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Very Short Introductions #741
Imagination: A Very Short Introduction
Very Short Introductions : Brilliant, Sharp, Inspiring
A Very Short Introduction explores imagination as a cognitive power and an essential dimension of human flourishing, demonstrating how imagination plays multiple roles in human cognition and shapes humanity in profound ways. Examining philosophical, evolutionary, and literary perspectives on imagination, the author shows how this facility, while potentially distorting, both frees us from immediate reality and enriches our sense of it, making possible our experience of a
meaningful world. Long regarded by philosophers as an elusive and mysterious capacity of the human mind, imagination has been the subject of extraordinary ambivalence, described as both dangerous and divine, as merely peripheral to rationality and as essential to all thinking. Drawing on philosophy,
aesthetics, literary and cognitive theory as well as the human sciences, this book engages the dramatic conceptual history of imagination together with contemporary explanations of its role in cognition to explain its importance in everyday life as well as the exquisite creativity of the arts, scientific discovery, and invention. Engaging examples from cave paintings to modern painting, performance art to pop art, physics to phenomenology, technological inventions to literary worlds, the Nazca
geoglyphs to dramatic theatre, poetry, and jazz improvisation, the author illuminates with clarity and vision the philosophy of imagination and the stakes of its involvement in human thinking.
ABOUT THE The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.
A Very Short Introduction explores imagination as a cognitive power and an essential dimension of human flourishing, demonstrating how imagination plays multiple roles in human cognition and shapes humanity in profound ways. Examining philosophical, evolutionary, and literary perspectives on imagination, the author shows how this facility, while potentially distorting, both frees us from immediate reality and enriches our sense of it, making possible our experience of a
meaningful world. Long regarded by philosophers as an elusive and mysterious capacity of the human mind, imagination has been the subject of extraordinary ambivalence, described as both dangerous and divine, as merely peripheral to rationality and as essential to all thinking. Drawing on philosophy,
aesthetics, literary and cognitive theory as well as the human sciences, this book engages the dramatic conceptual history of imagination together with contemporary explanations of its role in cognition to explain its importance in everyday life as well as the exquisite creativity of the arts, scientific discovery, and invention. Engaging examples from cave paintings to modern painting, performance art to pop art, physics to phenomenology, technological inventions to literary worlds, the Nazca
geoglyphs to dramatic theatre, poetry, and jazz improvisation, the author illuminates with clarity and vision the philosophy of imagination and the stakes of its involvement in human thinking.
ABOUT THE The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.
160 pages, Kindle Edition
Published September 26, 2023
14 people are currently reading
154 people want to read
About the author
Jennifer Anna Gosetti-Ferencei
12 books7 followersJennifer Gosetti-Ferencei is Professor and Kurrelmeyer Chair in German and Professor in Philosophy at Johns Hopkins University. Her research interests include Continental philosophy, particularly phenomenology and existentialism, aesthetics and the philosophy of literature, cognitive literary theory, poetics, philosophy of imagination, modernism, especially modern German literature, and literary ecology. She has previously taught in modern languages departments in the UK (Oxford and Birmingham, at the latter of which she was Chair and Professor of German and Comparative Literature) and was Professor of Philosophy at Fordham University. She received a DPhil in German and MSt in European Literature from Oxford; MA and PhD in Philosophy from Villanova; and an MFA in Poetry from Columbia University. For 2023, she has been appointed Visiting Fellow at All Souls College, Oxford.
Gosetti-Ferencei’s research has included books on existentialism, on the philosophy of imagination, on the construction of the exotic in German modernism, on the relationship between the quotidian or everyday experience and ecstatic reflection in phenomenology, modern art and literature, and a critical reading of poetics in Heidegger and Hölderlin. Her work explores the boundaries between philosophy and literature, poetic experience and cognition, and in addition to Hölderlin her work has engaged the writings of Rainer Maria Rilke, Wallace Stevens, Marcel Proust, Franz Kafka, Thomas Mann, and many other modernist writers. Her work in aesthetics has engaged the visual art of Paul Cézanne, Cy Twombly, Giorgio Morandi, Alfred Kubin, Georg Baselitz and Anselm Kiefer. Her book of poetry, After the Palace Burns, won The Paris Review Prize.
In On Being and Becoming: An Existentialist Approach to Life (Oxford University Press, 2020), Gosetti-Ferencei presents a new interpretation of existentialist thought and literature, exploring, beyond the existentialism of the French phenomenologists, its historical origins in nineteenth century German, Danish, and Russian thought, contributions to existentialism of African-American thinkers, and its relevance for the social and environmental challenges of the twenty-first century.
