the 1905 lectures, he drew a strict parallel between the two kinds of consciousness and claimed to find a community of essence between them (22, 70). The most prominent characteristic they share, he thought, was the possession of two objects: the image, which actually appears, and the subject of the image, which does not actually appear. (69). It is therefore not the phantasied object itself that we experience in phantasy.
The third kind of conflict involves the subject of the imaging and is empirical in nature. There will be conflicts between a subject as it appears in an image and the subject as it would or does appear in an actual perception. The child in a snapshot, for example, will appear smaller than in actual life, and the image-child’s appearing colors will be much different from what they would be if one were actually perceiving the child herself. “There are no human beings in photographic colors,” Husserl writes (175).
If, for example, I settle into my seat before a recital with only a sketchy notion of what I am going to hear, I will have a vague expectation. On the other hand, if I expect to hear a song with which I am fully familiar and if I “present it precisely, in advance” (356), displacing it into the future and letting it run its course beforehand, my expectation will be explicit. A month later I might remember that I heard the song, but recall little else about the experience. I could, however, replace this vague memory with an explicit one in which what is past “ ‘runs its course once again’ ” (356) in a reliving of the original experience in its successive phases.