The concept of depth is central to Merleau-Ponty’s phenomenology and informed not only his philosophy of perception but also his thinking about psychology, art and politics. This article traces the ways the notion of depth appears in Merleau-Ponty’s thinking in these fields, contrasting it with Husserl’s own phenomenological investigations. The article starts with a comparison of the function of perception in Husserl’s phenomenology and then proceeds with an analysis of how the issue of depth reappears in Merleau-Ponty’s phenomenology of perception, (...) phenomenology of art and political philosophy. I argue that while Husserl’s approach to phenomenology led him to analyses of aesthetics stemming from works of art as random examples, and to non-participation in politics, Merleau-Ponty’s phenomenology leads to the opposite approach, inviting concrete criticism in art and active participation in politics. It is argued that Merleau-Ponty’s approach is more philosophically consistent. The choice of particular works of art, and the particular political engagements, can retrospectively clarify the transcendental phenomenological investigations themselves. (shrink)

The paper contends that transcendental phenomenology is a form of radical immanent critique able to explicate the necessary structures of meaning-constitution as well as evaluate our present situation through the historically traditionalized layers of concrete, lived experience. In order to make this case, the paper examines the critical dimension of phenomenology through the lens of one of its core conditions for possibility: the imagination. Building on—yet also departing from—Husserl’s own analyses, the paper contends that the imagination is both self- and (...) lifeworld-constituting. The imagination is anchored in our everyday senses of self and world as well as able to distance itself from being naively moored in normalized and deeply sedimented commitments. It is precisely this ‘anchored distance,’ rather than a sweeping doxic and ontic neutrality and negative freedom, that reveals the critical dimension of the imagination. (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)

Ïntroductory remarks to the Journal of the British Society for Phenomenology Special Issue "Phenomenology and the Idea of Europe".

For Husserl, the _homeworld_ is the tacit, taken-for-granted sphere of experiences, understanding, and situations marking out a world that is comfortable, usual, and “the way things are and should be.” Always, according to Husserl, the homeworld is in some mode of lived mutuality with an _alienworld_—a world as seen as a realm of difference, atypicality, and otherness. In this article, I draw on British-African novelist Doris Lessing’s 1969 novel, _The Four-Gated City_, to consider the shifting homeworld of protagonist Martha Quest, (...) a young white African woman emigrating to battle-scarred London immediately after World War II. Throughout the novel, Quest finds herself in unfamiliar or challenging situations where the world she takes for granted is called into question. Lessing draws on these life-testing experiences to portray Quest’s shifting understandings of other individuals’ homeworlds that at first she sees as atypical, abnormal, or unreal. (shrink)

In his 1922/1923 articles for the Japanese magazine _Kaizō_, Edmund Husserl identifies a particular “humanity” or human culture by the purposeful idea [_Zweckidee_] consciously embraced by the community. This purposeful idea is attained through rational self-formation on the part of the community in a manner analogous to the rational self-formation of the individual human being. Thereafter, it can be referenced to distinguish different cultures (or stages of cultural development) from one another through its objective manifestation in communal groups and cultural (...) products, as Husserl retraces in a historical account of the development of Western history. This paper explores the essential character of this conception of the purposeful idea from both an exegetical and a systematic perspective, examining in particular the relationship between such an idea and the values experienced by individual subjects within a culture (which are, according to Husserl, also available at the level of objective culture in relation to a communal subject). The paper argues that Husserl’s basic conception of the purposeful idea is a good model for understanding certain essential characteristics of cultural constitution in general, although some of his fundamental assumptions—especially the strict identity he attempts to establish between a purposeful idea as such and the specific goal of universal, rational self-understanding—turn out to be somewhat more questionable in light of the connection between the purposeful idea and the genuinely felt values underlying it. (shrink)