Gosetti-Ferencei’s previous book, The Life of Imagination: Revealing and Making the World (Columbia University Press, 2018), is grounded in philosophy and a range of other disciplines, including cognitive theory, evolutionary anthropology, aesthetics and literary theory, and offers a new theory of imagination as both emerging from the wider cognitive ecology of our embodied life and engagement with the world, and affording its transformation and transcendence. In contrast to a long tradition of philosophy that sequestered imagination from cognition proper, in this work Gosetti-Ferencei demonstrates how imagination must be understood as multimodal, shaping our ordinary experience and affording the heightened manifestations of creativity in scientific discovery and artistic and literary creation. Among other accomplishments of the book is the development of an understanding of cognitive play (drawing from Kant, Schiller, Nietzsche, and Husserl), which show how creativity affords ‘situated transcendence.’ and in so doing both relies upon, and diverges from, the operations of ordinary thinking. This expansive and probing account of imagination demonstrates its reach across human experience and its crucial role in shaping and transforming our relationship to the world.
Previous works include Exotic Spaces in German Modernism (Oxford University Press 2011), in which Gosetti-Ferencei illuminates the construction of the ‘exotic’ in modern German literature. The rendering of spaces projected as exotic is shown to situate examination of the modern self and its relation to a foreign other, sometimes exploiting, otherwise destabilizing, colonialist or Eurocentric assumptions. She engages prose works of Hofmannsthal, Dauthendey, Hesse, Benn, Brecht, Ku
Gosetti-Ferencei’s research has included books on existentialism, on the philosophy of imagination, on the construction of the exotic in German modernism, on the relationship between the quotidian or everyday experience and ecstatic reflection in phenomenology, modern art and literature, and a critical reading of poetics in Heidegger and Hölderlin. Her work explores the boundaries between philosophy and literature, poetic experience and cognition, and in addition to Hölderlin her work has engaged the writings of Rainer Maria Rilke, Wallace Stevens, Marcel Proust, Franz Kafka, Thomas Mann, and many other modernist writers. Her work in aesthetics has engaged the visual art of Paul Cézanne, Cy Twombly, Giorgio Morandi, Alfred Kubin, Georg Baselitz and Anselm Kiefer. Her book of poetry, After the Palace Burns, won The Paris Review Prize.
In On Being and Becoming: An Existentialist Approach to Life (Oxford University Press, 2020), Gosetti-Ferencei presents a new interpretation of existentialist thought and literature, exploring, beyond the existentialism of the French phenomenologists, its historical origins in nineteenth century German, Danish, and Russian thought, contributions to existentialism of African-American thinkers, and its relevance for the social and environmental challenges of the twenty-first century.
Gosetti-Ferencei’s previous book, The Life of Imagination: Revealing and Making the World (Columbia University Press, 2018), is grounded in philosophy and a range of other disciplines, including cognitive theory, evolutionary anthropology, aesthetics and literary theory, and offers a new theory of imagination as both emerging from the wider cognitive ecology of our embodied life and engagement with the world, and affording its transformation and transcendence. In contrast to a long tradition of philosophy that sequestered imagination from cognition proper, in this work Gosetti-Ferencei demonstrates how imagination must be understood as multimodal, shaping our ordinary experience and affording the heightened manifestations of creativity in scientific discovery and artistic and literary creation. Among other accomplishments of the book is the development of an understanding of cognitive play (drawing from Kant, Schiller, Nietzsche, and Husserl), which show how creativity affords ‘situated transcendence.’ and in so doing both relies upon, and diverges from, the operations of ordinary thinking. This expansive and probing account of imagination demonstrates its reach across human experience and its crucial role in shaping and transforming our relationship to the world.
Previous works include Exotic Spaces in German Modernism (Oxford University Press 2011), in which Gosetti-Ferencei illuminates the construction of the ‘exotic’ in modern German literature. The rendering of spaces projected as exotic is shown to situate examination of the modern self and its relation to a foreign other, sometimes exploiting, otherwise destabilizing, colonialist or Eurocentric assumptions. She engages prose works of Hofmannsthal, Dauthendey, Hesse, Benn, Brecht, Ku
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Displaying 1 - 10 of 10 reviews
June 21, 2024
This book isn’t only about the more obvious aspects of imagination (the part it plays in writing fiction for instance), but also as a mental faculty in general. Our imaginations are involved in so much more: we use it to bring the past to life (both our personal memories and history itself); we use it in the present, moment by moment, in making sense of the world around us (and other people in particular); and in picturing the future of course, whether that’s five seconds or a century from now. Imagination is as important as memory, thinking and emotion.
