"Vom Erkennen des literarischen Kunstwerks" ist zuerst (poln. 1937) als erkenntnistheoretisches - und geringfügig populäreres - Pendant zur ontologischen Theorie "Das literarische Kunstwerk" (1931) angelegt. In der deutschen Fassung (Erstpublikation 1968) wird es zum gedankenreichen literaturphilosophischen Alterswerk. Wie schon "Der Streit um die Existenz der Welt" (Erstpublikation 1947/48), so ist auch "Vom Erkennen" als Antwort auf Krieg, Völkermord und Totalitarismen zu lesen, im Sinne des Beharrens auf den Fundamenten der humanen Existenz. Dem "Ende der Ontologie" setzt Roman Ingarden (1893-1970) (...) den Nachweis der Notwendigkeit ontologischer Reflexion bei der Ergründung erkenntnistheoretischer Sachverhalte entgegen (vgl. die 'ästhetische Konkretisation'), der am Wert verzweifelten Nachkriegsliteratur die Erörterung der Werte, Wertqualitäten und ihrer möglichen Synthesen im konkretisierten literarischen Kunstwerk. Gegenüber "Das literarische Kunstwerk" arbeitet er neu die quasi-zeitliche Dimension des literarischen Kunstwerks aus, 'entdeckt' die künstlerischen Funktionen der Unbestimmtheit, bezieht die Lyrik und das Gattungswesen der Literatur ein und analysiert die verschiedenen Erkenntnisziele und -zugänge zum literarischen Kunstwerk. Dem Liebhaber vermittelt das Buch eine Begründung des legitimen Entzückens am ästhetischen Gegenstand, dem Literaturwissenschaftler eine Grundlegung seiner analytischen und funktionellen Erkenntnisoperationen. Ein ausführliches analytisches Inhaltsverzeichnis, ein davon abgeleitetes System von Kolumnentiteln sowie ein Personenverzeichnis erleichtern in dieser neuen Ausgabe die Arbeit mit diesem Buch. (shrink)

The purpose here is to give a thorough phenomenological account of the aesthetic experience. The difference between cognitive perception of a real object and the aesthetic experience of an esthetic object is discussed at length. Elements and phases of an esthetic experience are delineated; illustrations of a preliminary emotion of esthetic experience are given, All of which suggest a fundamental change of attitude. From normal perceiving to esthetic perceiving there is a change from categorical structures to qualitative harmony structures, Producing (...) pleasure in the presence of an esthetic object. (staff). (shrink)

The word «history» can always be understood in two different meanings: as what happened in the past and as a story about the past. One and the same past can be described in different ways. The gap between historical events and representations of these events determines the diversity of historical discourses. Shifting the focus of the philosophy of history from identifying the con- ditions for the possibility of historical knowledge to the analysis of the process of historiography reflects an understanding (...) of the fundamental nature of historical discourses for the formation of pictures of the past. But the fascination with the subject of historical representation often overshadows what makes it possible in principle. Historical discourse is a modern narrative of the past. Thus, the condition for the possibility of historical discursiveness is the mediation of the horizons of the present and the past, which is a fundamental feature of the historicity of human existence. This article explains the discourses of memory and oppositional critical scientific history. Discourses of memory are considered as modern forms of manifestation of the historicity of human existence, because it is in them that the constant mediation of time horizons of the past and present becomes thematic. Critical history declaratively opposes the discourses of memory, but reveals the dependence of its methodological foundations on predetermined forms of under- standing the past presented in memory. The opposition between the discourses of memory and critical history structurally repeats the opposition of tradition and scientific history revealed in hermeneutics. The conceptual shift from tradition to memory reflects the fundamental changes in the modern understanding of historicity associated with the further detraditionalization and globalization of the world. Me- mory appears as a new form of understanding the past, associated with the fear of losing it, as well as understanding the distances and gaps in relation to it. Based on the differentiation of collective memory types, the corresponding types of dis- courses are distinguished. It is argued that historical discourses of identity cannot be identified with historical discourses of power, and historical-didactic and historical-aesthetic discourses are independent forms of modern attitude to the past. In an effort to separate critical reconstruc- tion from memory, scientific discourses become counterfactual to the taken for granted past, represented in the narratives of collective memory. (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)

Featuring contributions from leading experts, this book represents the first collection of essays on the topic of art and science in the analytic tradition of ...

The Polish philosopher Roman Ingarden is, with Heidegger, Sartre and Merleau-Ponty, one of the foremost representatives of the phenomenological movement founded by Edmund Husserl. The ideas of his most famous work, The Literary Work of Art, have made a powerful impact on contemporary aesthetics and literary theory. The present volume, a collection of essays all of which appear in English here for the first time, derives from the period towards the end of Ingarden's life when he turned from special (...) problems in aesthetics to the general theory of value and to the study of human nature. Six of the essays, including the longest piece, a masterly study of the problem of responsibility, were originally published in Polish as Little Book on Man. The remaining three essays: on the objectivity and relativity of values, on our knowledge of values and on the foundations of ethics, have been specially translated for this volume, which includes an introduction by the editor. The work is above all of interest to philosophers, who will find here an aspect of Ingarden's thought hitherto unknown to English readers. But the clear and forceful style of these pieces, which has been captured admirably by the translator, will also make the work of interest to the layman, to whom it offers an insight into the ways in which phenomenological philosophy may be put to work in solving problems which have a direct bearing upon his own life. Of interest to: Philosophers, anthropologists, aestheticians, students of these disciplines. (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 Word of Art establishes the groundwork for a philosophy of literature, i.e., an ontology in terms of which the (...) basic general structure of all lliterary 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)

Si les écrans sont multiples, les images sont toujours à construire dans une expérience perceptive qui participe aux cheminements du sens et des imaginaires. En virtualisant ses émotions esthétiques par le recours permanent à Internet et aux réseaux sociaux, le spectateur s'engage dans des approches complexes, à la fois conceptuelles et émotionnelles. Une coexistence qui lui permet de vivre des expériences esthétiques au fort potentiel critique. Face à la présence de plus en plus grande du virtuel dans les vies quotidiennes, (...) et aux débordements de l'image hors de la surface écran à travers les technologies de réalité augmentée, l'enjeu est aujourd'hui de repenser la place du corps. (shrink)

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.

The following article is an addendum to Reinhardt Brandt’s article included above, written for the needs of Polish readers. Brandt discusses the famous Longinus’ treatise while including its entire historic context. The substantial threads including the specifics Longinus’ piece as a treatise on the field of aesthetics that were contained in Brandt’s work have been, on the other hand, reminded in this article.

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)

Einleitung, Begriff und Vorgeschichte der ästhetischen Humanitätsidee -- Gotthold Ephraim Lessing -- Moses Mendelssohn -- Christian Garve -- Johann Gottfried Herder -- Die Scheidung der Humanitätsidee von der ästhetischen Theorie in der Kantschen Tranzendentalphilosophie.