Abstract

It would be wrong to view Ferrari’s work, however, as a mere development of what is found in these and other phenomenological or Continental thinkers. Indeed, the depth and scope of his original contributions on these topics is impossible to describe even briefly in a review. Among the many which could be mentioned are the following. First, Ferrari’s analysis and critique of the image theory of recollection goes significantly beyond Husserl’s own critique of that view. His explanation of recollection involves the notion of what he calls “intentional distance” to the reperformance of the past act and an “overlying” of intentional acts which allows for a fundamental modification of the relived act; a new intentional stance to the reperception.