It hasn’t always been viewed that way though. For me the most fascinating chapters here were those covering the history of imagination as a concept. From the Classical world, via the Romantic movement, to the modern age it has, to put it mildly, divided opinion: the likes of Plato, Cervantes, Blaise Pascal and Samuel Johnson all disparaged imagination (usually as the supposed enemy of reason); defending it on the other hand, as crucial to thought itself, were Aristotle, Montaigne, Immanuel Kant and Albert Einstein. “For some thinkers, imagination was at best a divinely inspired madness, at worst a source of deceptive illusion… For others, imagination was an irrepressible activity of the mind that cannot be expelled from cognition, and may be essential to it.” It can be seen as the source of distorted pictures of reality—fantasies, delusions, paranoia—but also as an essential ingredient of empathy and insight, our ability to see both other people and the world itself from their, rather than our own, point of view.
But what is this faculty exactly, and how does it work? This Very Short Intro tackles that too (there are at least two kinds of imagination for a start). And the final chapter is about creativity, not just in the arts but every bit as much in the sciences: “…the means, including metaphor, narrative, political ideals, and scientific models, through which imagination is thought to generate new fictional meanings as well as new frameworks for understanding reality itself.” Stories and theories in other words.
Excellent read.
It hasn’t always been viewed that way though. For me the most fascinating chapters here were those covering the history of imagination as a concept. From the Classical world, via the Romantic movement, to the modern age it has, to put it mildly, divided opinion: the likes of Plato, Cervantes, Blaise Pascal and Samuel Johnson all disparaged imagination (usually as the supposed enemy of reason); defending it on the other hand, as crucial to thought itself, were Aristotle, Montaigne, Immanuel Kant and Albert Einstein. “For some thinkers, imagination was at best a divinely inspired madness, at worst a source of deceptive illusion… For others, imagination was an irrepressible activity of the mind that cannot be expelled from cognition, and may be essential to it.” It can be seen as the source of distorted pictures of reality—fantasies, delusions, paranoia—but also as an essential ingredient of empathy and insight, our ability to see both other people and the world itself from their, rather than our own, point of view.
But what is this faculty exactly, and how does it work? This Very Short Intro tackles that too (there are at least two kinds of imagination for a start). And the final chapter is about creativity, not just in the arts but every bit as much in the sciences: “…the means, including metaphor, narrative, political ideals, and scientific models, through which imagination is thought to generate new fictional meanings as well as new frameworks for understanding reality itself.” Stories and theories in other words.
Excellent read.
December 31, 2024
Honestly, a proper boring book. But interesting to think about just how much comes from our imagination. Pretty much every single thought we have, including ideas, conversations, minute decisions and this review feature our imagination. Too much imagination will probably destroy us, like how our lust for technological advancements (AI & Nukes) far exceeds our humanity and wisdom, yet not enough imagination will render us stagnant and lead us into a state of decay.
Conclusion: it's all about balance.
Conclusion: it's all about balance.
March 2, 2024
This is a concise guide to the subject of imagination, the capacity to conceptualize that which does not exist in reality. Philosophy is the primary dimension through which the subject is investigated, though the insights of poets (particularly Romantics,) authors, and artists are frequently presented -- in several cases, in detail. Also, the author does discuss ideas from other disciplines as relevant (e.g. psychology, anthropology, science.) This is notable, for example, in Chapter 2, which looks at early signs of imagination in the human record and the evolution of this capacity.
Philosophical views on imagination have varied to the greatest possible extent, from Plato's belief that imagination represents untruths and is therefore dangerous to various views suggesting that imagination is a good thing, is fundamental to what it means to be human (e.g. to empathy,) and is inescapable for humans. This Plato against the world dispute is revisited in several places throughout the book. Besides those of Plato, the views of Kant, Nietzsche, Wittgenstein, and Sartre are particularly extensively examined.
Creative types will find the final chapter (Ch.6 "Creativity from invention to wonder") the most engaging part of the book as it deals with what makes for creativity. The chapter discusses topics such as whether constraints help or hinder creativity? Take, for example, poetry: does free verse poetry produce more imaginative material, or -- on the contrary -- is rhymed and metered verse more innovative and novel. If you think you know the answer, you might be surprised by the arguments that have been put forth.
I enjoyed reading this book and found it thought-provoking and worthy of the time.
Philosophical views on imagination have varied to the greatest possible extent, from Plato's belief that imagination represents untruths and is therefore dangerous to various views suggesting that imagination is a good thing, is fundamental to what it means to be human (e.g. to empathy,) and is inescapable for humans. This Plato against the world dispute is revisited in several places throughout the book. Besides those of Plato, the views of Kant, Nietzsche, Wittgenstein, and Sartre are particularly extensively examined.
