Foreground.- I / The Creative Act as the Point of Phenomenological Access to the Human Condition.- 1. The Radical Overturn of the Phenomenological Perspective.- 2. Discovery and Appropriate Assessment of the Archimedean Point from which the Unity of Beingness Is to Be Exfoliated.- II / The Structure of the Present Work.- 1. Plurivocal Correspondences of Coherence: Juxtaposition of Design Patterns.- 2. Evocative Symmetries/Asymmetries, Anticipatory Presumptions, etc. of Graphic Correspondences.- 3. The Style of Exposition: Each Type of Evidence Meant to Appear in Its Primeval Operative Surging and Enactment.- 4. The New Critique of Reason.- 5. The Philosophical "Argument" in Outline.- III / Man-The-Creator and His Triple Telos.- 1. The Regulative Telos of the Real Autonomous Individual: Telos and Entelechy.- 2. Man-The-Creator and His Specific Telos.- The First Panel of the Triptych the Eros and Logos of Life within the Creative Inwardness.- The Outlines of an Inquiry.- 1. Is Creative Activity a Distinct Phenomenon?.- 2. The Itinerary of the Poet.- 3. Creation versus Constitution.- I / The Emergence of the Problem of Creation: The Poet-Creator Versus the Philosopher.- 1. Human Life as Conflict.- 2. The Conquest of the Mind and the Neutralization of Natural Life. Solidarity between Philosopher-Phenomen-ologist and Poet.- 3. Separation of the Tasks: Description of the Conscious Mechanisms of Phenomenology, in Opposition to the Grasp of the Operative Rules of Consciousness in the Creative Effort.- 4. The Reconquest of the Body, of Fecundity, and of the World in the Creative Effort: Creational Phenomenology.- 5. The Problem of Creation Arises in the form of a Mundane Context.- II / Creative Reality.- 1. The Creative Debate between the Mind and the Body Opens.- 2. The Underground Cable and the Factors of Creative Transformability.- 3. The Creative Process as an Active System of Transformation: Sensibility, New Source of Meaning at the Origin of the World.- 4. The New Form of Life Being Reborn in Creative Reality.- 5. "Generative Nature" Transformed into Erotic Emotion - The Mute Maternity of Thought.- III / The Factors in the New Alliance Between Man and the World.- 1. Experience and Knowledge, Antennae of the Mind.- 2. The Intermingling of Consciousness and Body in the Creative Function, an Inexhaustible Source of Possible Worlds.- 3. The Mode of the Relationship between the Body and the Mind: The Archimedean Point of the World.- 4. Expanded Consciousness: Virtual Inventor.- 5. The Common Contexture of the Mind and the Body.- The Theoretical Results of Our Analyses and the Perspectives they Open the Creative Context.- (a) The frame of reference, p. 113..- (b) The creative process suspended between two phases of the constituted world, p. 114..- (c) Creation, a rupture with the constituted world: Toward the emergence of a new contexture of the human world, p. 116..- (d) Creative inwardness and the new functional orchestration, p. 117..- Concluding by Way of Transition to the Central Panel of the Triptych.- The Central Panel of the Triptych (Panel Two) the Origin of Sense The Creative Orchestration of the Modalities of Beingness within the Human Condition.- One the Creative Context as Circumscribed by the Creative Process - its Roots "Below" and its Tentacles "Above" the Life-World: Uncovering the Primogenital Status of the Great Philosophical Issues.- I / Art and Nature: Creative Versus Constitutive Perception.- Section 1. The Creative Stirrings.- Section 2. Creative Perception and Originality.- (a) The analogy between constitutive and creative perception, p. 125..- (b) The different regulative principles and frameworks of reference of the two types of perception: theme versus essence (eidos), p. 125..- Section 3. The Creative Quest for "Authentic Reality" and the Fallacy of the "Return to the Source".- (a) The quest for the "authentic sense" of reality in the creative endeavor, p. 128..- (b) The "return to the source": Creative destructuring and re-construction; the fallacy of so-called "de-construction", p. 131.- Section 4. The Transcendental Illusion of the Return to the Source.- Section 5. the Quest for Illusory "True Reality" and the Dilemmas of Individual and Collective Effort.- Section 6. The Dilemma at the Heart of Creation: Collective Heritage versus Individual Evidence.- Section 7. Creative Destructuring in the Metaphysical Pursuit of the Poet: A Period of Preparation for the Creative Breakthrough.