I draw upon Edmund Husserl’s classic text, On the Phenomenology of the Consciousness of Internal Time, in order to reframe some of his insight regarding the structures of inner time-consciousness and lay the groundwork for a few claims of my own. First, I show how musical expression is constituted in relation to the flowing movement of absolute subjectivity. Moreover, by carefully distinguishing between retention and recollection, I clarify, on the one hand, music’s ability to support access to memory proper and, (...) on the other hand, its ability to keep the past “in play,” so to speak. In this way, we come to understand how music offers a unique memorial capacity—it makes possible the life of the past, as the vital movement of absolute subjectivity. Throughout the essay, I refer to Josquin’s motet Ave Maria…virgo serena in order to clarify the specific temporal structures that are at issue. (shrink)

In this paper I explore the issue of how our personal life is given to us in experience as a whole to be actively shaped and determined. I examine in detail Husserl’s analysis of the kind of experience responsible for this achievement, which he terms Überschau and which thus far has never been addressed by scholars of phenomenology. First, I locate Überschau in the context of self-determination and highlight the difference between the unthematic pre-givenness of life in the phenomenon of (...) self-awareness and the actual, i.e. thematic givenness of life in acts of Überschau. Second, I contextualize Husserl’s discovery of Überschau in his analyses of ethical life and the possibility of a universal epoché. I argue that for Husserl the very possibility of ethical life and of phenomenology itself rest on the totalizing apprehension of one’s life rendered possible by Überschau. In the third section I spell out the essential characteristics of Überschau by contrasting this peculiar kind of consciousness with reproductive forms of consciousness such as recollection and expectation, which otherwise might be easily conflated with Überschau. In section four I reply to a possible objection to the very possibility of Überschau based on the consideration of the infinitely open stream of time-consciousness. I argue that the possibility of Überschau is tightly connected with the egological nature of consciousness as understood by Husserl. The ego does not coincide with its own conscious acts and thus enjoys a special vantage point on the totality of its own life. To conclude, I advance a speculative suggestion about the phenomenological origin of Überschau in the structure of self-awareness. This opens up a variety of possible lines of research that would connect Husserl with philosophers such as Augustine or Heidegger who are more immediately associated with the issue of personal life and its unity or lack thereof. (shrink)

This paper offers a phenomenological analysis of the relationship between regret and episodic memory, the temporal structure of ‘regretful memory’, the affective and evaluative dimension of regretful memory and the counterfactual dimension of regretful memory. Based on Husserl’s phenomenology, I offer an analysis of regret’s complex structures of intentionality and time-consciousness. Husserl held that episodic memory requires two temporal orientations on one’s own experience: the past now that one relives and the present now in which one does the reliving. If (...) memory generally entails two temporal perspectives, regretful memory brings in a third point of temporal reference: that now that could have been. Drawing on Hoerl and McCormack, I give an account of regret as a mnemic and counterfactual form of intentional consciousness that confronts an alternative past and attempts to negotiate between two essential yet conflicting features of its actual past: its contingency and its irreversibility. On this basis, I then draw on Bagnoli to offer a phenomenological theory of regretful memory as an emotional mode of valuing possibilities that belong to the past. (shrink)

Although there has been a great deal said about Husserl’s account of time-consciousness, little attention has been specifically paid to future-consciousness. This article gives an Husserlian account of future-consciousness. It begins by arguing that protention should be understood as a future-directed version of retention and so that future-consciousness should be understood as perception. This account is developed in two ways: the future need not be determinately given in protention and so future-consciousness can be vague; cases when the future turns out (...) to be other than we perceived it to be can be understood as temporal illusions. This account of future-consciousness both illuminates some of Husserl’s more obscure remarks on time-consciousness and provides a means of understanding an often neglected phenomenon of independent philosophical interest: our awareness of the future. (shrink)

Images share a common feature with all phenomena of imagination, since they make us aware of what is not present or what is fictional and not existent at all. From this perspective, the philosophical approach of Kendall Lewis Walton—born in 1939 and active since the 1960s at the University of Michigan—is perhaps one of the most notable contributions to image theory. Walton is an authoritative figure within the tradition of analytical aesthetics. His contributions have had a considerable influence on a (...) broad range of topics, such as the role of categories in the understanding of the arts (Walton, “Categories of Art”. Philosophical Review, 79(3): 334–367, 1970), the ambiguous nature of emotions in the experience of fictional stories (Walton, “Fearing Fictions”. The Journal of Philosophy, 75(1): 5–25, 1978), the transparency of photographic images compared to other depictions (Walton, “Transparent Pictures: On the Nature of Photographic Realism”. Noûs, 18(1): 67–72, 1984) and, above all, the development of a general theory of fiction as imaginative activity. His 1990 book Mimesis as Make-believe: On the Foundations of the Representational Arts collects and re-elaborates articles Walton published on the subject since the 1970s. Though he does not attempt to give a definitive answer for what imagination is, Walton thoroughly investigates its role in all cases of representational works, describing depictions as a specific case of “make-believe” activity: images, in short, are specific props of a visual and perceptual “make-believe” game. (shrink)