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By David Carr

Examines the anomaly among Husserl's transcendental philosophy and his later historicist concept

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119 (#94). 46 SENSATION, PERCEPTION, CON CEPTION only a return to the sphere of pure experience can give a proper orientation to the problem of knowledge. There is also a distinct phenomenological resonance to certain other theories of James which have been sketched in this chapter, for example, the whole theory of "fringes" and the thesis of the fulfillment of conceptual knowledge by a return to the evidence of the pre-given structures of the field of perception. But it would be premature to attempt to establish a nuanced comparison with HusserI in these areas prior to a detailed analysis of James's theories of the self, of the constitution of the physical world and of the genesis of space and time.

106. Edmund Husserl, Logische Untersuchungen. Ttibingen: Max Niemeyer Verlag, 1968. Second edition, II, 1, 208, note. "Wie wenig James' geniale Beobachtungen auf dem Gebiet der descriptiven Psychologie der Verstellungserlebnisse zum Psychologismus zwingen, ersieht man aus der vorliegenden Schrift. " Translation by Herbert Spiegelberg, The Phenomenological Movement. The Hague: Martinus Nijhoff, 1965. Second edition, Vol. I, 113, note. 33 34 SENSA TION, PERCEPTION, CONCEPTION 41 In his historical survey of the phenomenological movement, Herbert Spiegelberg notes that Husserl revealed to Dorion Cairns that he had abandoned his project of writing a psychology, " ...

They bring space and all its places to our intellect, and do not derive it thence. 5 The primitive "there" which grounds all spatial awareness does not derive from any process of association between members of a series of "pure" sensations, each with perfectly distinct and simple contents. The candle-flame is qualified by its own spatial index, 2 3 4 5 James, Principles of Psychology, op. , II, 32. , II, 35. Ibid. Ibid. 50 THE GENESIS OF SPACE AND TIME because all of our first impressions are of sensible totalities which are always characterized by the complexity of focus and fringes.

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