In the philosophical works of Roman Ingarden ethical questions appear in different contexts and are differently approached, namely: 1) strictly ethical questions considering the nature of moral values, qualities of moral act, etc.: 2) ethical questions implied by the general theory of value, i.e. the mode of existence of moral values, their formal structure, etc.; 3) ontological foundations of ethics, i.e. determinism vs. indeterminism in the realm of real world, etc.; 4) investigations in philosophical anthropology connected with ethical questions, i.e. (...) the structure of person, the problem of responsibility, etc. (shrink)

The article aims to show that the criticism of the psychophysiological theory of cognition, formulated by Ingarden in the work U podstaw teorii poznania, is in some aspects still sound. The psychophysiological theory of cognition is the forerunner of modern naturalized epistemology. Therefore, the author of this article tries to show that Ingarden's critique applies to this modern epistemology. The work focuses on a selected aspect that occurs in both theories, i.e. the problem of causal generation of cognition. It also (...) focuses only on assessing the topicality of the two selected allegations that Ingarden formulated against the causal explanations of the possibility of knowledge, namely the objection of a vicious circle in theory and the objection that causal theory is unable to provide essential epistemological concepts and criteria necessary for the analysis of cognition. The author of the article defends the validity of the vicious circle objection by referring it to the problem of a causal vicious circle. He then shows the topicality of the second objection by showing that it can be interpreted as the claim that causal theory is incapable of solving the problem of causal underdetermination of cognition. This problem occurs irrespective of the adoption of foundationalism or anti-foundationalism in epistemology. (shrink)

W filozofii czasu Ingardena szczególną rolę odgrywa charakterystyka ontologiczna teraźniejszości. Należy do niej m.in. szczelinowość. Okazuje się, że pojęcie to można powiązać z koncepcją tzw. teraźniejszości pozornej (specious present). Opierając się ponadto na pewnych rozważaniach S. Lema oraz B. Ogrodnika wiążę różne wartości szczelinowości (trwania kwantu teraźniejszości), ze złożonością formalną budowy przedmiotów. Uogólnienie tych wyników umożliwia dopełnienie rozważań Ingardena nad szczelinowością – sformułowanie zarysu ontologicznej teorii względności trwania teraźniejszości.

Roman Ingarden has exerted an immense influence on the development of aesthetics, and his texts in this field continue to inspire in-depth studies on art, despite the passage of several decades since the publication of his major works. At the same time, however, phenomenology – especially in France – brought about crucial changes during the second half of the twentieth century with regard to thinking about art, undermining its own methodological principles and tenets, as well as redefining fundamental phenomenological concepts. (...) In this article, I address the question of the continued relevance of Roman Ingarden’s approach to the musical work within the context of current phenomenological research, in particular that which concerns the subject of aesthetic concretisation. (shrink)

Laudacja wygłoszona przez ks. dr. hab. Jana Krokosa, prof. UKSW 27 kwietnia 2016 roku na dorocznym publicznym zebraniu Towarzystwa Naukowego KUL z okazji wręczenia prob. dr. hab. Andrzejowi Półtawskiemu Nagrody im. Księdzia Idziego Radziszewskiego" --Wykład wygłoszony przez prof. dr. hab. Andrzeja Półtawskiego UKSW 27 kwietnia 2016 roku na dorocznym publicznym zebraniu Towarzystwa Naukowego KUL z okazji zebraniu Nagrody im. Księdzia Idziego Radziszewskiego" -- Bibliografia prof. dr. hab. Andrzeja Półtawskiego laureata Nagrody im. Księdza Idziego Radziszewskiego.

Autorka rozważa relacje między wartościami, szczególnie moralnymi, a dziełem muzycznym. Przedstawiając najpierw rozumienie wartości w filozofii Romana Ingardena, a następnie przywołując przykładowe sformułowania moralizmu w odniesieniu do muzyki (autorstwa Rogera Scrutona, Platona i Petera Kivy’ego), autorka pyta, czy możemy uważać dzieło muzyczne za nośnik wartości moralnych. Następnie badając, w jaki inny sposób dzieło muzyczne może być związane z wartościami moralnymi, autorka dochodzi do wniosku, że relacje między wartościami moralnymi a dziełem muzycznym należą do stosunków subtelnych i być może (...) tym, co zawdzięczamy dziełom muzycznym jest umiejętność słuchania. (shrink)

Roman Ingarden, opisując rzeczywistość moralną, posługiwał się językiem wartości. Niniejszy artykuł przedstawia opis wartości moralnych i analizę terminologii stosowanej do ich charakterystyki i wyjaśniania sposobu ich istnienia. Istotne znaczenie dla teorii wartości moralnych ma doświadczenie powinności i problematyka normatywności. Zbadanie obu zagadnień prowadzi do pytań o sposób powstawania nowych klas wartości moralnych i rozpoznawania powinności do ich realizacji. Przeprowadzone badania pokazują także trudności związane ze stosowaniem języka wartości w komunikacji zagadnień moralnych.

