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A defense of the radical imagination from a scholar of social movements.Political theorist and philosopher Richard Gilman-Opalsky's Imaginary Power, Real Horizons is a tribute to the imagination and to its necessity for liberatory struggle. “‘Impractical'is the name given to anyone who imagines something radically other than what exists,” he writes. However, many things—such as the abolition of slavery—were dismissed as impractical before they came to be.In a warm, plainspoken manner, these essays chart the affects of creativity and utopianism through topics as varied as the cyclical nature of popular movements; the international history of May Day; the experience of teaching political theory and Marxism in contemporary China; and the revolutionary aspirations of Free Jazz. The human imagination is a real, world-creating power, and those who would declare otherwise have a poor understanding of history.Imaginary Power, Real Horizons is a call to action for those who would dare to dream of a society organized by a different logic than capitalism.

This volume brings together recent work on the nature of belief, imagination, and delusion. Whilst philosophers of mind and epistemology employ notions of belief and imagination in their theorizing, parallel work seeking to make these notions more precise continues. Delusions are standardly taken to be bizarre beliefs occurring in the clinical population, which do not respond to evidence. The purpose of this collection of essays is to get clearer on the nature of belief and imagination, the ways in which they relate to one another, and how they might be integrated into accounts of delusional belief formation. The jumping off point is the idea that recent work in philosophy of mind and epistemology which has sought to characterize the nature of belief and imagination allows us to formulate the issues with new precision, by, for example, drawing on work concerning how imagination is involved in delusion formation, or work concerning how to properly distinguish imagination from belief. The volume also considers questions concerning imagination's architecture, the role of metacognitive error in our mental lives, how best to understand delusional experience, and the relationship between delusion and evidence. The contributors are ideally placed to explore these issues, both individually and as a collective. With interests spanning different disciplines (philosophy, psychology, cognitive science), and approaches (theoretical, empirically informed), the result is a rich and varied collection of insights.

Phenomenology, New Materialism, and Advances In the Pulsatile Imaginary: Rites Of Disimagination brings together scholars from art history and image theory, literary studies and philosophy. Chapters of this volume engage with the overarching theme of imagination as a pulsatile force embedded in words, images, and all imaginative modes of instantiation of the work of art in their elemental aspects, expressed in visual arts, and literature, as well as bodily schemata of choreographic and musical performances. The papers employ contrasting and complementing methods from literary studies and image theory, especially phenomenology and new materialism, such as G. Bachelard and M. Merleau-Ponty, G. Bataille, J. Kristeva, P. Lacoue-Labarthe and J. Sallis, G. Didi-Huberman, H. Belting and A. Warburg, J. Bennett and Jason M. Wirth, as well as performance studies. Chapters in this volume inquire into the imaginative forces that disrupt and disinhibit the traditional habits ofimagination to create pulsatile imaginaries, i.e., a dynamic process of “emergence-resurgence” of image manifested in the act of creation and in perception. This process does not properly imply a destruction of image, but rather a withdrawal of image from the realm of representation to give way to new images and new imaginative experiences. The newly coined term “rite of disimagination” points out to this operation, consecutively implying imagining and disimaging that both denies, as well as validates image – it valorizes matter. The affirmation of the materiality of image is “the re-incarnation of image.”

What is the “tragic imagination”? And what role does it play in the works of William Shakespeare and Ralph Waldo Emerson? Explaining the tragic imagination as a creative faculty employed to answer the perennial Riddle of the Sphinx – a theory of the world that advances human freedom and dignity in the face of historical injustice, cruelty and violence – Andy Amato seeks to recover and rehabilitate this concept by revealing its significance to both key works of philosophy and literature and our contemporary world. This book begins with a close and careful reading of Emerson's first major work, Nature, in conversation with nineteenth and 20thcentury continental philosophy, critical theory and post-structuralism. Uncovering neglected elements of Emerson's philosophy, beyond his reputation as the philosopher of'cheer', this book explores how Emersonian transcendentalism affirms rather than denies the tragic sense of life – “tragic idealism” – and makes a substantial contribution to philosophy's perpetual endeavour to solve the Riddle. In the second part of the book, Amato then employs Emerson's theoretical lens to interpret Shakespeare's tragedy, King Lear. In doing so, he innovatively reframes the central themes of suffering, vision, nature, nothing, foolishness and silence toward achieving liberation.By pairing these two giants of literature and philosophy, The Tragic Imagination in Shakespeare and Emerson not only offers fresh interpretations of Nature and King Lear, but also makes the case for the renewed deployment of tragic imagination, in creative redress, to our current social-political situation.

