Aspectual shape is widely recognized property of intentionality. This means that subject’s access to reality is necessarily conditioned by applied concepts, perspective, modes of sensation, etc. I argue against representational and indirect-realist account of this phenomenon. My own proposition—presentational and direct realist—is based on the recognition of historical contexts, in which the phenomenon of aspectuality should be reconsidered; on the other hand—it is based on Ludwig Wittgenstein’s conception of aspectual perception. Moreover I apply some results from the area of logicophilosophical (...) investigations called qua theory. (shrink)

SummaryThis paper states the belief that both an “irrationalist” conception of the humanities which is hostile to any theory construction, as well as a “positivist” one which tries to reduce all knowledge to the scientific model of deduction and induction must be avoided. This leads to Chisholm's notion of epistemic consequence. The Chisholmian reconstruction of epistemology is then viewed as an explication of the phenomenologi‐cal program, and it is discussed in how far this program can meet the objection of those (...) who argue against introspection and for social practice and historical relativism. (shrink)

Husserl’s allegiance to realism came under attack following his Ideas. Ingarden was a fierce critic of his teacher’s turn to transcendental idealism and provided compelling arguments both for his idealist reading of Husserl and for his rejection of idealism. One of the main arguments Ingarden devised against Husserl’s turn was based on his aesthetics. Against Husserl, Ingarden established literary works and fictional objects as purely intentional objects that are (1) doubly structured, vis-à-vis their formal ontology, and (2) endowed with spots (...) of indeterminacy. These facts, Ingarden argues, necessitate the transcendence of the purely intentional object. In this paper, I explore his argument, while establishing the ontological foundation on which it rests. (shrink)

Je prends ici comme prétexte la parution aux éditions Nijhoff des Leçons professées par E. Husserl durant le semestre d'été 1908 à Göttingen sur sa doctrine de la signification, Vorlesungen ueber Bedeutungslehre Sommersemester 1908 (1987), afin de faire le point sur les changements qui interviennent durant cette période concernant sa conception de la signification. L'importance du contenu de ces Leçons a déjà été signalée par quelques phénoménologues dont G. Küng (1973), R. Bernet (1979). D. W. Smith et R. McIntyre (1982) (...) et par Husserl (1968) lui-même dans une lettre à R. Ingarden. Il semble que ces Leçons marquent ce qu'on pourrait appeler un «tournant frégéen» dans la conception husserlienne de la signification et qu'elles préparent le sol sur lequel s'édifie la théorie de l'intentionalité des Idées directrices. (shrink)

The most striking feature of Meinong's theory of intentionality is his thesis that every mental act has its reference‐object “beyond being and non being”. This theory seems, at first, to be a clear example of the so called object‐theory of intentionality, as it introduces special “postulated” entities in the target‐position of the mental act. Closer examination, however, reveals in Meinong's works important elements of the mediator‐theory. Meinong speaks of auxiliary incomplete objects situated “between” the subject and the object of reference (...) and “mediating” the intentional access to the reference‐object. Moreover, even if the object of reference is of the simple nominal form, the mediating structure involves essentially propositional entities . In the paper we attempt to give a set‐theoretical interpretation of Meinong's theory in the frame of which we could eventually do without the incomplete mediating objects. Yet, some general epistemological considerations suggest the indispensability of such incomplete mediating structures. (shrink)

The most striking feature of Meinong's theory of intentionality is his thesis that every mental act has its reference‐object “beyond being and non being”. This theory seems, at first, to be a clear example of the so called object‐theory of intentionality, as it introduces special “postulated” entities in the target‐position of the mental act. Closer examination, however, reveals in Meinong's works important elements of the mediator‐theory. Meinong speaks of auxiliary incomplete objects situated “between” the subject and the object of reference (...) and “mediating” the intentional access to the reference‐object. Moreover, even if the object of reference is of the simple nominal form, the mediating structure involves essentially propositional entities. In the paper we attempt to give a set‐theoretical interpretation of Meinong's theory in the frame of which we could eventually do without the incomplete mediating objects. Yet, some general epistemological considerations suggest the indispensability of such incomplete mediating structures. (shrink)

In this paper, I attempt to formulate an Ingardenian conception of the literary work’s aesthetic value. Following Mitscherling’s lead, I attempt to place Ingarden’s aesthetics within his overall phenomenological-ontological project. That is, I argue that Ingarden’s aesthetics can only be properly fathomed in the context of his ontological deliberations, since, as he himself often enunciated, all his philosophical investigations constitute a realist rejoinder to Husserl’s turn toward transcendental idealism. To this end, I bring together insights from his aesthetics and ontology (...) to establish a coherent account of values, where artistic and aesthetic values are analyzed as they manifest themselves in the literary work of art. By attending to the ontology of its aesthetic (and artistic) values, I argue, the literary work’s stratified formation becomes more explicit. Keywords: Roman Ingarden, aesthetic value, artistic value, the literary work of art, ontology, aesthetics. (shrink)

The aim of this work is to elucidate the meaning of 'infinity' from a phenomenological perspective, especially within the framework of Husserl’s theory of knowledge and perception. In the first chapter I firstly sketch the basics of Husserl’s phenomenology of knowledge. Thereafter I delve into the questions concerning the reduction to the 'reellen Bestand', which is hold to be the ground of verification of purports in the "Logical Investigations". I then propose an interpretation of the categorial intuition as directed to (...) the laws an 'Auffassung' follows when it organizes the sensual contents related to an object. In the second chapter I briefly expound Husserl’s phenomenology of perception and I show how perception can be hold as an intentional experience. Afterwards I concentrate on the constitution of space and of thing (Ding). I show in which sense the structures of both constitutions are dependent on the sensations and kinesthesis (i.e. proprioceptions) experienced by the subject. In the third chapter I finally deal with the problem of infinity. I face some recent interpretations of Husserl’s theory of perception according to which infinity is somehow intertwined in and even intuited through thing-perception (Dingwahrnehmung). I claim that thing-perception can not be hold as an access to infinity, i.e. no thing-perception is a perception of something as infinite. Following I show how some other kinds of sensual experience can correspond to a perception of infinity. On the base of some Husserl’s manuscripts and through a brief confrontation with Kant’s Analytic of the Sublime I sustain that infinity can be sensually intuited in the senses of limitlessness and of formlessness. I then show that categorial intuition is necessary in order to constitute the meaning of mathematical infinity, i.e. an endless whole of discrete parts. In fact, the idea of such an “entity” is dependent on the capacity of grasping the law of a serial production. In the conclusion I establish that mathematical infinity is the only kind of infinity which can not find any sensual correlate. This is due to the fact that it is a meaning composed by two contradictory prescriptions: 'reach the limitless' and 'go on without an end'. I consequently argue that the idea of infinity is grounded on sensual experience and does not need any supernatural origin. (shrink)