Creative types will find the final chapter (Ch.6 "Creativity from invention to wonder") the most engaging part of the book as it deals with what makes for creativity. The chapter discusses topics such as whether constraints help or hinder creativity? Take, for example, poetry: does free verse poetry produce more imaginative material, or -- on the contrary -- is rhymed and metered verse more innovative and novel. If you think you know the answer, you might be surprised by the arguments that have been put forth.
I enjoyed reading this book and found it thought-provoking and worthy of the time.
August 4, 2024
You do get a great picture of imagination (badummtss)...
Brilliant introduction from scientific research on the upsurge of imagination before the Stone Age, towards philosophy of antiquity, aesthetics, Kant, romanticisim and - what else - phenomenology. What makes the author stand out in the best sense, is the natural scientific background upped by cognitive science, in wich a literary mind ample with quotes from Wordsworth, Coleridge and other English but also Frenchman as well as German counterparts, such as Rilke embarks in creative play. Art, Science and elaborations and musings on the nature of creativity are of suchlike nature in this marvellous work, that beauty and imagination appear not only as interrelated but also the method, despite never lacking in conciseness and rigour.
Brilliant introduction from scientific research on the upsurge of imagination before the Stone Age, towards philosophy of antiquity, aesthetics, Kant, romanticisim and - what else - phenomenology. What makes the author stand out in the best sense, is the natural scientific background upped by cognitive science, in wich a literary mind ample with quotes from Wordsworth, Coleridge and other English but also Frenchman as well as German counterparts, such as Rilke embarks in creative play. Art, Science and elaborations and musings on the nature of creativity are of suchlike nature in this marvellous work, that beauty and imagination appear not only as interrelated but also the method, despite never lacking in conciseness and rigour.
August 13, 2024
an excellent overview
This is an excellent overview of a complicated subject. It’s very easy to read. The audiobook is also very helpful. although there are a number of technical aspects, this is dealt with a very light touch. It’s also pretty remarkable in that it’s written from a very neutral perspective and takes and a lot of aspects of different approaches including philosophy, psychology and neuroscience. The commentary is very balanced and well argued it is an excellent starting place for a number of different directions into the relationship between imagination and creativity. The clearness of the discursive style is fairly unique and a subject area that is cluttered with complex commentary
This is an excellent overview of a complicated subject. It’s very easy to read. The audiobook is also very helpful. although there are a number of technical aspects, this is dealt with a very light touch. It’s also pretty remarkable in that it’s written from a very neutral perspective and takes and a lot of aspects of different approaches including philosophy, psychology and neuroscience. The commentary is very balanced and well argued it is an excellent starting place for a number of different directions into the relationship between imagination and creativity. The clearness of the discursive style is fairly unique and a subject area that is cluttered with complex commentary
February 5, 2024
While most people, including myself, typically think of imagination in terms of creativity or maybe that weird imaginary friend I had as a child, this little book looks at it from the philosophical viewpoint. What is imagination? How is it developed? How do we distinguish it from things like day-dreaming, or using the mind’s eye? Kant, Heidegger, Hegel, Sartre, and others had a lot to say on it. This one was more informative than other books in the series, but was a bit of slog to get through.
December 3, 2023
แอบผิดหวังนิดๆ ที่มันพูดถึงแต่ 'จินตนาการ' ในแง่มุมที่จำกัดมากๆ คือในบริบทของการถกเถียงทางปรัชญาและที่ทางของมันในเชิงสุนทรียศาสตร์ของมนุษย์แต่ละคน เราเลยไม่ได้เห็นแง่มุมทางสังคมหรือกระทั่งวิทยาศาสตร์ใดๆ ของจินตนาการมากเท่าที่ควร แม้จะมีตัวอย่างแตะๆ อยู่บ้างนิดหน่อย แต่ก็น้อยจนน่าผิดหวัง พูดง่ายๆ คือมันเป็นการ 'ปรัชญา' ว่าด้วยจินตนาการ ซึ่งอ่านไม่ยาก แต่ไม่ค่อยว้าวและไม่น่าตื่นเต้นเอาเสียเลย
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December 7, 2023RK NOOK
May 25, 2024
This was fine. There are different types of imagination and it plays an important role.
April 28, 2024
In a very summarized but informative way, the author develops artistic, philosophical and scientific aspects regarding the importance and characteristics of imagination
Displaying 1 - 10 of 10 reviews