- (a) Life lurking in the media attributed to the illusory "authentic reality", p. 142..- (b) Creative conditions seen through philosophy, p. 146..- Section 8. The Radical Beginning: The Limit Concepts and the Mind in a New Pattern.- II / The Below and the Above of Creative Inwardness: The Human Life-World in its Essential New Perspective.- Section 1. Creation as the Transition between Two Successive Phases of the Same Life-World Caught in the Constitutive process.- (a) The precarious nature of the creative process, p. 152..- (b) The creative trajectory suspended between two poles: Creative agent and creative object, p. 154..- (c) The creative agent as a part of the constituted world, p. 156..- (d) The created work enters the constituted world as its integral part, p. 158..- Section 2. Man as the Creative Agent Transgresses the "Conditioning" of the Constituted World.- (a) The constituted world becomes problematic, p. 160..- III / The Creative Process And The "Copernican Revolution" In Conceiving The Unity Of Beingness: The Creative Process As The Gathered Center and Operational Thread of Continuity among All Modalities of Being in the Constructive Unfolding of Man's Self-Interpretation-in-Existence.- Section 1. The Distinction between the Creative Process and the Constructive Delineation of Man's Self-Interpretation-in-Existence.- Section 2. How the Creative Process Generates Examplary Works of Invention which Function as the Prototypes for Life's Interpretative Progress.- Section 3. The Infinitely Expansive Coherence of Life's Pluri-Modal Beingness Revealed by the Creative Process Leading to a Radical Overturn of the Classic Metaphysico-Ontological Formulations of Issues.- Two the Trajectory of the Creative Ciphering of the Original Life Significance: The Resources and Architectonics of the Creative Process.- I / The Incipient Phase of the Creative Process.- Section 1. The Incipient Phase of the Creative Process and Its Dynamic Resources: The Initial Spontaneity.- Section 2. The Two Moments of the Incipient Phase of the Creative Process.- (a) The creative stirring, p. 177..- (b) The creative vision, p. 179..- Section 3. Creative Volition.- Section 4. Creative Intuition as the Antenna between the Creative Vision and Its Crystallization in the "Idea of the Creative Work".- Section 5. The Work as the Creative Product.- (a) The intrinsic cognition of the creative work confined to represented objective schemes, p. 187..- (b) Intrinsic analysis of the work of art and its all-encompassing, transcending perspective; the immanent reality and the all-encompassing vision, p. 189..- II / The Creative Trajectory Between the Two Phases of the Life-World.- Section 1. The Three-Phase Creative Process.- (a) The three phases, p. 195..- (b) The advent of the creative object (work) and the three phases of its trajectory, p. 195..- (c) The surging of the creative process in the perspective of "subjective" experience - personal growth, p. 197..- (d) An overview of the creative process in itself (in the "objective" perspective), p. 200..- III / The Passage from the Creative Vision to the Idea of the Creative Work.- Section 1. Creation versus Invention.- Section 2. From the Creative Vision to the Creative Idea of the Work.- Section 3. Imagination and Memory in the "Deciphering" and "Ciphering" of the Originary Significance of the Work.- Section 4. The Accumulative Function of Memory.- Section 5. The "Objective Rules" of "Compossibility" in the Coming Together of Imaginative Elements in the Creative idea.- IV / Operational Architectonics of the Surging Creative Function in the Initial Creative Constructivism.- Section 1. The Organizing Principles.- Section 2. The Architectonic Proficiencies of the Theme/Topic/Plot, etc..- Section 3. The Interplay: The Theme in Its Transformative Crystallization.- Section 4. The Topic or the General Theme.- Section 5. The Spontaneous Division of the Arts and Genres.- Section 6. The Creative Idea with Its Architectonic Plan Contains the Outline of the Entire Creative Progress.- Section 7. The Three Steps of the Passage - The Origin of the Work of Art and Its Existential Continuity.- (a) The three steps, p. 241..- (b) The discrete existential continuity of the creative advance, p. 242..- V / The Architectonic Logic in the Existential Passage from the Virtual to the Real - The Will.- Section 1. The Phase of Transition in the Creative Process from Subjective Interiority of the Life-World: The Surging and the Force of the Will.