Although productive imagination has played a highly significant role in (post-) Kantian philosophy, there have been very few book-length studies explicitly dedicated to its analysis. In his new book, Saulius Geniusas develops a phenomenology of productive imagination while relying on those resources that we come across in Edmund Husserl’s, Max Scheler’s, Martin Heidegger’s, Ernst Cassirer’s, Miki Kiyoshi’s, Jean-Paul Sartre’s, Maurice Merleau-Ponty’s, and Paul Ricoeur’s writings, while also engaging in present-day philosophical discussions of the imagination. Investigating the relation between imagination and embodiment, affectivity, perception, language, selfhood, and intersubjectivity, the book provides a phenomenological conception of productive imagination, which is committed to basic phenomenological principles and which is sensitive to how productive imagination has been conceptualized in the history of phenomenology. Against such a background, Geniusas develops a new conception of productive imagination: It is a basic modality of intentionality that indirectly shapes the human experience of the world by forming the contours of action, intuition, knowledge, and understanding. It is not so much a blind and indispensable function of the soul, but an art concealed in the body, for it springs out of instincts, drives, desires, and needs. The author discloses the unexpected ways in which phenomenology of productive imagination enriches our understanding of embodied subjectivity.

Imaginaries on Matter – Tools, Materials, Origins, promotes an innovative architectural research agenda that connects historical-cultural written research with digitally led material explorations. The common thread is the notion of the material imagination, disclosed in the reverie, or material daydream, which challenges overly pragmatic or unreflective material choices within current architectural practice. In bonding our imagination directly with matter while also confronting new technologies, this book promotes strategies by which architects' and builders' future relations with materials can stay rooted within the deeper concerns of cultural meaning. Imaginaries on Matter includes interviews with Aulets Arquitectes, Alibi Studio, Ensamble Studio, Geometria, Helen & Hard, KieranTimberlake, Supermanoeuvre, and Vandkunsten, as well as a postscript by David Leatherbarrow. Edited by Thomas Bo Jensen, Carolina Dayer, Jonathan Foote

Phenomenology was one of the twentieth century’s major philosophical movements, and it continues to be a vibrant and widely studied subject today with relevance beyond philosophy in areas such as medicine and cognitive sciences. The Routledge Handbook of Phenomenology and Phenomenological Philosophy is an outstanding guide to this important and fascinating topic. Its focus on phenomenology’s historical and systematic dimensions makes it a unique and valuable reference source. Moreover, its innovative approach includes entries that don’t simply reflect the state-of-the-art but in many cases advance it. Comprising seventy-five chapters by a team of international contributors, the Handbook offers unparalleled coverage and discussion of the subject, and is divided into five clear parts: • Phenomenology and the history of philosophy • Issues and concepts in phenomenology • Major figures in phenomenology • Intersections • Phenomenology in the world. Essential reading for students and researchers in philosophy studying phenomenology, The Routledge Handbook of Phenomenology and Phenomenological Philosophy is also suitable for those in related disciplines such as psychology, religion, literature, sociology and anthropology.

This edited collection brings together scholars who draw on phenomenological approaches to understand the experiences of young people growing up under contemporary conditions of globalization. Phenomenology is both a philosophical and pragmatic approach to social sciences research, that takes as central the meaning-making experiences of research participants. One of the central contentions of this book is that phenomenology has long informed critical empirical approaches to youth cultures, yet until recently its role has not been thusly named. This volume aims to resuscitate and recuperate phenomenology as a robust empirical, theoretical, and methodological approach to youth cultures. Chapters explore the lifeworlds of young people from countries around the world, revealing the tensions, risks and opportunities that organize youth experiences.

Existing art theory is obsessed by theories of spectatorship based on concepts of signification derived from language. This book shows the weakness of such a perspective, and, as an alternative, argues that individual aesthetic transformations of pictorial structure change one’s experience of space. In addition, it proves that this transformation is an ongoing process; pictorial art is progressively articulated through historical development, and is, therefore able to increase its cognitive and aesthetic scope. To support such a perspective, the book brings together ideas from Ernst Cassirer and Paul Crowther. Cassirer’s philosophy of symbolic forms offers a profound way of understanding historical transformations in our experience of space, and Crowther’s work on imagination and aesthetics shows how this can be extended to pictorial space and the uniqueness of pictorial art. By combining the two approaches, it is demonstrated how pictorial art extends our basic involvement in, and cognition of, space, and provides it with a special kind of aesthetic meaning.

CSA Sociological Abstracts abstracts and indexes the international literature in sociology and related disciplines in the social and behavioral sciences. The database provides abstracts of journal articles and citations to book reviews drawn from over 1,800+ serials publications, and also provides abstracts of books, book chapters, dissertations, and conference papers.

Architecture's Historical Turn traces the hidden history of architectural phenomenology, a movement that reflected a key turning point in the early phases of postmodernism and a legitimating source for those architects who first dared to confront history as an intellectual problem and not merely as a stylistic question. Jorge Otero-Pailos shows how architectural phenomenology radically transformed how architects engaged, theorized, and produced history. In the first critical intellectual account of the movement, Otero-Pailos discusses the contributions of leading members, including Jean Labatut, Charles Moore, Christian Norberg-Schulz, and Kenneth Frampton. For architects maturing after World War II, Otero-Pailos contends, architectural history was a problem rather than a given. Paradoxically, their awareness of modernism's historicity led some of them to search for an ahistorical experiential constant that might underpin all architectural expression. They drew from phenomenology, exploring the work of Bachelard, Merleau-Ponty, Heidegger, and Ricoeur, which they translated for architectural audiences. Initially, the concept that experience could be a timeless architectural language provided a unifying intellectual basis for the stylistic pluralism that characterized postmodernism. It helped give theory--especially the theory of architectural history--a new importance over practice. However, as Otero-Pailos makes clear, architectural phenomenologists could not accept the idea of theory as an end in itself. In the mid-1980s they were caught in the contradictory and untenable position of having to formulate their own demotion of theory. Otero-Pailos reveals how, ultimately, the rise of architectural phenomenology played a crucial double role in the rise of postmodernism, creating the antimodern specter of a historical consciousness and offering the modern notion of essential experience as the means to defeat it.

Abstracts of dissertations available on microfilm or as xerographic reproductions.

Vols. for 1969- include a section of abstracts.