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Contextual Phenomenology and the Problem of Creativity

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Part of the Analecta Husserliana book series (ANHU, volume 7)

Abstract

The diversity of metaphysical systems as well as the variety of concomitant methodologies which have been proposed throughout the history of philosophical reflection often inspire the judgment that philosophy is nothing but idle speculation, if not pure imaginative construction. Husserl’s effort to establish philosophy on a rigorously scientific basis may be seen as a radical attempt to preclude the validity of such an assessment. Beginning from the imperative, “zu den Sachen selbst,” Husserl wanted to ground the entire sphere of human cognition on an absolutely apodictic foundation. By a strict adherence to this self-imposed requirement, Husserl’s inquiry developed from an original focus upon static eidetic structures toward a concern with the dynamic development of genetic constitution.

Keywords

Creative Process World Order Artistic Creativity Creative Product Real Individual 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

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Notes

  1. 1.
    A.-T. Tymieniecka, ‘Beyond Ingarden’s Idealism/Realism Controversy with Husserl: The Contextual Phase of Phenomenology,’ Analecta Husserliana, Vol. IV (1976), p. 245. (Referred to hereafter as ‘Contextual Phenomenology.’) Cf. also A. Ales Bello, ‘Rinascita della Fenomenologia in Italia?’ Vita Sociale, n. 6 (1976), p. 400.Google Scholar
  2. 2.
    ‘Contextual Phenomenology,’ p. 245.Google Scholar
  3. 3.
    A.-T. Tymieniecka, Why is there Something rather than Nothing? (Assen: Van Gorcum & Company, 1966), p. 15n. (Referred to hereafter as WSN.)Google Scholar
  4. 4.
    David Carr, ‘Discussion,’ Analecta Husserliana, Vol. V (1976), p. 101.Google Scholar
  5. 5.
    WSN, p. 4.Google Scholar
  6. 6.
    Contextual Phenomenology,’ p. 398.Google Scholar
  7. 7.
    WSN, p. 17.Google Scholar
  8. 8.
    WSN, p. 19.Google Scholar
  9. 9.
    WSN, p. 31.Google Scholar
  10. 10.
    WSN, p. 43.Google Scholar
  11. 11.
    WSN, p. 156.Google Scholar
  12. 12.
    Erling Eng, ‘Discussion,’ Analecta Husserliana, Vol. V (1976), p. 99.Google Scholar
  13. 13.
    Cf. A.-T. Tymieniecka, ‘Ideas as the a priori of the phenomenological constitution,’ Kantstudien Bd. 55, Heft 3 (1964), pp. 368-383. In addition, see the discussion of Tymieniecka’s view concerning the role of ideas in transcendental constitution by Mary Rose Barrai: ‘Problems of Continuity in the Perceptual Process,’ Analecta Husserliana, Vol. Ill (1974), pp. 168–182.Google Scholar
  14. 14.
    A. Ales Bello has expressed doubt as to whether proper credit is accorded to cognition within Tymieniecka’s system. (Cf. ‘Intersubjectivity and Creative Consciousness,’ Analecta Husserliana, Vol. VI.) Yet given the fact that Tymieniecka does not reject the cognitive function of intentionality, but rather sees the necessity of positing a complementary function, this criticism does not appear justified.Google Scholar
  15. 15.
    WSN, p. 154.Google Scholar
  16. 16.
    A.-T. Tymieniecka, ‘Imaginatio Creatrix,’ Analecta Husserliana, Vol. Ill (1974), p. 8. (Referred to hereafter as ‘Imaginatio Creatrix.’)Google Scholar
  17. 17.
    Paul Ricoeur, ‘A Study of Husserl’s Cartesian Meditations I–IV’, in Husserl: An Analysis of his Phenomenology ( Evanston: Northwestern University Press, 1967 ), p. 99.Google Scholar
  18. 18.
    Tymieniecka sees, too, that Husserl’s reflections on imagination might have provided the means to account for creativity. But in the final analysis, his view of imagination “… is relevant only to the problem of imitation in the issue of the relation between reality and art in representational art.” (‘Imagninatio Creatrix,’ p. 24.)Google Scholar
  19. A.-T. Tymieniecka, Eros et Logos: esquisse de phénoménologie de l’intériorité créatrice (Louvain and Paris: Editions Nauwelaerts, 1972), p. 119. (Referred to hereafter as Eroset Logos.)Google Scholar
  20. 20.
    Edmund Husserl, Cartesian Meditations: An Introduction to Phenomenology, tr. Dorian Cairns (The Hague: Martinus Nijhoff, 1960), p. 72.Google Scholar
  21. 21.
    A.-T. Tymieniecka, ‘Originality and Creative Perception,’ Proceedings of the 2nd Congress of Aesthetics (Amsterdam: 1964), p. 1000. (Referred to hereafter as ‘Originality and Creative Perception.’)Google Scholar
  22. 22.
    Originality and Creative Perception,’ p. 1001.Google Scholar
  23. 23.
    Imaginatio Creatrix,’ p. 18.Google Scholar
  24. 24.
    Cf. ‘Contextual Pehnomenology,’ pp. 309–334.Google Scholar
  25. 25.
    Contextual Phenomenology,’ p. 331.Google Scholar
  26. 26.
    Cf. Eros et Logos, p. 92: ‘L’esprit lui-meme, sous son aspect d’intelligence discursive, s’est préparé un écran le séparant du monde. Thus, I would disagree with Helmut Kuhn’s interpretation of the ultimate import of Tymieniecka’s view of creativity in Eros et Logos’. “Die Verfasserin kommit hier einem Gedanken nahe, der den Theologen des Mittelalters geläufig war und der in unserer Zeit von Paul Claudel erneurert worder ist: den irdisch Liebenden ist im Akt der Vereinigung eine Teilhabe an dem göttlichen Schöpfungswerk gewahrt.” (Philosophische Rundschau, Jul. 1976, p. 136.)Google Scholar
  27. 27.
    Imaginatio Creatrix,’ p. 10. 28’Contextual Phenomenology,’ p. 412.Google Scholar

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© Springer Science+Business Media Dordrecht 1978

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