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  1. Innards of Ingarden: Physiology of Time.Virgil W. Brower - 2020 - In Dominika Czakon, Natalia Anna Michna & Leszek Sosnowski (eds.), Roman Ingarden and His Times. Kraków, Poland: pp. 25-42.
    This project begins with the selective sensory experience suggested by lngarden followed by an insensitivity he insinuates to digestive processes. This is juxtaposed with an oenological explanation of phenomenal sedimentation offered by Jean-Luc Marion. It compares the dynamics of time in the former with the those of wine in the latter. Emphasis is given to lngarden's insinuation of time as fluid, liquid, or aquatic. It revisits Ingarden's physiological explanations of partially-open systems by way of the bilateral excretion and absorption of (...)
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  2. Ingarden's Husserl: A Critical Assessment of the 1915 Review of the Logical Investigations.Thomas Byrne - 2020 - HORIZON. Studies in Phenomenology 2 (9):513-531.
    This essay critically assesses Roman Ingarden’s 1915 review of the second edition of Edmund Husserl’s Logical Investigations. I elucidate and critique Ingarden’s analysis of the differences between the 1901 first edition and the 1913 second edition. I specifically examine three tenets of Ingarden’s interpretation. First, I demonstrate that Ingarden correctly denounces Husserl’s claim that he only engages in an eidetic study of consciousness in 1913, as Husserl was already performing eidetic analyses in 1901. Second, I show that Ingarden is misguided, (...)
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  3. O sensowności uczuć. Dziedzictwo myśli Edyty Stein.Piotr J. Janik - 2020 - Studia Philosophiae Christianae 2 (56):127-141.
    Stein’s theory of empathy lies at the intersection of the phenomenological findings of E. Husserl and M. Scheler. By presenting the issue of “empathy” in a broader framework, including intentionality, the originality of experience, the issue of personality and the individual identity, as well as the so-called world of values, namely the culture, I argue for a dynamic, process-oriented concept of dealing with feelings, namely diapathy. -/- Koncepcja Edyty Stein rozumienia drugiego człowieka jest znana z jej dysertacji O zagadnieniu wczucia. (...)
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  4. Phenomenology and the Stratification of Reality.James Kinkaid - 2020 - European Journal of Philosophy 28 (4):892-910.
    Phenomenologists have no taste for desert landscapes. The early phenomenologists—Edmund Husserl, Max Scheler, and Roman Ingarden—adopt stratified views of reality on which spiritual objects like artifacts and persons are distinct from their underlying matter. Call this view “pluralism.” After describing Scheler, Ingarden, and Husserl's pluralism about goods, literary artworks, and images, respectively, I reconstruct a phenomenological case for pluralism from Husserl's work and defend it against an objection. The phenomenological method reveals a special subset of objects' essential properties: modes of (...)
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  5. The Semiotic Foundation of Ingarden’s Analysis of Music.Hélène Leblanc - 2020 - In N. A. Michna D. Czakon (ed.), Roman Ingarden and His Times. Varsovie, Pologne: pp. 173-190.
    Based on chapter 3 “The musical Work and its score” of Roman Ingarden’s The Work of Music and the Problem of its Identity, this paper examines the semiotic theory from which the Polish philosopher develops his analysis of music.
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  6. A Controversy Over the Existence of Fictional Objects: Husserl and Ingarden on Imagination and Fiction.Witold Płotka - 2020 - Journal of the British Society for Phenomenology 51 (1):33-54.
    ABSTRACTThis paper explores the structure and elements of the intentional experiences of imagining fictional objects. The author critically examines the argument that whereas Husserl’s theory of imagination cannot do justice to fictional objects, Ingarden’s theory of purely intentional objects provides a basis for the theory of intentionality that explains the status of fictional objects. The paper discusses this argument to show that it is justified only in regard to Husserl’s early account of imagination, and on the condition of understanding contents (...)
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  7. Twardowski, Ingarden, and Blaustein on Creative Imagination.Witold Płotka - 2019 - Social Imaginaries 5 (1):121-141.
    The article is a critical elaboration of two phenomenological theories of imagination formulated by Ingarden and Blaustein in their discussion with Twardowski. Ingarden, as well as Blaustein were students of both Twardowski and Husserl, however, they defined imagination in two different contexts: whereas for Ingarden a proper way of analysis of imagination is ontology, for Blaustein imagination is the object of descriptive psychology, connected mainly with an aesthetic experience. As a result, the question of creativity of imagination is described in (...)
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  8. A Phenomenological “Aesthetics of Isolation” as Environmental Aesthetics for an Era of Ubiquitous Art.Matthew E. Gladden - 2018 - Polish Journal of Aesthetics (49):11-25.
    Here the concept of the human being as a “relatively isolated system” developed in Ingarden’s later phenomenology is adapted into an “aesthetics of isolation” that complements conventional environmental aesthetics. Such an aesthetics of isolation is especially relevant, given the growing “aesthetic overload” brought about by ubiquitous computing and new forms of art and aesthetic experience such as those involving virtual reality, interactive online performance art, and artificial creativity.
