Roman Ingarden – författare

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.

In these studies Roman Ingarden investigates the nature and mode of being of four kinds of art works: the musical work, the picture, the architectural work, and the film. He establishes that the work of art is a purely intentional object but considers also its connections to the real world. By analyzing a work of art in its "constitutive heterogeneous strata," Ingarden demonstrates that a work of art will reveal, when examined in the appropriate way, its own inherent structure. Further, he shows that in consequence of the art work's structure, we must distinguish between the work itself and the concretizations of it by the listener or viewer.Ingarden elaborates upon the conception of concretization which he present in The Literary Work of Art and applies it to music and visual art. He also employs the concept of aspect to clarify the ontic structure of these art works and the distinction between the concretization of the work and the work itself. The distinction between the work's concretization—effectuated in the mental experiences of the listener or viewer—and the work itself serves to help Ingarden confirm and account for the work's intersubjective identity.The problem of aesthetic value, Ingarden maintains, can be fruitfully treated only after the ontic structure of art work has been clarified. His primary concern in Ontology of the Work of Art is to ascertain and describe that structure and the mode of existence of works of art. In addition, he offers several discussions of aesthetic value, showing in the m the connections between questions of aesthetic value and the structure of the work of art.

Roman Ingarden (1893-1970), one of Husserls closest students and friends, ranks among the most eminent of the first generation of phenomenologists. His magisterial Controversy over the Existence of the World, written during the years of World War II in occupied Poland, consists of a fundamental defense of realism in phenomenology. Volume I, which receives here its first complete and critical translation into English, initiates the grand project of refuting transcendental idealism, and begins by setting the foundations for an elaborate and precise ontological system. This is Ingardens greatest accomplishment, who is rather known as a theoretician of literature than an ontologist outside of Poland. The most important achievement of Ingardens ontology is an analysis of the modes of being of various types of objects things, processes, events, purely intentional objects and ideas. The three-volume Controversy is perhaps the last great systematic work in the history of philosophy, and undoubtedly one of the most important works in 20th century philosophical literature.

Roman Ingarden (1893–1970), one of Husserl’s closest students and friends, ranks among the most eminent of the first generation of phenomenologists. His magisterial Controversy over the Existence of the World, written during the years of World War II in occupied Poland, consists of a fundamental defense of realism in phenomenology. Volume II, which follows the English translation of Volume I from 2013, provides fundamental analyses in the formal ontology of the world and consciousness as well as final arguments supporting the realist solution. Ingarden’s monumental work proves to be his greatest accomplishment, despite the fact that outside of Poland Ingarden is known rather as a theoretician of literature than an ontologist. The most important achievement of Ingarden’s ontology is an analysis of the modes of being of various types of objects – things, processes, events, purely intentional objects and ideas. The three-volume Controversy is perhaps the last great systematic work in the history of philosophy, and undoubtedly one of the most important works in 20th-century philosophical literature.