Edward M. Swiderski – författare

"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.

0. 1. GENERAL DESCRIPTION OF THE PROBLEMATIC This study is devoted to an examination of a concept of crucial significance for Soviet aesthetics - the concept of the aesthetic (esteticeskoe). Soviet aestheticians have for some time already been trying to design a concept of the aesthetic that would satisfy, on the one hand, the requirements of aesthe­ tic phenomena, and, on the other hand, the principles of the Marxist-Leninist world view. The first part of this work shows how the concept of the aesthetic has been and continues to be problematic for Soviet aestheticians. This task is carried out by dwelling, first of all, on the controversies among Soviet aesthe­ ticians concerning meta-aesthetic issues, viz, the nature and scope of aesthetics as well as its place among other philosophical and non-philosophical disci­ plines. A particularly clear view of the problems that have traditionally pre­ occupied Soviet aestheticians is provided by an examination of what they standardly call the 'method of aesthetics', where 'method' is understood in the sense of an explanatory framework rather than in the strict logico-scien­ tific sense of the term. This discussion will provide the occasion to pass in review the main periods of Soviet aesthetics and the characteristic aspects of each. The chapter on the sources of contemporary Marxist-Leninist aesthetics brings into relief the lack of a homogeneous tradition in the question of the nature of the aesthetic and other related problems.

0. 1. GENERAL DESCRIPTION OF THE PROBLEMATIC This study is devoted to an examination of a concept of crucial significance for Soviet aesthetics - the concept of the aesthetic (esteticeskoe). Soviet aestheticians have for some time already been trying to design a concept of the aesthetic that would satisfy, on the one hand, the requirements of aesthe­ tic phenomena, and, on the other hand, the principles of the Marxist-Leninist world view. The first part of this work shows how the concept of the aesthetic has been and continues to be problematic for Soviet aestheticians. This task is carried out by dwelling, first of all, on the controversies among Soviet aesthe­ ticians concerning meta-aesthetic issues, viz, the nature and scope of aesthetics as well as its place among other philosophical and non-philosophical disci­ plines. A particularly clear view of the problems that have traditionally pre­ occupied Soviet aestheticians is provided by an examination of what they standardly call the ''method of aesthetics'', where ''method'' is understood in the sense of an explanatory framework rather than in the strict logico-scien­ tific sense of the term. This discussion will provide the occasion to pass in review the main periods of Soviet aesthetics and the characteristic aspects of each. The chapter on the sources of contemporary Marxist-Leninist aesthetics brings into relief the lack of a homogeneous tradition in the question of the nature of the aesthetic and other related problems.