- Section 2. The Transition Phase as the Creative Activity Proper: Its Very Own Intrinsic Laws; differentiation of the Types of Creativity in Art, Science, etc..- Section 3. The Operational Synthesis of the Creative Architectonics: Execution Skill and Technique in the Transitional Constructive Advance.- Section 4. Sequences of Operational Inventiveness: The Architectonic Logic of Beingness in the Generative Process.- Section 5. The Personality of the Creative Agent in the Architectonic Phase of the Creative Process and in Its Relatedness to the Life-World and the Human Condition.- Section 6. The Plurivocal Logic Originating in order to Subtend the Arteries of the Creative Orchestration: The Three Functional/Presentational Modes of New Significance; the "Cipher," the Symbol, the Metaphor.- VI / The Intergenerative Existential Interplay in the Transition Phase of Creativity.- Section 1. The Definitive Realization of the Work of Creation Acquiring Existential Status.- Section 2. From Objective Directives to the "Real Life" Enactment.- (a) The laws of the "workings of Nature" as the ultimate point of reference for creative architectonics, p. 278..- (b) The sequence of inventive operations in the existential transition and the "performer" as the architectonic artery into the real world, p. 281..- Section 3. The Personality of the Actor versus that of the Personification in the Acting.- Section 4. The Existential Transition of the Significant Message into the Meaningfulness of the Life-World: The "Receptive Interpretation" and the Status of the Creative Work within the "Real World".- (a) The real life enactment and the "judgment of existence", p. 288..- (b) The creative transition and the theatrical instinct, p. 290..- Section 5. The Question of the Prototype of the "Motor Modes" by which the Specifically Human Individual Enacts His Significant Life-Course.- Section 6. The Created Object Overflows with Its Fluctuating Virtually Potent Core of "Meaning" into the Constituted World that It Enters.- (a) Latent virtualities and their structural vehicle throughout time, p. 294..- Section 7. The Creative Work as the Bridge over the Discontinuity of the Historical Advance and the Factor of Its Progress.- Section 8. Indeterminateness versus the Immutable Core of Persistence in Interpretation.- Section 9. The Entrance of the Creative Work through the Receiving Process that Is Suspended upon Its Visionary Virtualities.- Coda / Conclusive Insights into the Question of "Reality" as the Outcome of Our Foregoing Investigations.- Section 1. Individualizing Life Assessed as the Source of Ontologico-Metaphysical Meaningfulness.- (a) The reality of life, p. 303..- (b) Life's "reality" in its epistemological modality of presentation as opposed to illusion, imagination, hallucination, and fiction, p. 305..- (c) Reality as the objectivity of the life-world, p. 307..- (d) Reality as a specific existential modality of life, p. 307..- Section 2. The Mimesis of Reality.- (a) "Objectivity" of life versus "life simile", p. 310..- (b) The creative act and mimesis, p. 314..- Three the Creative Orchestration of Human Functioning: Constructive Faculties and Driving Forces.- I / The Surging of the Creative Orchestration within Man's Self-Interpretation-In-Existence: Passivity Versus Activity; The Spontaneous Differentiation of Constructive Faculties and Forces.- Foreground: The Specifically Human Meaningfulness of Life.- Section 1. The Synergetic Cohesion of the Operational Faculties in the Creative Orchestration.- (a) The distinction between the functional constructive roles of "operations," "functional organs," and "faculties", p. 321..- (b) The differentiation of faculties: Imagination, will, intellect, memory, p. 322..- Section 2. Memory - Imagination - Will: Three Constructive Faculties which Individualize Life along with the Intellect, the Architect.- (a) Memory as a vital force of life, p. 330..- (b) The role of memory in experiencing the three types of destructuring of the person/life-world patterns, p. 333..- (c) "Creative memory" in the reconstructive "deconstruction" of the person/life-world pattern, p. 335..- (d) Memory as the key to sustained creative withstanding the adverse play of vital forces within the functional equipoise of Man's self-interpretation-inexistence, p. 338..- (i) In the midst of the play of vital forces, memory as the mediator of the equipoise in man's self-interpretative continuity, p. 338..- (ii) The balance of powers: The master-builder and the architect, p. 340..