This volume brings together two philosophical research areas that have been subject to increased attention: work regarding the unique character of having an experience and studies on the nature and powers of imagination.The importance of imagination seems to stand in tension with the assumed unique and irreplaceable role of experience in our lives. However, new arguments in various philosophical debates suggest that there is a need to examine how both areas of research interrelate and can enrich one another. The chapters in this volume examine whether the traditional accounts of experience and imagination need to be challenged. They are divided into thematic sections that discuss epistemological, ontological, normative, phenomenological, and intersubjective questions related to experience and imagination.Imagination and Experience is an essential resource for scholars and advanced students working in philosophy of mind, epistemology, ethics, aesthetics, and philosophy of psychology.Chapters 6, 8, 13, 14, 15, and 19 of this book are freely available as a downloadable Open Access PDFs at http://www.taylorfrancis.com under Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 licenses.

The Japanese philosopher Miki Kiyoshi opens doors to all those interested in rethinking the problem of imagination, myth, and technology.Miki Kiyoshi is one of the central figures in the Kyoto School, often spoken of as the heir of Kitaro Nishida. Born in Japan in 1897, he died in prison shortly after the end of World War II in 1945 at the age of 48.Miki's The Logic of Imagination first appeared in the journal Thought in 1937 under the themes of “Myth,” “Institution,” and “Technology”. The next part, “Experience,” was serialized in the same journal and Miki continued to work on the final part, but was never completed it due to his arrest. This translation makes this seminal work available in English for the first time. Featuring an introduction and accompanied throughout by contextual notes, it includes essential information about Miki's life and work. Miki's philosophy of the imagination anticipated later theories found first in Hannah Arendt, and then in Paul Ricoeur and most recently in Charles Taylor. The connection Miki makes of the imagination with technology anticipates ideas of the technological imagination in Don Ihde and Bernard Stiegler. Miki's thinking about the imagination illuminates our understanding of technology and how we behave in the world. This accessible, critical edition of his work does justice to one of the most unfairly underrated authors of Japanese philosophy.

Inner Space Philosophy is both a work of original philosophy and an entertainment package, since Tartaglia believes imaginative presentation to be a crucial feature of our philosophical traditions, one which has been neglected to our detriment in the drive to model philosophy on science. Arguing for the utmost importance of philosophy to the human future, such that we must eventually become'a philosophical people', Tartaglia discusses topics such as the meaning of life, idealism, materialism, determinism, video games and existential threats. These discussions transpire through ethereal encounters with philosophers from throughout world history, some from the distant future and prehistoric past, as well as a cosmic battle between'Lady Luck','Fate'and'Philosophy', and a biography of Gambo Lai Lai the Cynic, a philosopher from Trinidad who flourished during the golden age of calypso music. This is a book which amazes, challenges and provokes deep reflection in equal measure.

De plus en plus procédurale, normée et digitalisée, la société contemporaine est en voie de pétrification du point de vue de l'action, de la parole et de la pensée. Pour tenter d'y remédier, cet essai invite à recourir à l'imagination, en s'appuyant sur la philosophie développée sur ce thème par Paul Ricœur. Après en avoir présenté les grandes articulations, l'auteur met en lumière les perspectives ouvertes par Ricœur en introduisant l'imagination comme ressource anthropologique fondamentale. Il le fait sous la forme de mises en dialogues entre Ricœur et un autre philosophe – Max Weber, Hannah Arendt, Kant, Wittgenstein – ou une tradition philosophique, telles que l'utilitarisme ou le libéralisme politique. En définitive, cette réflexion invite chacun de nous à œuvrer à un climat de confiance qui accrédite l'imagination, les deux étant liés.

