Imagination And The Imaginary

The concept of the imaginary is pervasive within contemporary thought, yet can be a baffling and often controversial term. In Imagination and the Imaginary, Kathleen Lennon explores the links between imagination - regarded as the faculty of creating images or forms - and the imaginary, which links such imagery with affect or emotion and captures the significance which the world carries for us. Beginning with an examination of contrasting theories of imagination proposed by Hume and Kant, Lennon argues that the imaginary is not something in opposition to the real, but the very faculty through which the world is made real to us. She then turns to the vexed relationship between perception and imagination and, drawing on Kant, Merleau-Ponty and Sartre, explores some fundamental questions, such as whether there is a distinction between the perceived and the imagined; the relationship between imagination and creativity; and the role of the body in perception and imagination. Invoking also Spinoza and Coleridge, Lennon argues that, far from being a realm of illusion, the imaginary world is our most direct mode of perception. She then explores the role the imaginary plays in the formation of the self and the social world. A unique feature of the volume is that it compares and contrasts a philosophical tradition of thinking about the imagination - running from Kant and Hume to Strawson and John McDowell - with the work of phenomenological, psychoanalytic, poststructuralist and feminist thinkers such as Merleau-Ponty, Sartre, Lacan, Castoriadis, Irigaray, Gatens and Lloyd. This makes Imagination and the Imaginary essential reading for students and scholars working in phenomenology, philosophy of perception, social theory, cultural studies and aesthetics. Cover Image: Bronze Bowl with Lace, Ursula Von Rydingsvard, 2014. Courtesy the artist, Galerie Lelong and Yorkshire Sculpture Park. Photo Jonty Wilde.

Perfect for fans of Coraline and Roald Dahl, this fully-illustrated journey into the secret world of imaginary friends is quirky, dark, and utterly irresistible. Rudger is Amanda Shuffleup's imaginary friend. Nobody else can see Rudger-until the evil Mr. Bunting arrives at Amanda's door. Mr. Bunting hunts imaginaries. Rumor has it that he even eats them. And now he's found Rudger. Soon Rudger is alone, and running for his imaginary life. He needs to find Amanda before Mr. Bunting catches him-and before Amanda forgets him and he fades away to nothing. But how can an unreal boy stand alone in the real world? Featuring gorgeous illustrations and a beautiful design, this suspenseful fantasy tells a powerful tale of friendship, imagination, and remembering what you never knew you lost.

Between the radical, creative capacity of our imagination and the social imaginary we are immersed in is an intermediate space philosophers have termed the imaginal, populated by images or (re)presentations that are presences in themselves. Offering a new, systematic understanding of the imaginal and its nexus with the political, Chiara Bottici brings fresh perspective to the formation of political and power relationships and the paradox of a world rich in imagery yet seemingly devoid of imagination. Bottici begins by defining the difference between the imaginal and the imaginary, locating the imaginal's root meaning in the image and its ability to both characterize a public and establish a set of activities within that public. She identifies the imaginal's critical role in powering representative democracies and its amplification through globalization. She then addresses the troublesome increase in images now mediating politics and the transformation of politics into empty spectacle. The spectacularization of politics has led to its virtualization, Bottici observes, transforming images into processes with an uncertain relationship to reality, and, while new media has democratized the image in a global society of the spectacle, the cloned image no longer mediates politics but does the act for us. Bottici concludes with politics' current search for legitimacy through an invented ideal of tradition, a turn to religion, and the incorporation of human rights language.

"The early modern period was arguably the greatest 'age of the imagination' in Europe, and certainly the period in which the powers attributed to that faculty had the greatest consequences - both in theory and in ordinary people's lives. Theologians and physicians debated the reality of witchcraft (no simple battle between Religion and Science, as believers and doubters could be found on both sides); the existence and pathology of werewolves and vampires; the role of the imagination in influencing the unborn child and in causing disease even in remote others. The essays in this volume, by established and emerging scholars from diverse intellectual and cultural traditions, explore Latin and vernacular, philosophical, medical, poetic, dramatic, epistolary, and juridical sourcesto expose the tangled conceptual roots of our modern aff ective, anxiety and somatoform disorders. (some of the content)"--OCLC.

The Imaginary marks the first attempt to introduce Husserl's work into the English-speaking world. This new translation rectifies flaws in the 1948 translation and recaptures the essence of Sartre's phenomenology.

Many parents delight in their child's imaginary companion as evidence of a lively imagination and creative mind. At the same time, parents sometimes wonder if the imaginary companion might be a sign that something is wrong. Does having a pretend friend mean that the child is in emotional distress? That he or she has difficulty communicating with other children? In this fascinating book, Marjorie Taylor provides an informed look at current thinking about pretend friends, dispelling many myths about them. In the past a child with an imaginary companion might have been considered peculiar, shy, or even troubled, but according to Taylor the reality is much more positive--and interesting. Not only are imaginary companions surprisingly common, the children who have them tend to be less shy than other children. They also are better able to focus their attention and to see things from another person's perspective. In addition to describing imaginary companions and the reasons children create them, Taylor discusses other aspects of children's fantasy lives, such as their belief in Santa, their dreams, and their uncertainty about the reality of TV characters. Adults who remember their own childhood pretend friends will be interested in the chapter on the relationship between imaginary companions in childhood and adult forms of fantasy. Taylor also addresses practical concerns, providing many useful suggestions for parents. For example, she describes how children often express their own feelings by attributing them to their imaginary companion. If you have a child who creates imaginary creatures, or if you work with pre-schoolers, you will find this book very helpful in understanding the roles that imaginary companions play in children's emotional lives.

An imaginary garden is the center of a special relationship between a girl and her grandfather.

Control of the Imaginary was first published in 1989. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions. In Control of the Imaginary Luiz Costa Lima explains how the distinction between truth and fiction emerged at the beginning of modern times and why, upon its emergence, fiction fell under suspicion. Costa Lima not only describes the continuous relationship between Western notions of reason and subjectivity over a broad time-frame—the Renaissance to the first decade of the twentieth century—but he uses this occasion to reexamine the literary traditions of France, Italy, Spain, Portugal, England, and Germany. The book reconstructs the dominant frames in the European tradition between the Middle Ages and the nineteenth century from the perspective of a Latin American who sees the culture of his native Brazil haunted by unresolved questions from the Northern Hemisphere. Costa Lima manages to synthesize positions from philosophy, anthropology, sociology, psychology, linguistics, and history without separating the theoretical discussion from his historical reconstructions. The first chapter situates the problem and grounds the emergent distinction between truth and fiction in a very close analysis of one of the first European historians, Fernao Lopes, who sets the tone for the condemnation of fiction in the name of the truth of history and the potential for individual interpretation. Costa Lima pursues these notions through the aesthetic debates of the seventeenth and eighteenth centuries to the writings of the French historian Michelet. He also devotes an illuminating chapter to the invention of the strictures imposed on fiction.