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  9. Roman Ingarden: phénoménologie génétique et ontologie réaliste.Olivier Malherbe - 2018 - Studia Phaenomenologica 18:153-181.
    Roman Ingarden, one of Husserl’s most gifted students, devoted several thousand pages to the development of an ontological, epistemological, aesthetical and even anthropological framework that would allow him to firmly reject the so-called “idealistic turn” of his master Husserl. This paper aims at reconstructing an often overlooked side of his philosophy: his theory of consciousness and his analysis of the constitutive process involved in sense perception. After emphasizing the distinctive character of Ingarden’s ontological frame and its impact on understanding concepts (...)
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  10. Erwartungshorizont: Über eine literarische Hermeneutik, die Ingarden nie schrieb.Gerardo Arguelles-Fernandez - 2017 - Meta: Research in Hermeneutics, Phenomenology, and Practical Philosophy 9 (1):137-164.
    In this paper I examine the subject of the intersubjective constitution of intentional objects in Ingarden, particularly in the literary work. Subsequently, I cover certain topics of Husserl’s phenomenology adopted and developed further by Ingarden, which were certainly taken up in Reception Aesthetics, but were insufficiently recognized as Husserl’s legacy. In doing so, I attempt to show that Ingarden’s literature aesthetics, as regards its origin in Husserl’s essential-eidetic phenomenology, provides important clues to suggest that Ingarden may not necessarily be regarded (...)
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  11. Noemat jako sens. Problem przedmiotu świadomości w transcendentalnym idealizmie Husserla.Marek Rosiak - 2017 - Diametros 52:107-126.
    The paper develops the argument presented in my earlier article, Intentional Reference and Its Object in Husserl’s Transcendental Idealism. It contains further considerations on the proper understanding of Husserl’s notion of noema. My aim is not only to present an interpretation of Husserl’s text, but primarily to understand what constitutes an intentional reference of an act of consciousness. I agree with some of Husserl’s claims in Ideas, Book I, that noema, sense and intentional object are basically the same. This standpoint (...)
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  12. Barry Smith and His Influence On (Not Only, But Mainly My) Philosophy.Peter Simons - 2017 - Cosmos + Taxis 4 (4):38-41.
    Autobiographical survey of interactions between the author and Barry Smith, especially as concerns the background and influence of the Seminar for Austro-German Philosophy and work on the relevance of Adolf Reinach, Roman Ingarden and other Central-European thinkers to contemporary analytic philosophy.
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  13. Ingarden’s Combinatorial Analysis of The Realism-Idealism Controversy.Raphael Milliere - 2016 - In Sébastian Richard & Olivier Malherbe (eds.), Form(s) and Modes of Being. The Ontology of Roman Ingarden. Bern and New York: pp. 67-98.
    The Controversy over the Existence of the World (henceforth Controversy) is the magnum opus of Polish philosopher Roman Ingarden. Despite the renewed interest for Ingarden’s pioneering ontological work whithin analytic philosophy, little attention has been dedicated to Controversy's main goal, clearly indicated by the very title of the book: finding a solution to the centuries-old philosophical controversy about the ontological status of the external world. -/- There are at least three reasons for this relative indifference. First, even at the time (...)
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  14. Formal Ontology as an Operative Tool in the Theories of the Objects of the Life-World: Stumpf, Husserl and Ingarden.Horacio Banega - 2012 - Symposium 16 (2):64-88.
    It is accepted that certain mereological concepts and phenomenological conceptualisations presented in Carl Stumpf’s Über den psychologischen Ursprung der Raumvorstellung and Tonpsychologie played an important role in the development of the Husserlian formal ontology. In the third Logical Investigation, which displays the formal relations between part and whole and among parts that make out a whole, one of the main concepts of contemporary formal ontology and metaphysics is settled: ontological dependence or foundation. My main objective is to display Stumpf’s concepts (...)
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  15. Transzendentale Ontologie: Fichte und Husserl.Maciej Potepa - 2003 - Fichte-Studien 22:141-154.
    Roman Ingarden, der große polnische Phänomenologe, glaubte den metaphysischen Idealismus in vielen Entscheidungen Husserls zu sehen. Er ist u.a. in der These des transzendentalen Idealismus Husserls enthalten. Diese These hat Ingarden folgendermaßen formuliert: » das Sein der uns in der Erfahrung gegebenen Welt ist auf das Sein und den Verlauf des reinen konstituierenden Bewußtseins angewiesen, ohne das die Welt überhaupt nicht existieren würde, und zweitens ist es absolut sinnlos, schon deshalb nach der Existenz der Welt zu fragen«. Demzufolge » ist (...)
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  16. Transzendentale Ontologie: Fichte und Husserl.Maciej Potepa - 2003 - Fichte-Studien 22:141-154.
    Roman Ingarden, der große polnische Phänomenologe, glaubte den metaphysischen Idealismus in vielen Entscheidungen Husserls zu sehen. Er ist u.a. in der These des transzendentalen Idealismus Husserls enthalten. Diese These hat Ingarden folgendermaßen formuliert: » das Sein der uns in der Erfahrung gegebenen Welt ist auf das Sein und den Verlauf des reinen konstituierenden Bewußtseins angewiesen, ohne das die Welt überhaupt nicht existieren würde, und zweitens ist es absolut sinnlos, schon deshalb nach der Existenz der Welt zu fragen«. Demzufolge » ist (...)
