This volume explores Husserl’s theory of sensibility and his conceptualization of spatial and temporal constitution. The author maps the linkages between Husserl’s ‘transcendental aesthetic’, the theory of pure experience in empirio-criticism, as well as Immanuel Kant’s transcendental philosophy. The core argument in this analysis centers on the relationship between spatiality and temporality in Husserl’s philosophy. The study interrogates Husserl’s understanding of the relationship between spatiality and temporality in terms of stratifications, analogies and parallelisms. It incorporates a discussion of the potentialities and limitations of such an understanding. It concludes that such limits can be overcome by adopting an understanding of spatiality and temporality as interwoven moments of sensible experience—a ‘spatio-temporal intertwining’. This ‘intertwining’ is made explicit in a thorough inquiry into three central topics in the phenomenological analysis of sensible experience: spatio-temporal individuation, perspectival givenness and bodily experience. The book shows how such an inquiry can form the bedrock of a dynamic and relational understanding of experience as a whole.

This book constitutes the proceedings of the 20th International Conference of the International Graphonomics Society, IGS 2021/2022. Originally planned to be celebrated in September 2021, due to the COVID-19 pandemic it was held in June 2022. The 36 full and 3 short papers presented at the conference were carefully reviewed and selected from 41 submissions and reviewed by a committee of 67 reviewers. Out of the 41 conferences, 26 papers were selected to be published in this proceedings. The program was comprised of 6 oral sessions on the following topics: historical documents, forensic handwriting examinations, handwriting learning and development, and motor control. One additional poster session included papers on all previous topics, and three special sessions included papers on neurodegenerative disorders.

This book investigates the complex, sometimes fraught relationship between phenomenology and the natural sciences. The contributors attempt to subvert and complicate the divide that has historically tended to characterize the relationship between the two fields. Phenomenology has traditionally been understood as methodologically distinct from scientific practice, and thus removed from any claim that philosophy is strictly continuous with science. There is some substance to this thinking, which has dominated consideration of the relationship between phenomenology and science throughout the twentieth century. However, there are also emerging trends within both phenomenology and empirical science that complicate this too stark opposition, and call for more systematic consideration of the inter-relation between the two fields. These essays explore such issues, either by directly examining meta-philosophical and methodological matters, or by looking at particular topics that seem to require the resources of each, including imagination, cognition, temporality, affect, imagery, language, and perception.

Time, Literature and Cartography after the Spatial Turn argues that the spatial turn in literary studies has the unexplored potential to reinvigorate the ways in which we understand time in literature. Drawing on new readings of time in a range of literary narratives, including Vladimir Nabokov’s Ada and James Joyce’s Finnegans Wake, Adam Barrows explores literature’s ability to cartographically represent the dense and tangled rhythmic processes that constitute lived spaces. Applying the insights of ecological resilience studies, as well as Henri Lefebvre’s late work on rhythm to literary representations of time, this book offers a sustained examination of literature’s “chronometric imaginary”: its capacity to map the temporal relationships between the human and the non-human, the local and the global.

Reading philosophy through the lens of Alfred Hitchcock’s Vertigo, Andrea Cavalletti shows why, for two centuries, major philosophers have come to think of vertigo as intrinsically part of philosophy itself. Fear of the void, terror of heights: everyone knows what acrophobia is, and many suffer from it. Before Freud, the so-called “sciences of the mind” reserved a place of honor for vertigo in the domain of mental pathologies. The fear of falling—which is also the fear of giving in to the temptation to let oneself fall—has long been understood as a destabilizing yet intoxicating element without which consciousness itself was inconceivable. Some went so far as to induce it in patients through frightening rotational therapies. In a less cruel but no less radical way, vertigo also staked its claim in philosophy. If Montaigne and Pascal could still consider it a perturbation of reason and a trick of the imagination which had to be subdued, subsequent thinkers stopped considering it an occasional imaginative instability to be overcome. It came, rather, to be seen as intrinsic to reason, such that identity manifests itself as tottering, kinetic, opaque and, indeed, vertiginous. Andrea Cavalletti’s stunning book sets this critique of stable consciousness beside one of Hitchcock’s most famous thrillers, a drama of identity and its abysses. Hitchcock’s brilliant combination of a dolly and a zoom to recreate the effect of falling describes that double movement of “pushing away and bringing closer” which is the habitual condition of the subject and of intersubjectivity. To reach myself, I must see myself from the bottom of the abyss, with the eyes of another. Only then does my “here” flee down there and, from there, attract me. From classical medicine and from the role of imagination in our biopolitical world to the very heart of philosophy, from Hollywood to Heidegger’s “being-toward-death,” Cavalletti brings out the vertiginous nature of identity.