This volume explores connections between architecture and theatre, and encourages imagination in the design of buildings and social spaces.Imagination is arguably the architect's most crucial capacity, underpinning memory, invention, and compassion. No simple power of the mind, architectural imagination is deeply embodied, social, and situational. Its performative potential and holistic scope may be best understood through the model of theatre. Theatres of Architectural Imagination examines the fertile relationship between theatre and architecture with essays, interviews and entr'actes arranged in three sections: Bodies, Settings, and (Inter)Actions. Contributions explore a global spectrum of examples and contexts, from ancient Rome and Renaissance Italy to modern Europe, North America, India, Iran, and Japan. Topics include the central role of the human body in design; the city as a place of political drama, protest, and phenomenal play; and world-making through language, gesture, and myth. Chapters also consider sacred and magical functions of theatre in Balinese and Persian settings; eccentric experiments at the Bauhaus and 1970 Osaka World Expo; and ecological action and collective healing amid contemporary climate chaos. Inspired by architect and educator Marco Frascari, the book performs as a Janus-like memory theatre, recalling and projecting the architect's perennial task of reimagining a more meaningful world. This collection will delight and provoke thinkers and makers in theatrical arts and built environment disciplines, especially architecture, landscape, and urban design.

To understand the nature of religious belief, we must look at how our minds process the world of imagination and make-believe.We often assume that religious beliefs are no different in kind from ordinary factual beliefs—that believing in the existence of God or of supernatural entities that hear our prayers is akin to believing that May comes before June. Neil Van Leeuwen shows that, in fact, these two forms of belief are strikingly different. Our brains do not process religious beliefs like they do beliefs concerning mundane reality; instead, empirical findings show that religious beliefs function like the imaginings that guide make-believe play.Van Leeuwen argues that religious belief—which he terms religious “credence”—is best understood as a form of imagination that people use to define the identity of their group and express the values they hold sacred. When a person pretends, they navigate the world by consulting two maps: the first represents mundane reality, and the second superimposes the features of the imagined world atop the first. Drawing on psychological, linguistic, and anthropological evidence, Van Leeuwen posits that religious communities operate in much the same way, consulting a factual-belief map that represents ordinary objects and events and a religious-credence map that accords these objects and events imagined sacred and supernatural significance.It is hardly controversial to suggest that religion has a social function, but Religion as Make-Believe breaks new ground by theorizing the underlying cognitive mechanisms. Once we recognize that our minds process factual and religious beliefs in fundamentally different ways, we can gain deeper understanding of the complex individual and group psychology of religious faith.

This book presents new research on the crucial role that imagination plays in contemporary philosophy of fiction.The first part of the book challenges the main paradigm set by Kendall Walton and Gregory Currie, according to which there is a necessary connection between fiction and a prescription that we engage imaginatively with its content. The contributors address the fundamental questions of how we can define fiction, and especially whether we can define fiction in terms of imagination. The second part focuses on a distinct but related question: can we point to some distinctive experiential features of our engagement with fiction? In the third part, the focus lies on the cognitive value of fiction and on the role that imagination plays in that respect. The chapters in this part discuss the cognitive value of fiction with respect to issues such as the training of the faculty of imagination, phenomenal experience, empathy, and the emotions.The Philosophy of Fiction will be of interest to scholars and advanced students working in aesthetics, philosophy of mind, epistemology, and literary studies.Chapter 13 of this book is available for free in PDF format as Open Access from the individual product page at www.routledge.com. It has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license.

