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The present work is, as its title indicates, a study of Hume's theory of imagination. Naturally, it is a study of a particular sort. It has a certain scope and limitations, takes a certain line of approach, exhibits certain emphases, has certain ends-in-view, etc. As an initial step in specifying the nature of this study, I shall indicate its central problem, i. e. , that problem to the solution of which the solutions of the various other problems with which it is concerned are merely means. The central problem of this study is that of determining how Hume's theory of im agination is related to, or involved in, the generic features and main lines of argument of his philosophy of the human understanding. The expression "philosophy of the human understanding" is obvious to allude to a restriction on the scope of this investigation. ly intended Actually, it is a title suggested to me by two of Hume's philosophical writings; and to anyone who is even modestly acquainted with these writings, its reference should be no mystery. Hume published the first two so-called "Books" of his A Treatise of Human Nature in 1739. The first of these two Books was entitled "Of the Human Understanding. " Nine years later, he published a work under the title, An Enquiry Con cerning Human Understanding.

This book proposes a new and systematic interpretation of the mental nature, function and structure, and importance of the imagination in Book 1, 'Of the Understanding', of Hume's Treatise of Human Nature. The proposed interpretation has deeply revisionary implications for Hume's philosophy of mind and for his naturalism, epistemology, and stance to scepticism. The book remedies a surprising blindspot in Hume scholarship and contributes to the current, lively philosophical debate on imagination. Hume's philosophy, if rightly understood, gives suggestions about how to treat imagination as a mental natural kind, its cognitive complexity and variety of functions notwithstanding. Hume's imagination is a faculty of inference and the source of a distinctive kind of idea, which complements our sensible representations of objects. Our cognitive nature, if restricted to the representation of objects and of their relations, would leave ordinary and philosophical cognition seriously underdetermined and expose us to scepticism. Only the non-representational, inferential faculty of the imagination can put in place and vindicate ideas like causation, body, and self, which support our cognitive practices. The book reconstructs how Hume's naturalist inferentialism about the imagination develops this fundamental insight. Its five parts deal with the dualism of representation and inference; the explanation of generality and modality; the production of causal ideas; the production of spatial and temporal content, and the distinction of an external world of bodies and an internal one of selves; and the replacement of the understanding with imagination in the analysis of cognition and in epistemology.

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.