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  1. Roman Ingarden’s Aesthetics.Jeff Mitscherling - 2012 - Philosophy Compass 7 (7):436-447.
    While Roman Ingarden remains best known among English‐speaking philosophers and literary theorists for his work in aesthetics, and primarily for his study of the literary work of art, his studies in aesthetics and art belong in fact to the comprehensive program of phenomenological research in ontology and metaphysics that occupied him for his entire career. In this article I briefly describe this program of phenomenological research, then I discuss some of the major features of Ingarden’s analyses of works of art (...)
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  • Roman Ingarden’s Concept of the Filmic Work of Art: Strata, Sound, Spectacle.Robert Luzecky - 2020 - HORIZON. Studies in Phenomenology 9 (2):683-702.
    In the present paper, I suggest a modification to some aspects of Ingarden’s analyses of the sound-synchronized filmic work of art. The argument progresses through two stages: I clarify Ingarden’s claim that the work of art is a stratified formation in which the various aspects present objectivities; I elucidate and critically assess Ingarden’s suggestion that the filmic work of art is a borderline case in respect to other types of works of art—paintings and literary works. Here, I identify a problem (...)
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  • Time and its indeterminacy in Roman ingarden’s concept of the literary work of art.Charlene Elsby - 2020 - HORIZON. Studies in Phenomenology 9 (2):729-748.
    The time of the literary work of art is a schematized aspect of the represented objectivities of the literary work. Roman Ingarden’s analysis of the time of the literary work extends upon Husserl’s phenomenology of time consciousness but nevertheless remains consistent with it, insofar as within a literary work as well as actuality, an objective time or literary objective time is constituted from an experience of temporal objects. The time of the literary work of art is experienced through its represented (...)
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