A powerful case for why anthropology should study outsiders of thought and their speculative ideas What sort of thinking is needed to study anomalies in thought? In this trenchantly argued and beautifully written book, anthropologist Peter Skafish explores this provocative question by examining the writings of the medium and “rough metaphysician” Jane Roberts (1929–1984). Through a close interpretation of her own published texts as well as those she understood herself to have dictated for her cohort of channeled personalities—including one, named “Seth,” who would inspire the New Age movement—Skafish shows her intuitive and dreamlike work to be a source of rigorously inventive ideas about science, ontology, translation, and pluralism. Arguing that Roberts's writings contain philosophies ahead of their time, he also asks: How might our understanding of speculative thinking change if we consider the way untrained writers, occult visionaries, and their counterparts in other cultural traditions undertake it? What can outsider thinkers teach us about the limitations of even our most critical intellectual habits?Rough Metaphysics is at once an ethnography of the books of a strange and yet remarkable writer, a commentary on the unlikely philosophy contained in them, and a call for a new way of doing (and undoing) philosophy through anthropology, and vice versa. In guiding the reader through Roberts's often hallucinatory “world of concepts,” Skafish also develops a series of original interpretations of thinkers—from William James to Claude Lévi-Strauss to Paul Feyerabend—who have been vital to anthropologists and their fellow travelers.Seductively written and surprising in its turns of thought, Rough Metaphysics is a feast for anyone who wants to learn how to think something new, especially about thought.

This book examines the major contribution of Cornelius Castoriadis's work, which elucidated the role of the social imaginary within human societies. What is significant, the author argues, is that Castoriadis's work presents a unique perspective on the regimes of historicity; modes of instituting power that establish the legitimacy of institutional order in relation to the extensive social imaginary articulations of the world. The author assesses Castoriadis's theorisation of the radically creative capacity of the social imaginary and suggests that there remains a tendency to present an overly dichotomous view of autonomous and heteronomous modes of institution. The author assesses how adherence to this tendency hinders the development of further insights into the creative capacities of social imaginary, while also imposing limits on Castoriadis's own assessment of the ‘partially'autonomous situation of modern societies. The author suggests that one way forward is to consider the role of an implicit dimension of instituting power, involved in the reproduction of dominant social imaginary articulations of the world, and which also shape the regulation of historicity more generally. The main purpose of this book is to develop the critical depth of Castoriadis's work, showing how it remains an insightful framework to analyse the significance of the deepening depoliticisation of contemporary ‘liberal-democratic'regimes and the ‘partially'autonomous dynamics that underlie their shift toward increasingly authoritarian modes of governance.

Ricoeur's theory of productive imagination in previously unpublished lectures. The eminent philosopher Paul Ricoeur was devoted to the imagination. These previously unpublished lectures offer Ricoeur's most significant and sustained reflections on creativity as he builds a new theory of imagination through close examination, moving from Aristotle, Pascal, Spinoza, Hume, and Kant to Ryle, Price, Wittgenstein, Husserl, and Sartre. These thinkers, he contends, underestimate humanity's creative capacity. While the Western tradition generally views imagination as derived from the reproductive example of the image, Ricoeur develops a theory about the mind's power to produce new realities. Modeled most clearly in fiction, this productive imagination, Ricoeur argues, is available across conceptual domains. His theory provocatively suggests that we are not constrained by existing political, social, and scientific structures. Rather, our imaginations have the power to break through our conceptual horizons and remake the world.

This book departs from approaches to truth in social science and ideas in philosophy that connect truth to the ability of language to fulfil certain ‘real-world'conditions of objectivity. Pointing to an extra-linguistic level in our cognition at which scientific creativity occurs, it highlights the manner in which epistemic communities share, work on and modify not only the world-imaginaries that they endorse, but also those world-views that they reject or which partially overlap with their own. Through the concept of the social imaginary, the author explores the theoretical interrelations among various metaphysical world-imageries by which we organise our scientific understanding of the world and our expectations of experience, thus shedding light on the manner in which social ontology can inform our practices of sharing belief. A study at the intersection of metaphysics and social theory, The Fundamental Predicament of Contemporary Philosophy and the Social Sciences will appeal to scholars of sociology and philosophy with interests in questions of ontology and epistemology.

