Der thematisch scharf umgrenzte Sammelband ist von grundlegender Bedeutung füuuml;r die Ästhetik der Gegenwart und vervollstäauml;ndigt Ingardens großen Entwurf einer philosophisch begründeten Theorie des Kunstwerks. Im Mittelpunkt der Eröouml;rterungen stehen das ästhetische Erlebnis, das Form-Inhalt-Problem im literarischen Kunstwerk und vor allem der Fragenkomplex des ästhetischen Wertes.

Russian translation of the XVIII and XIX sections of the third volume of Ingarden R. Spór o istnienie Świata . Translated by Maxim Lebedev and Yanina Kubka from Polish, the translation is compared with German translation by Alexander Nesterow.

Within many approaches to the interpretation of quantum mechanics, especially modal interpretations, one singles out a particular decomposition of the state vector in order to fix the properties that are well-defined for the system. We present a novel proposal for this preferred decomposition. Given a distinguished factorization of the Hilbert space, it is the decomposition that minimizes the Ingarden–Urbanik entropy from among all product decompositions with respect to the distinguished factorization. We incorporate this choice of preferred decomposition into a (...) framework for modal interpretations and investigate in detail the extent to which it provides a solution to the measurement problem and the extent to which it ensures that measurements whose outcomes are predictable with probability 1 reveal pre-existing properties of the system under investigation. (shrink)

The imposing scope and penetrating insights of German philosopher Nicolai Hartmann’s work have received renewed interest in recent years. The Neo-Kantian turned ontological realist established a philosophical approach unique among his peers, and it provides a wealth of resources for considering contemporary philosophical problems. The chapters included in this volume examine his ethics, ontology, aesthetics, philosophy of mind, and philosophy of nature. They explore his ontology of values, autonomy and human enhancement, and law; his theory of levels of reality, space-time (...) and geometry, the categories of temporality, causality, and “life,” the question of realism, and social ontology. Others take inspiration from his aesthetic theory, ideas about education,and his embrace of the Socratic pathos of wonder. They bring his philosophy into conversation with that of his contemporaries, including Roman Ingarden and Konrad Lorenz’s appropriation of Hartmann, as well as with the history of philosophy, including Plato’s theory of recollection, pre-Socratic philosophy, and that of his Russian teacher Nikolai Lossky. Those familiar with Hartmann’s wide-ranging systematic philosophy will benefit from these new engagements with his work, and those new to it will find them relevant to a number of current philosophical debates. (shrink)

Edmund Husserl devoted much attention to the analysis of internal time consciousness beginning as early as the turn of the twentieth-century. His various notes and lectures were left unorganized and unpublished until Husserl's capable assistants were given the responsibility of organizing his work for publication. This paper provides a social and philosophical account of the redaction of Husserl's materials on time consciousness as it involved the activity of his famous assistants Edith Stein, Roman Ingarden and Martin Heidegger. Special attention (...) is given to the way that both Stein and Heidegger appropriated Husserl's work and at the same time challenged fundamental elements of the master's phenomenology. (shrink)

This book of readings would make a superb ancillary text for an advanced or even graduate course in "existential phenomenology." Twelve of the twenty-two selections have been translated for the first time into English. This includes Sartre's defense of the major theses of Being and Nothingness before the Société française de philosophie and Ric£ur's similar defense of La Philosophie de la Volonté, I before the same body. As with Merleau-Ponty's similar defense, "The Primacy of Perception," also included in this volume, (...) the discussion which followed these defenses is presented. Integral texts in the form of articles rather than extracts from books are presented in most cases, including the first appearance of an essay by Marcel entitled "Desire and Hope." Where this is not done, as is partly the case for Strasser and wholly the case for Scheler, Dufrenne, Wild, and Ingarden, lengthy and context-faithful excerpts are given. There are four sections in the book: I. Existence in the Modalities of Consciousness, II. Existence as Embodied, III. Existence and Value, and IV. Existence and the Human Sciences. Each of these sections is skillfully laid out and effectively introduced. In addition to the philosophers mentioned, work by Buytendijk, May, Schutz, Van Kaam, Berger, Bollnow, Minkowski, Straus, and de Waelhens is included. Husserl is missing, as is Heidegger, but these gaps can be supplemented easily enough.—E. A. R. (shrink)

Ist die Welt ein Buch? Der Phänomenologe R. Ingarden und der Analytiker W. Goodman haben sich beide sehr eingehend sowohl mit der Philosophie der Literatur wie mit der Ontologie der Wirklichkeit befaßt. Doch ihre Thesen sind sehr verschieden. Für Ingarden ist die reale Welt kein vom Menschen abhängiges Kulturprodukt, dagegen sind für ihn die Kunstwerke merkwürdige rein intentionale Gegenstände, die in ihrer Existenz vom menschlichen Bewußtsein abhängen. Goodman hingegen betont, daß gerade die realen Welten auf merkwürdige Weise vom (...) Menschen gemachte Entitäten seien, während er in seiner Smiotik der Kunst ganz nüchtern nur von konkreten Zeichen und konkreten Dingen spricht. (shrink)