- II / Imaginatio Creatrix: The "Creative" versus the "Constitutive" Function of Man, and the "Possible Worlds".- Introduction: The Basic Philosophical Issues which Meet in the Question of the Role of Creative Imagination.- Section 1. The Differentiation of the Two Functions, the Creative and the Constitutive, with Reference to the Modal Opposites: "Activity and Passivity in Human Functioning".- Section 2. The Genesis of the Creative Function: The Creative Context, Its Framework.- (a) The differentiation of the two functions with respect to the axiological opposites: voluntary/involuntary, p. 349..- (b) The outline of the creative process as the fundamental dynamism of the creative context, p. 350..- (c) The revindication of the passions and of the elemental nature of Man within the creative context, p. 353..- Section 3. Imaginatio Creatrix in the Controversy concerning the Role of the Faculties - a Critique of Husserl and Kant. The Differentiation of the Two Functions with Respect to the Regulative Principles: Transcendental "A Priori," "Creative Freedom".- Section 4. "Imaginatio Creatrix" and the Functional Orchestration within the Creative Context: The Regulative Choice in the "Creative" versus the "A Priori" of Ideas in the "Constitutive" Function.- Four the Human Person as the All-Embracing Functional Complex and the Transmutation Center of the Logos of Life.- I / The Notion of the "Human Person" at the Crossroads of the Understanding of Man within the Life-World Process.- Introduction: The Notion of "Person" as the Point of Reference for the Understanding of Man within His Life-Conditions.- (a) The first two basic models for the conception of the person, p. 381..- (b) The third model of the person as a subject/agent within the social world, p. 382..- Section 1. The Human Person in His/Her Essential Manifestation.- (a) The phenomenology of the human person in a fourfold perspective, p. 386..- Section 2. The Manifest Person.- (a) The body complex, p. 388..- (b) Mute performance versus sentient interiorizing: The "voice" of the body and its elementary vital "sense", p. 389..- (c) The body/soul manifestation of the person, p. 391..- (d) The essential nature of the soul, p. 392..- II / The Moral Sense of Life as Constitutive of the Human Person.- Section 1. The Person as the Subject/Agent within the Life-World.- Section 2. Man's Self-Interpretative Individualization.- Section 3. The Moral Sense in the Intersubjective Interpretation of Life Affairs.- III / The Poetic Sense: The Aesthetic Enjoyment which Carries the Lived Fullness of Conscious Acts.- Introduction: The Predicament of Value-Aesthetics and of Literary Text-Bound Theories.- Section 1. The Conception of "Aesthetic Enjoyment" in Moritz Geiger's Aesthetics.- (a) Enjoyment differentiated from cognition, p. 407..- (b) Enjoyment distinguished from experiences, p. 407..- (c) Enjoyment differentiated from the constitutive features of the will, p. 408..- (d) Enjoyment and the self, p. 409..- (e) The aesthetic specificity of aesthetic enjoyment, p. 410..- Section 2. Aesthetic Enjoyment and the Poetic Sense.- (a) The "poetic sense": Enjoyment in conscious experiences. The conscious act as an "act" versus the conscious act as an "operation", p. 413..- (b) The nature of enjoying, p. 414..- (c) The enjoying function differentiated from the cognitive, volitive, or moral function, p. 415..- (d) The poetic sense of the enjoying function: The "vital sense" and the "aesthetic sense", p. 416..- Section 3. Imaginatio Creatrix, "Homo Ludens" and "Homo Creator".- Section 4. The Aesthetic Sense: Its Voice and the Aesthetic Language.- IV / The Intelligible Sense in the Architectonic Work of the Intellect.- Section I. Introducing the "Intelligible Sense" and the Role of the Intellect within the Network of the Universal Expansion of the Logos.- Section 2. Intelligibility's Emergence from the Subject-Object Correlation of Life's Ordering.- Section 3. The Emergence of the Intelligible Sense of Life within the Set of the Three Phases of the Synergies of Life's Forces.- Section 4. The Foundational Positionality of "Consciousness as Large as Life" and of "Givenness".- Section 5. The Intelligible Sense's Expansion through the Principles and Categories of the Intellectual Structuration of Objectivity.- Concluding by Way of Transition to the Third Panel of the Triptych.- Notes.- Index of Names.- Index of Subjects.- Table of Contents to Book 2 (The Third Panel of the Triptych).
