Abstract

Maria Manuela Saraiva was one of the rare authors that, in the Portuguese philosophical panorama, was devoted to the study of Husserl, namely in what she concemed the statute of the imagination versus aesthetic conscience or artistic universe. Starting with the analysis of their texts on Husserl and Ingarden, we will end considering the eventual aesthetic innovations in Husserl’s work, that is to say from the Logical Investigations to the Formal and Transcendental Logic, going trough the phases imposed between the first and the second volumes of the Ideas. Surpassing the ambiguity of the husserlian language, and given the absence of an aesthetic thought of the master of Göttingen, we will see now the work of art can break out, pure, in itself, beyond the primacy of the perception and by the modification of neutrality.