Ist die Welt ein Buch? Der Phänomenologe R. Ingarden und der Analytiker W. Goodman haben sich beide sehr eingehend sowohl mit der Philosophie der Literatur wie mit der Ontologie der Wirklichkeit befaßt. Doch ihre Thesen sind sehr verschieden. Für Ingarden ist die reale Welt kein vom Menschen abhängiges Kulturprodukt, dagegen sind für ihn die Kunstwerke merkwürdige rein intentionale Gegenstände, die in ihrer Existenz vom menschlichen Bewußtsein abhängen. Goodman hingegen betont, daß gerade die realen Welten auf merkwürdige Weise vom (...) Menschen gemachte Entitäten seien, während er in seiner Smiotik der Kunst ganz nüchtern nur von konkreten Zeichen und konkreten Dingen spricht. (shrink)

This long-awaited translation of Das literarische Kunstwerk makes available for the first time in English Roman Ingarden's influential study. Though it is inter-disciplinary in scope, situated as it is on the borderlines of ontology and logic, philosophy of literature and theory of language, Ingarden's work has a deliberately narrow focus: the literary work, its structure and mode of existence. The Literary Work of Art establishes the groundwork for a philosophy of literature, i.e., an ontology in terms of which (...) the basic general structure of all literary works can be determined. This "essential anatomy" makes basic tools and concepts available for rigorous and subtle aesthetic analysis. (shrink)

This long-awaited translation of Das literarische Kunstwerk makes available for the first time in English Roman Ingarden's influential study. Though it is inter-disciplinary in scope, situated as it is on the borderlines of ontology and logic, philosophy of literature and theory of language, Ingarden's work has a deliberately narrow focus: the literary work, its structure and mode of existence. The Literary Work of Art establishes the groundwork for a philosophy of literature, i.e., an ontology in terms of which (...) the basic general structure of all literary works can be determined. This "essential anatomy" makes basic tools and concepts available for rigorous and subtle aesthetic analysis. (shrink)

Článek seznamuje s kritikou psychologismu v logice, která je jedním z hlavních témat Husserlových Prolegomen k čisté logice. Psychologismus v logice spočíval v podstatě v tom, že logika byla chápána jako součást psychologie, příp. že psychologie se považovala za jediný a dostatečný teoretický základ logiky. Pozornost je věnována dvěma hlavním liniím kritiky psychologismu, které se v tomto Husserlově díle objevují. První z nich vychází z analýzy povahy zákonů čisté logiky (zákon sporu, sylogistické figury aj.). Analýza ukazuje, že tyto zákony se (...) nemohou zakládat na empirických psychologických pravidlech, a psychologie (jako empirická věda) tudíž nemůže být základem logiky. Druhá linie Husserlovy kritiky psychologismu v logice směřuje k prokázání vnitřní rozpornosti psychologistického stanoviska, jsou-li z něj vyvozeny jeho nejzazší důsledky. Tato rozpornost spočívá v tom, že psychologismus na jedné straně vystupuje jako vědecká teorie, na straně druhé však svou základní tezí popírá některé z nutných podmínek možnosti každé vědecké teorie vůbec, a tím sám sebe ruší jako teoreticky věrohodnou tezi. Závěrem upozorníme na jedno z pokračování boje proti psychologismu v rané fenomenologické tradici, a to na Ingardenovu kritiku psychologismu v pojetí literárního díla.The article outlines some of the main argumentation-strategies deployed by Husserl in his famous critique of the psychologistic logic in Prolegomena to pure logic. Fundamentally, the psychologism in logic consisted in considering logic to be a part of psychology, resp. in considering psychology as the exclusive and sufficient foundation of logic. The attention is given to the two main lines of argumentation against psychologism appearing in the work of Husserl. The starting point of the first one is an analysis of the laws of pure logic (principle of contradiction, the figures of syllogism etc.). It shows that these laws can not be based on mere empirical rules of psychology, and thus psychology (as an empirical discipline) can not be the foundation of logic. The second line of Husserl’s critique of psychologism aims at showing the contradictions in the psychologistic standpoint that become visible if one uncovers its ultimate implications. The main contradiction consists in that while psychology claims to be a scientific theory it contradicts at the same time by its fundamental claim some of the necessary conditions of a scientific theory as such, and thus it cancels itself as a theoretically credible set of claims. Toward the end of the paper the attention is given to one of the continuations of the fight against psychologism in the phenomenological tradition, namely to R. Ingarden’s critique of the psychologism in the conception of the literary work of art. (shrink)

Reason and Value collects 15 new papers by leading contemporary philosophers on themes from the work of Joseph Raz. Raz has made major contributions in a wide range of areas, including jurisprudence, political philosophy, and the theory of practical reason; but all of his work displays a deep engagement with central themes in moral philosophy. The subtlety and power of Raz's reflections on ethical topics make his writings a fertile source for anyone working in this area. Especially significant are his (...) explorations of the connections between practical reason and the theory of value, which constitute a sustained and penetrating treatment of a set of issues at the very center of moral philosophy as it is practiced today. The contributors to the volume acknowledge the importance of Raz's contributions by engaging critically with his positions and offering independent perspectives on the topics that he has addressed. The volume aims both to honour Raz's accomplishments in the area of ethical theorizing, and to contribute to an enhanced appreciation of the significance of his work for the subject. (shrink)