The Intertwining of Aesthetics and Ethics: Exceeding of Expectations, Ecstasy, Sublimity analyzes the common experiential ground for both aesthetics and ethics by considering experiential environment (both nature and art), the precedents to desire, the notion of experience incorporating a break, and the reverberations of surprise leading to the intertwining of aesthetics and ethics. Jadranka Skorin-Kapov discusses different philosophical positions on the relationship between nature and art, in conversation with Kant, Hegel, Goethe, Gadamer, and Adorno. She argues that Kantian sublimity can carry over from nature to art. As part of the discussions of expectations and authenticity, the author interprets Husserl’s view on expectations, Heidegger’s view on death and authenticity, Blanchot’s view on death, and Arendt’s view on natality. As for understanding the aesthetic experience as the paradigmatic experience, Skorin-Kapov is informed by Dewey’s work on art as experience, Gadamer’s work on experience of art, and Jauss’s work on the aesthetics of reception and the horizon of expectations. After our sensibility and representational capability are broken, recuperation then leads to sublimity and the subsequent feelings of admiration and/or responsibility, allowing for the intertwining of aesthetics and ethics. Additionally, elements of Kantian morality, Foucault’s ethics, and Kierkegaard’s work on interactions between aesthetics and ethics together help to characterize the relation between aesthetics and ethics. Since we often encounter surprise due to unexpectedness in comedy, Skorin-Kapov also interprets philosophical views on the comedy and laughter (including Aristotle, Kierkegaard, Meredith, and Bergson), using the theatrical work of Dario Fo as an example. The novel analysis in The Intertwining of Aesthetics and Ethics will be of particular interest to students and scholars working or teaching in aesthetics, phenomenology, art history, cultural studies, and ethics.

Investigating Subjectivity examines the importance of a phenomenological account of the subject for the nature and the status of phenomenology, for different themes from practical philosophy and in relation to issues from the philosophy of mind.

Volume XXI Special Issue, 2023 Part 1: Phenomenological Perspectives on Aesthetics and Art Part 2: Heidegger and Contemporary French Philosophy Aim and Scope: The New Yearbook for Phenomenology and Phenomenological Philosophy provides an annual international forum for phenomenological research in the spirit of Husserl’s groundbreaking work and the extension of this work by such figures as Reinach, Scheler, Stein, Heidegger, Sartre, Levinas, Merleau-Ponty and Gadamer. Contributors: Liliana Albertazzi, Dimitris Apostolopoulos, Gabriele Baratelli, Anna Irene Baka, Irene Breuer, John Brough, Peer Bundgaard, Justin Clemens, Richard Colledge, Bryan Cooke, Françoise Dastur, Ivo De Gennaro, Natalie Depraz, Helena De Preester, Daniele De Santis, Madalina Diaconu, Arto Haapala, Robyn Horner, Erik Kuravsky, Donald Landes, Elisa Magri, Michelle Maiese, Regina-Nino Mion, Brian O’Connor, Costas Pagondiotis, Knox Peden, Constantinos Picolas, Hans Reiner Sepp, Jack Reynolds, Jon Roffe, Claude Romano, Maxine Sheets-Johnstone, Michela Summa, Panos Theodorou, Fotini Vassiliou, and Sanem Yazicioglu. Submissions: Manuscripts, prepared for blind review, should be submitted to the Editors (burt-crowell.hopkins@univ-lille3.fr and daniele.desantis@ff.cuni.cz) electronically via e-mail attachments.

Our experience of other individuals as minded beings goes hand in hand with the awareness that they have a unique epistemic and emotional perspective on the experienced objects and situations. The same object can be seen from many different points of view, an event can awaken different emotional reactions in different individuals, and our position-takings can in part be mediated by our belonging to some social or cultural groups. All these phenomena can be described by referring to the metaphor of perspective. Assuming that there are different, and irreducible, perspectives we can take on the experienced world, and on others as experiencing the same world, the phenomenon of mutual understanding can consistently be understood in terms of perspectival flexibility. This edited volume investigates the different processes in which perspectival flexibility occurs in social life and particularly focuses on the constitutive role of imagination in such processes. It includes original works in philosophy and psychopathology showing how perspectival flexibility and social cognition are grounded on the interplay of direct perception and imagination.