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  17. Forme Et Référence. Le Langage de Roman Ingarden. [REVIEW]Sylvie Lachize - 1999 - Dialogue 38 (3):636-638.
    Roman Ingarden fut un auteur prolifique. Ancien élève de Husserl, il publia de nombreux ouvrages et articles en près de cinquante ans de carrière et suscita un nombre impressionnant de commentaires tout en demeurant peu connu des francophones. Victor Kocay tente de réparer cette injustice en nous montrant l’intérêt de l’approche ingardenienne pour l’analyse littéraire et la théorisation de la réception esthétique de l’œuvre littéraire. Deux ouvrages constituent le cœur de l’exposition: Das literarische Kunstwerks et Vom Erkennen des literarischen Kunstwerks. (...)
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  18. The Truth About Fiction.Josef Seifert & Barry Smith - 1994 - In Kunst Und Ontologie: Für Roman Ingarden zum 100. Geburtstag. Amsterdam: Rodopi. pp. 97-118.
    Ingarden distinguishes four strata making up the structure of the literary work of art: the stratum of word sounds and sound-complexes; the stratum of meaning units; the stratum of represented objectivities (characters, actions, settings, and so forth); and the stratum of schematized aspects (perspectives under which the represented objectivities are given to the reader). It is not only works of literature which manifest this four-fold structure but also certain borderline cases such as newspaper articles, scientific works, biographies, and so forth. (...)
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  19. A self-satisfied, empty and unfair criticism-reply.J. Moural - 1991 - Filosoficky Casopis 39 (5):878-878.
    A short rebuttal to Antonín Mokrejš's hostile reply to my critical review of his translation of Roman Ingarden's 'The Literary Work of Art'.
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  20. Ingarden Vs. Meinong on the Logic of Fiction.Barry Smith - 1980 - Philosophy and Phenomenological Research 41 (1/2):93-105.
    For Meinong, familiarly, fictional entities are not created, but rather merely discovered (or picked out) from the inexhaustible realm of Aussersein (beyond being and non-being). The phenomenologist Roman Ingarden, in contrast, offers in his Literary Work of Art of 1931 a constructive ontology of fiction, which views fictional objects as entities which are created by the acts of an author (as laws, for example, are created by acts of parliament). We outline the logic of fiction which is implied by Ingarden’s (...)
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  21. On Making Sense of Ingarden.Barry Smith - 1979 - In Crisis of Aesthetics. Cracow: Jagiellonian University Press. pp. 283-289.
    An account of Roman Ingarden's ontology of literature.
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  22. On the Motives Which Led Husserl to Transcendental Idealism, by Roman Ingarden.Peter M. Simons - 1978 - Journal of the British Society for Phenomenology 9 (2):137-137.
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  23. An Essay in Formal Ontology.Barry Smith - 1978 - Grazer Philosophische Studien 6 (1):39-62.
    As conceived by analytic philosophers ontology consists in the application of the methods of mathematical logic to the analysis of ontological discourse. As conceived by realist philosophers such as Meinong and the early Husserl, Reinach and Ingarden, it consists in the investigation of the forms of entities of various types. The suggestion is that formal methods be employed by phenomenological ontologists, and that phenomenological insights may contribute to the construction of adequate formal-ontological languages. The paper sketches an account of what (...)
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  24. Analecta Husserliana, Vol IV.C. O. S. - 1977 - Review of Metaphysics 31 (2):332-333.
    The philosophical press, in the United States as well as abroad, has not given the thought of the Polish philosopher, Roman Ingarden, the recognition that it rightly deserves. It is because of this state of affairs that Volume IV of Analecta Husserliana comes to us as a scholarly contribution in a time of need. The singular merit of this volume is that it not only makes available some noteworthy critical and constructive analyses by Ingarden but also offers a series of (...)
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  25. The Literary Work of Art. [REVIEW]F. B. C. - 1975 - Review of Metaphysics 28 (3):555-557.
    This volume is a translation from the third German edition of Roman Ingarden’s classic work in phenomenological aesthetics originally written in 1931. The book is not only one of the best exemplifications of the phenomenological method; it also ranks with the major products of Russian formalism, the Prague school of linguistics, and American new criticism as a fundamental contribution to literary theory. It is surely the most systematic and exhaustive study yet devoted by a Western philosopher to determining "the ontic (...)
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  26. The Cognition of the Literary Work of Art. [REVIEW]T. L. E. - 1975 - Review of Metaphysics 28 (3):554-555.
    Roman Ingarden published his two major works in aesthetics in the 1930’s. The Literary Work of Art was published first in a German edition in 1931 and The Cognition of the Literary Work of Art was published first in a Polish edition in 1937. A revised and enlarged edition of the second book was published in Germany in 1968 and it is the German edition translated into English in 1973 which is the subject of this review. Ingarden’s two works, founded (...)
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