This book explores the structure and function of memory and imagination, as well as the relation and interaction between the two states. It is the first book to offer an integrative approach to these two emerging areas of philosophical research.The essays in this volume deal with a variety of forms of imagining and remembering. The contributors come from a range of methodological backgrounds: empirically minded philosophers, analytic philosophers engaging mainly in conceptual analysis, and philosophers informed by the phenomenological tradition. Part 1 consists of novel contributions to ontological issues regarding the nature of memory and imagination and their respective structural features. Part 2 focuses on questions of justification and perspective regarding both states. The chapters in Part 3 discuss issues regarding memory and imagination as skills or abilities. Finally, Part 4 focuses on the relation between memory, imagination, and emotion.Philosophical Perspectives on Memory and Imagination will be of interest to scholars and advanced students working in philosophy of memory, philosophy of imagination, philosophy of mind, and epistemology.

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.

Ethicality and Imagination is the astounding conclusion to John Sallis's landmark trilogy launched with Force of Imagination and Logic of Imagination. In this new work,Sallis embarks on an unforgettable voyage spanning the cosmos and delving deep into what makes us human. If the first two works consider the question of being and thinking, respectively, the third and culminating volume takes up the question of action. In a series of highly original and always provocative meditations, Sallis articulates the way humans are rooted in their abodes yet not determined by them. Ethicality and Imagination develops a new approach to the relation of the imagination to literature, ethics, political thought, and recent discoveries in astrophysics. It represents a brilliant conclusion to one of the most exciting works of thinking in the Continental school in recent decades.

Historical Imagination defends a phenomenological and hermeneutical account of historical knowledge. The book's central questions are what is historical imagination, what is the relation between the imaginative and the empirical, in what sense is historical knowledge always already imaginative, how does such knowledge serve us, and what is the relation of historical understanding and self-understanding? Paul Fairfield revisits some familiar hermeneutical themes and endeavors to develop these further while examining two important periods in which historical reassessments or re-imaginings of the past occurred on a large scale. The conception of historical imagination that emerges seeks to advance beyond the debate between empiricists and postmodern constructivists while focusing on narrative as well as a more encompassing interpretation of who an historical people were, how things stood with them, and how this comes to be known. Fairfield supplements the philosophical argument with an historical examination of how and why during late antiquity, early Christian thinkers began to reimagine their Greek and Roman past, followed by how and why renaissance and later enlightenment figures reimagined their ancient and medieval past.

Imagination in Inquiry: A Philosophical Model and Its Applications investigates the nature, kinds, component elements, functions, scope, and uses of the imagination involved in inquiry. It further discusses how these kinds and functions vary and interact depending on the context of inquiries carried out in philosophy and its branches—from the philosophy of science and the philosophy of technology to ethics, sociopolitical philosophy, and aesthetics—and institutions like science, technology, art, and education. Using a homeostatic model, A. Pablo Iannone advances a conception of the imagination as a disposition to search for answers to various types of problems, abstract or concrete, theoretical or practical faced in inquiry. The book treats this as a working characterization, though it develops progressively clearer, more precise, and less ambiguous meanings. All along, the primary concern of the author—as well as of contributors Alejandra Iannone and Rocci Luppicini—is with the moral, aesthetic, logical, communicative, scientific, technological, artistic, literary, and philosophical uses and roles of the imagination. The book's primary focus is not just on such things as the capacity to generate mental images, but especially on the ability to discover and create, anticipate and envision, entertain and manage.

