Time and memory: Roman Ingarden's concept of the order of sequence in a literary work of art in view of Francisco Varela's neurophenomenology, and Shaun Gallagher's front loading phenomenology

In contrast to Roman Ingarden’s well-known concept of the literary work as a stratified formation, the concept of the order of sequences in it has never attracted much attention. Therefore, the absence of this concept in neurophenomenology is not surprising, even though the founders of neurophenomenology have often drawn on the same Husserlian inspirations. Put together with their ideas, Ingarden’s concept still seems to be inspiring. Its strength lays in an in-depth analysis of temporal modes of understanding related to the sequential nature of language. This kind of analysis works also for memory mechanisms, which, according to Ingarden, function in a similar way. They are responsible for creating schematized aspects and integrating them into the experienced objects. Ingarden derived these schemes from Husserl’s concept of time-consciousness, and from the work of Bergson. The background of his ideas, however, were studies on memory performed by the philosophers from the Lvov-Warsaw School. Taking into account those three sources of inspiration makes it possible to offer a solution to the neurophenomenological problem of the cognitive value of the so-called protocols of first- and third person narratives, and fosters a better understanding of the narratological concepts of Russian, Prague, and Polish structuralists.