By Andrea Staiti
This can be the 1st whole serious remark of Husserl's seminal paintings principles for a natural Phenomenology and Phenomenological Philosophy. major overseas students supply an in depth interpreting, interpreting arguments and phenomenological descriptions, connecting them to Husserl's prior and later works, and fascinating very important secondary resources.
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Additional resources for Commentary on Husserl’s Ideas I
Crane, Tim (2013): The Objects of Thought. Oxford: Oxford University Press. Dretske, Fred I. (1980): “The Intentionality of Cognitive States”. In: Midwest Studies in Philosophy 5, pp. 281 – 94. Drummond, John J. (1990): Husserlian Intentionality and Non-Foundational Realism: Noema and Object. Dordrecht: Kluwer Academic Publishers. Drummond, John J. (1992): “De–Ontologizing the Noema: An Abstract Consideration”. ): Phenomenology of the Noema. Dordrecht: Kluwer Academic Publishers, pp. 89 – 109. Drummond, John J.
The song, say, intruded upon my thinking about what to write, and when the song ends or I “put it out of mind” and return to my writing, I am aware of a new experience. In hearing the song, I am aware, in other words, of my hearing as forming a temporally extended unity with its own position in the course of my experience. This reveals a double aspect to my self-awareness. I am aware of my occurrent experience as a temporal unity and I am aware of it as having its own temporal position in the flow of my experience.
The ideal presentation, too, is possible only insofar as we can construct a progression of actual and imagined cases of, say, a figure, a progression that approaches an ideal of exactness in, for example, the reproduction of angular or length relationships. The ideal presentation, in other words, has its foundation in the experience of the actual and imaginative variations thereof. It is ideal only in its union and contrast with that series of actualities and possibilities in the real world rather than in a fundamental separation from the real (Drummond 1995, pp.
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