Did the Florentine philosopher Marsilio Ficino (1433-99) influence the art of his time? Art historians have been fiercely debating this question for decades. This book starts with Ficino's views on the imagination as a faculty of the soul, and shows how these ideas were part of a long philosophical tradition and inspired fresh insights. This approach, combined with little known historical material, offers a new understanding of whether, how and why Ficino's Platonic conceptions of the imagination may have been received in the art of the Italian Renaissance. The discussion explores Ficino's possible influence on the work of Botticelli and Michelangelo, and examines the appropriation of Ficino's ideas by early modern art theorists.

By engaging with the notions of indeterminacy and embodiment within the writings of Immanuel Kant, Johann Fichte and Cornelius Castoriadis, this book addresses and brings to the fore the significance of the creative imagination as an ontological source of human creation. Principally inspired by Castoriadis'revolutionary elucidation of the imagination and the imaginary, this book actively contributes to this neglected line of enquiry by exposing deep lines of continuity and rupture both within and between the writings of Kant, Fichte, and Castoriadis. Beginning with Kant's hesitation in describing the productive imagination as a creative and embodied power of the soul, this book traces these lines of continuity and rupture through Fichte's innovative depiction of the creative imagination as an ontological power of creation and through Castoriadis'radical extension of this idea into the social-historical realm. Given the notions of indeterminacy and embodiment actively inform these lines of continuity and of rupture, this book contributes to the landscape of thinking by proposing the creative imagination must be envisaged an embodied power of the human soul.

In The Amorous Imagination, D. Andrew Yost builds upon Jean-Luc Marion's phenomenology of love to argue that through the interpretive activities of the imagination the Beloved appears to the lover as this Other, not the Other. Weaving together insights from Romantic thought and contemporary French philosophy, Yost describes the distinctive role the imagination plays in individuating another person so that they appear radically unique, special, and unsubstitutable. This radical uniqueness—or haecceitas—emerges out of the lovers'engagement in an'endless hermeneutic,'an ongoing process of creative and responsive meaning-making that grounds the lovers'lives in each other and opens them up to new possibilities. All of this, Yost argues, is made possible by the amorous imagination. Drawing from the deep well of love poetry, mythology, philosophy, and literature The Amorous Imagination comes to the provocative conclusion that without the productive power of the imagination love itself could not emerge.

This Key Concepts pivot explores the aesthetic concept of ‘imaginative contemplation.'Drawing on key literature to provide a comprehensive and systematic study of the term, the book offers a unique analysis and definition of the connotations of the term, describing its aesthetic mentality and examining the issue of imaginative contemplation versus imagination in artistic creative thinking, especially as regards the characteristics of contingent thinking in aesthetics. It focuses on drawing parallels between imaginative contemplation and aesthetic emotions, aesthetic rationality, and artistic expression as well as aesthetic form. Examining the relationship between imaginative contemplation and the aesthetic configuration, the book provides a valuable introduction to aesthetic theory in Chinese philosophy and art.

What does imagination do for our perception of the world? Why should reality be broken off from our imagining of it? It was not always thus, and in these essays, Tim Ingold sets out to heal the break between reality and imagination at the heart of modern thought and science. Imagining for Real joins with a lifeworld ever in creation, attending to its formative processes, corresponding with the lives of its human and nonhuman inhabitants. Building on his two previous essay collections, The Perception of the Environment and Being Alive, this book rounds off the extraordinary intellectual project of one of the world's most renowned anthropologists.Offering hope in troubled times, these essays speak to coming generations in a language that surpasses disciplinary divisions. They will be essential reading not only for anthropologists but also for students in fi elds ranging from art, aesthetics, architecture and archaeology to philosophy, psychology, human geography, comparative literature and theology.

From twilight in the Himalayas to dream worlds in the Serbian state, this book provides a unique collection of anthropological and cross-cultural inquiry into the power of rhetorical tropes and their relevance to the formation and analysis of social thought and action through a series of ethnographic essays offering in-depth studies of the human imagination at work and play around the world.

