New studies in the philosophy of Roman Ingarden : with a new international Ingarden bibliography
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Bibliographic Information
New studies in the philosophy of Roman Ingarden : with a new international Ingarden bibliography
（Analecta Husserliana : the yearbook of phenomenological research / edited by Anna-Teresa Tymieniecka, v. 30 . Ingardeniana ; 2）
Kluwer Academic, c1990
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Ingardeniana 2
Ingardeniana two
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"Published under the auspices of the World Institute for Advanced Phenomenological Research and Learning."
Includes bibliographical references and index
Description and Table of Contents
Description
This Ingardenia volume is the second in the Analecta Husserliana series that is entirely devoted to the phenomenology of Roman Ingarden. The first was volume IV (1976). Twenty years after Ingarden's death, this volume demonstrates that the Polish phenomenologist's contribution to philosophy and literary scholarship has received world-wide attention. His ideas have proven especially fruitful for the definition of the structure of the literary work of art and the subsequent recognition of its characteristic features. Of all the early phenomenologists who were students of Husserl, it is Ingarden whose work has faithfully pursued the original tenet that language "holds" the essence of the life-world "in readiness" (bereit halten). To investigate this premise with the rigor of a science, as Husserl had envisioned for phenomenology, was Ingarden's life work. That Ingarden did not quite reach his ambitious goal does not diminish his unquestionable achievement. The understanding of the nature of the literary work of art has increased enormously because of his analyses and aesthetics. The Polish phenomenologist investigated above all the work of art as a structure of necessary components which define and determine its nature. That the artistic ingredient was shortchanged under those conditions should not be surprising, particu larly since Ingarden usually kept a purist's philosophical distance from the concrete detail of the material under consideration. He was not concerned with individual works of art but with the principle that was shared by all of them as the defining feature of their being.
Table of Contents
I Tymieniecka and the Philosophy of Roman Ingarden.- Roman Ingarden's Philosophical Legacy and My Departure from It: The Creative Freedom of the Possible Worlds.- A New Phenomenology: Anna-Teresa Tymieniecka's Departure from Husserl and Ingarden.- Husserl, Ingarden, and Tymieniecka.- II Ingarden and Literary Theory.- Reduction phenomenologique et intuition: A propos du rapport Husserl-Ingarden.- The Aesthetic Theory of Ingarden and Its Philosophical Implications.- The New Criticism and Ingardens Phenomenological Theory of Literature.- Roman Ingardens Contribution to the Reading and Analysis of the Literary Text.- III The Applicability of Ingarden's Theory.- Kritische Bemerkungen zu Ingardens Deutung des Bildes.- The Debate Over Stratification Within Aesthetic Objects.- Ingarden's "Strata-Layers" Theory and the Structural Analysis of the Ancient Chinese Kunqu Opera.- Ingarden's "Points of Indeterminateness": A Consideration of Their Practical Application to Literary Criticism.- Roman Ingarden and the Venus of Milo.- IV Ingarden and the Nature of the Literary Work of Art.- The Verifiability Principle: Variations on Ingarden's Criticism.- The Aesthetic Object and the Work of Art: Reflections on Ingarden's Theory of Aesthetic Judgment.- Roman Ingarden's Idea of Relatively Isolated Systems.- V Bibliography.- Roman Ingarden: An International Bibliography (1915-1989).- Index of Names.
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