Two disciplines have greatly contributed to a new understanding of phantasy and imagination in contemporary thought: phenomenology and psychoanalysis. These two different approaches to Phantasie developed almost simultaneously at the beginning of the twentieth century. The examination of Phantasie can focus on the concrete form of the phantasm as a unique object formation—or better, as scene. The attention can also be directed to the style of imagining as specific intentionality. Whereas the second line of research has been extensively studied in the context of phenomenological investigation, psychoanalytical inquiry has greatly contributed to the understanding of the phantasm as scene. In the present paper, the author primarily examines the notion of phantasy from a phenomenological perspective. More specifically, the author intends to show the inner tensions between the concept of pure phantasy as intentional act and the manner of appearance of unclear phantasy. If we consider the essential traits of the appearances of unclear phantasies (protean form, abruptness, and intermittence), the unclear phantasies cannot be considered as quasi-perceptions of a fictional object, since no intentional object constitutes itself in this confused dimension.

中文翻译：

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不明幻象的现象学

两门学科极大地促进了对当代思想中幻想和想象的新理解：现象学和精神分析。这两种不同的幻想方法在二十世纪初几乎同时发展起来。对幻想的考察可以侧重于幻想作为一种独特的物体形成的具体形式——或者更好的是，作为场景。注意力也可以指向作为特定意向性的想象风格。尽管在现象学调查的背景下对第二条研究线进行了广泛研究，但精神分析调查极大地促进了将幻象理解为场景。在本文中，作者主要从现象学的角度考察了幻想的概念。进一步来说，作者意在展示作为有意行为的纯粹幻想的概念与不明确的幻想的出现方式之间的内在张力。如果我们考虑不明确的幻想的出现的本质特征（多变的形式、突然性和间歇性），则不明确的幻想不能被认为是对虚构对象的准知觉，因为在这个混乱的维度中没有有意的对象构成自己。