This book explores a topic that has recently become the subject of increased philosophical interest: how can imagination be put to epistemic use? Though imagination has long been invoked in contexts of modal knowledge, in recent years philosophers have begun to explore its capacity to play an epistemic role in a variety of other contexts as well.In this collection, the contributors address an assortment of issues relating to epistemic uses of imagination, and in particular, they take up the ways in which our imaginings must be constrained so as to justify beliefs and give rise to knowledge. These constraints are explored across several different contexts in which imagination is appealed to for justification, namely reasoning, modality and modal knowledge, thought experiments, and knowledge of self and others. Taken as a whole, the contributions in this volume break new ground in explicating when and how imagination can be epistemically useful.Epistemic Uses of Imagination will be of interest to scholars and advanced students who are working on imagination, as well as those working more broadly in epistemology, aesthetics, and philosophy of mind.Chapters 6 and 12 of this book are freely available as downloadable Open Access PDFs at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.

The book contains analyses and interpretations of multidimensional perspectives in philosophical, economical and psychological research on imagination. The authors analyse Russian (N. Bierdiajew) and French philosophy and anthropology (G. Bachelard, G. Durand), German conceptions (I. Kant's, F. Baader's, F. Schiller's or Heideggerian interpretations) of the role of imagination in art, science and sociopolitical domains. Image and imagination play the main role in the contemporary social world. It is investigated by psychology, sociology and political sciences, and many subdisciplines of philosophy have their own traditions in approaches to image and imagination problem. The authors try to integrate the results of these research efforts.

In a new reading of Immanuel Kant's work, this book interrogates his notions of the imagination and anthropology, identifying these – rather than the problem of reason – as the two central pivoting orientations of his work. Such an approach allows a more complex understanding of his critical-philosophical program to emerge, which includes his accounts of reason, politics and freedom as well as subjectivity and intersubjectivity, or sociabilities. Examining Kant's theorisation of the complexity of our phenomenological existence, the author explores his transcendental move that includes reason and understanding whilst emphasising the importance of the faculty of the imagination to undergird both, before moving to consider Kant's pluralised, transcendental notion of freedom. This outstanding book will appeal to scholars with interests in philosophy, politics, anthropology and sociology, working on questions of imagination, reason, subjectivities and human freedom.

In this wide-ranging and multidisciplinary volume, leading scholars, activists, journalists, and public figures deliberate about the creative and critical potential of public imagination in an era paradoxically marked by intensifying globalization and resurgent nationalism. Divided into five sections, these essays explore the social, political, and cultural role of imagination and civic engagement, offering cogent, ingenious reflections that stand in stark contrast to the often grim rhetoric of our era. Short and succinct, the essays engage with an interconnected ensemble of themes and issues while also providing insights into the specific geographical and social dynamics of each author's national or regional context. Part 1 introduces the reader to theoretical reflections on imagination and the public sphere; Part 2 illustrates dynamics of public imagination in a diverse set of cultural contexts; Part 3 reflects in various ways on the urgent need for a radically transformed public and civic imagination in the face of worldwide ecological crisis; Part 4 suggests new societal possibilities that are related to spiritual as well as politically revolutionary sources of inspiration; Part 5 explores characteristics of present and potentially emerging global society and the existing transnational framework that could provide resources for a more humane global order. Erudite and thought-provoking, On Public Imagination makes a vital contribution to political thought, and is accessible to activists, students, and scholars alike.Chapter 18 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.

Wie namhafte Interpreten von Theodor W. Adornos Werk berichten, sollte die Negative Dialektik in eine »Theorie der geistigen Erfahrung« münden. David Jöckel unternimmt daher erstmalig einen Deutungsversuch dieses sperrigen Begriffs. Entlang der zentralen begrifflichen Dimensionen Zeitlichkeit, Imaginativität und Unbewusstheit zielt er nicht nur auf eine neuartige Lektüre dieses philosophischen Konzepts, sondern auch auf ihre fruchtbare Öffnung gegenüber den in Jacques Derridas Texten zentralen Figuren Iterabilität, Temporalisierung und Spektralität.