Summary: In this paper author maintains that the term “ideal border” used by Roman Ingarden several times in his writing on music perception has more to offer than its face value suggests. The term is ambiguous and in its first reading seems to imply that Ingarden's take on musical work is all but coherent. Yet author tries to show that the term itself if taken seriously in its various possible interpretations makes Ingarden's aesthetics of music more interesting and inspiring then (...) ever. The musical work seen as wobbly yet somehow graspable ideal [border] which is at the same time the point of departure and the point of destination for composers, artists and listeners in their respective experiences, makes Ingarden's music aesthetics more accessible and more telling in its attempt to discover the true nature of our aesthetic perception of music. (shrink)

When comparing aesthetic with moral values Ingarden does not define their mutual relation but tries to determine generic moments of various types. Neither aesthetic nor moral values can exist autonomously but require a vehicle. Aesthetic values appear as some qualifications of aesthetic objects, whereas moral values are some qualifications of conscious subjects and a proper structure both of subjects and of the world which must admit free actions is indispensable for the realisation of moral values. Ingarden admits the possibility of (...) a different mode at existence for moral values than for aesthetic ones, the former being more firmly rooted in their foundation. Values form hierarchies. Theory serve nothing but themselves and depend on no evaluation, Ingarden tries to demonstrate the objectivity of values, listing the conditions on which it depends, and postulates that a necessary correlation be sought between the properties of the vehicle and the values of determinate qualities. The main difference between aesthetic and moral values is that the latter are obligatory in character. This may be read from the content of their ideas. Values only partly go into the general ontology developed by Ingarden, but this ontology was no closed system even for himself and there is evidence that he may have expended his conception to embrace also the sphere of values. Ingarden described accurately neither the mode of existence nor the formal structure of va1ues. His closest interest belonged to their matter because in it he thought he might find the principle of grouping values into various genera. He regarded the study of the laws of co-existence of various value, as a major task of material ontology. Moral values may be credited with a higher dignitas than other values and their realisation is not without influence on the acting subject’s personality. In conclusion the authoress proposes to define value as a new qualitative dimension of the object serving as its vehicle. The value dimension of objects might go in various directions depending on the kind of value involved. (shrink)

In this text I take into account Roman Ingarden's theory of general objects. Polish phenomenologist avoided most of paradoxes implied by traditional theories of universals pointing out the difference between two kinds of form inherent in general object, namely form of subject of properties and form of whole and parts. Every idea has twofold construction: as an idea (qua idea) it is a subject of peculiar properties and on the other hand it has a content consisted of so called constants (...) and variables. The content of the idea has a whole-parts form. This however is inconsistent with other analyses of whole-parts form and of the character of constants and variables given by Roman Ingarden. In the consequence I claim that a third form, unique for general object, is needed. I also point out difficulty of indicating positive characteristic of general object (i.e. other than negation of properties of individuals). (shrink)

The author claims that Ingarden's ontology is a contemporary version of Platonism. He argues that the concepts of distinct realizations of pure and ideal qualities in ideas and in individuals are unclear and unnecessary. In authors opinion the essential parts of Ingarden's ontology may by explained in terms of possible and real individuals and its possible properties.

Magdalena Krasińska A Work of Music in Roman Ingarden’s AestheticsThe theme taken in this article is an ontological concept of the musical work of Roman Ingarden developed on the basis of phenomenological aesthetics. According to the eidetic reduction Ingarden rejects any colloquial opinions about how the existence of a musical composition, so that he holds that musical work is not the same nor the mental experience, or the performance, or to the music notations. Making a critique of the idealistic, psychologistic (...) and materialistic positions to explain how the existence of the musical work, Ingarden classified it as a object of purely intentional, where the musical notation is the ontological basis. Currently notation don’t allow for consolidation of all the moments of the work, especially not sound moments, so musical composition as every being intentional, is the scheme required to complete and define more precisely where are the ontological gaps; each performance of a musical work is the complete of potential spaces, specification of works. A few comments on so constructed theory publishes musicologist Zofia Lissa. The main objection against Ingarden is the fact that his concept aspires to be universal, while he created it solely on the basis constituted in the scores ‘classical’ works of modern European music, while ignoring other musical phenomena, such as avant-garde music or folklore. Finally raised is a matter of the ontology of newest pieces of music, belonging to the so-called popular music, that do not have ontological basis in the form of musical notation, what in view of the Ingarden’s theory does problematic the issue of their identity. Keywords: ontological concept of the musical work, phenomenological aesthetics, Roman Ingarden, identity of the musical work. (shrink)