A Series Of Notes On 
A Transcendental Critique Of Poetic Texts

Being A Theoretical And Practical Exposition On 
The Critical Evaluation, Realization And Appreciation Of 
The Poetical.

Part I

Preface

1. Philosophy should begin with the transcendental, end 
with the transcendental and be exercised transcendentally.
2. Imputation and implication of a transcendental dimension should be exercised theoretically and practically.
3. Revealing in what sense experience has its origin, 
exercise and fruition in transcendental experience. 
4. In this light recognition implies that cognitively there can be no absolute distinctions between intentional facets.
5. E.g., between the conceptually treated poles of 
the intentional subject(s), object-state(s) and field(s).
6. Moreover, this implies that in transcendental experience 
these facets cannot be individually simulated intentionally.
7. That transcendental recognition is nothing other than this appreciation of non-absoluteness in orientation.
8. As in the spontaneity of judgment wherein the text itself
simulates its own simulation, i.e., its re-simulation.
9. Appreciation of intentional structure being trans-intentionally oriented, etc., is thus transcendental.
10. Appreciation of intentional performance being de-intentionally oriented, etc., is thus transcendental. 
11. Appreciation of intentionality through a
transcendental suspension, etc., is thus transcendental.
12. Through the experience of the relationship from 
the simulated point of view of that relationship itself.
13. As the meta-genre of the poetic text is a form of life 
this exposition equally applies to all other forms of life.
14. The experiential significance of the transcendental being generated from the non-transcendental, and vice versa.
15. Through the repetitive nature of the conscious process
thence the re-construction of the re-simulated text.
16. Our receptive re-simulation of the text in equal degree
critically self-constructing its critical re-construction.

1.	Definitions

1. Transcendental

1. A transcendental orientation is entered and left through 
a thorough suspension of the Cognitive (and the Affective).
2. The transcendental dimension is thence trans-intentional, trans-phenomenal and trans-cognitive, etc., in orientation.
3. Through suspension the transcendental dimension being equally de-intentional, de-phenomenal and de-cognitive.
4. The transcendental orientation being put into effect through a transcendental suspension, etc. of intentionality.
5. Classically transcending the synthetic nature of the 
perceptual and the a priori nature of the conceptual.
6. Transcendentality being realized through the relationship between and within concepts in the spontaneity of judgment.
7. Hence value is experienced as a transcendental phenomenon even though its roots/application are non-transcendental. 
8. Value being experienced through the resolution of 
cognitive dissonance from the relational perspective. 

2. Intentionality

1. Intentionality is cognitively experienced between 
the bi-polar poles of the noematic and the noetic.
2. Suspension of this polarity gives us direct access to the already pre-constituted or the now already re-constituted.
3. Intentionality is experienced through the resolution of cognitive dissonance in its conceptualized treatment.
4. Conceptual processes of analysis and synthesis, and their joint suspension, giving us tri-polar terms of reference.
5. That intentionality is expressed through the resolution of the cognitive hence its transcendental appreciation.

3. Textuality

1. Textuality is realized through the deposition of 
intentional behaviour on the fabric of the world.
2. The impossible presence of pure intentionality implies 
no text can be purely intentional.
3. The impossible absence of pure non-intentionality implies
that no apparent text can be purely non-textual.
4. All phenomena are textualized hence the cooperation of the phenomenological and the hermeneutical.
5. Texts being oriented as textually textual or non-textual, either intentionally and/or unintentionally formed.

4. Poetic Textuality

1. A poetic text is a textual text with a greater 
concentration of provocative literary devices.
2. A relatively successful poetic text being produced and re-produced through the resolution of such provocation. 
3. The resolution of provocative mechanisms being 
experienced individually and collectively.
4. Resolution contributing to the richness and integrity 
of the text and is experienced as the release of value.

5. Critique

1. The critical appreciation of a textualized phenomenon 
is realized trans-intentionally and de-intentionally.
2. Through the re-simulation of that textual phenomenon
as a textualized phenomenon, i.e., transcendentally.
3. Criticality provocatively realized through re-simulation and resolution of its analogued intentionality.