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The dramatic play sets a challenge to Husserl's theory of imagination and its connection to perceptive experience. What takes place on stage in front of the audience is both the effective reality and the happening of a fictional story. In this paper, we are interested in the extension of the phenomenology of experience to a world of mere fictions. By analyzing a few chosen texts from the volume XXIII of Husserliana, we shall put the eidetics of imagination to the test of the dramatic experience of the audience and raise the problem of the actor's play and its paradox. [ABSTRACT FROM AUTHOR]

The triple Albertian imagination, hierarchically organized on multiple levels (vis imaginativa, aestimatio, phantasia), played an important part in the theology of the Albert the Great. The image is the substratum for a certain theological knowledge, namely the symbolic theology. The importance of the theology of imagination is supported by the fact that it is the place for the revelation of transcendence. [ABSTRACT FROM AUTHOR]

James Conroy's Betwixt and Between: The Liminal Imagination, Education and Democracy implies three main aims: first, to celebrate aspects of imagination in education and politics; second, to challenge defensive closure in varieties of discourse, especially in the language of economic and monetary management in education and politics; and third, to open up, for reciprocal enrichment, situations and discourses pertaining to consideration of state funding for religiously affiliated schools. Liminality, characteristic of thresholds and borders, calls for interpretation and mediation, as well as appreciation of uncertainties. Liminality of imagination is explored in contexts associated with this third aim, but also in other kinds of context associated with the first two aims. As well as offering critical assessment of the book, this review article indicates some scope for interpretation and development. [ABSTRACT FROM AUTHOR]

This introduction presents an overview of the articles in this special issue, within the framework of an argument for the conclusion that there are various roads leading from imagination to knowledge. [ABSTRACT FROM AUTHOR]

The article presents information on imagination. Philosophy could not avoid, however, an encounter with the other dimension of the radical imaginary, its psychical dimension, the radical imagination of the subject. Here, the occultation cannot be radical. It has been the occultation of the radical character of the imagination, the reduction of the latter to a secondary role, sometimes a perturbing and negative one, sometimes auxiliary and instrumental: the question has always been posed in terms of the role the imagination plays in the relation to a True/False, Beauty/Ugliness, Good/Bad posited as already given and determined elsewhere. What mattered, indeed, was to assure the theory - the view, or the constitution - of what is, of what must be done, of what is valid, in its necessity, in its very determinacy. The imagination is, however, in its essence rebellious against determinacy. To this extent, it most of the time will be simply scotomized, or relegated to "psychology," or "interpreted" and "explained" in terms of its products, using flagrantly superficial ideas such as "compensation" for some unsatisfied need or desire.