Roman Ingarden

This article brings two outstanding figures into conversation about the problem of fictional entities and their indeterminacies: Roman Ingarden and David Lewis. Lewis’s account of fiction lacks an adequate ontology of ficta-qua-objects. Relying on his modal realism does not help, for it would make ficta “concrete” entities that merely indexically differ from our world’s entities. In this regard, I refer to Ingarden’s “purely intentional entities”. I read Lewis’s possible worlds in terms of Ingarden’s ontology; hence establishing what I term a (...) “Purely Intentional Modal Fictionalism”. In so doing, the demarcation between fiction and actuality is preserved. In return, Lewis’s Analyses adequately account for Ingarden’s “spots of indeterminacy”. Therefore, my proposal reconciles Ingarden’s ficta with Lewis’s possibilist approach to truth in fiction. This approach grounds Lewis’s account in a less problematic ontology with a distinct sui generis status for ficta and provides Ingarden’s ficta with better determination principles. (shrink)

From the very beginning, phenomenology met with sound inquiry. Not only the relationship between Husserl and Stumpf, whose investigations influenced numerous philosophers and twenty-century trends, but a whole musicological thread (Mersmann, Eimert, Güldenstein, Bekker) referred to phenomenology during the twenties and following decades (Besseler, Leibowitz, Schaeffer, Rognoni). From another side, explicit aesthetic reflections are traceable in the Göttingen Circle but also in W. Conrad, Schütz, Plessner, and Anders-Stern. Even Heidegger, Merleau-Ponty, up to Smith, Ihde, Dufrenne, Clifton, Ferrara, and Piana, which (...) more or less systematically dealt with sound. The aim of this work is to show the fundamental cores of a phenomenology of sound; then, the continuing need for research. Through themes like the constitution of the sound-object, the phenomenological distinction between sounds and noises, and the spatial features of sound, the phenomenological scenario of sound inquiry will be pointed out and analyzed. (shrink)

In this article, I analyze Charles Crittenden’s account of fictional objects in his Unreality: The Metaphysics of Fictional Objects (1991). I argue that Crittenden’s sketchy ontology of fictional objects does not support his weak eliminativism. Going along the lines of Amie Thomasson (1999), I stress that the problem of fictional objects is a strictly ontological problem, which requires an ontological solution. A solution to the problem of fictional objects (or ficta) that accommodates “practice” (ordinary language and literary practices) is of (...) course to be praised, but not when it is foregrounded at the expense of “ontology.” I argue for Roman Ingarden as a champion of ontology and practice, whose way of dealing with ficta fares better than Crittenden’s on both the ontological and practical sides. In short, ficta should be approached as something over and above mere grammaticalia (grammatical objects) namely as “purely intentional” objects that are formally incomplete, and which readers complete by resorting to practices of language and literary criticism. (shrink)

In my paper, I establish an Ingardenian phenomenological ontology of "virtualized ficta", i.e., fictional entities introduced to virtual gaming. The first Section of my paper provides an ontology of virtualized ficta, focusing primarily on their ‘‘existential moments’’. But in order to have a firm grasp of the ontological aspects grounding the virtual work, it’s important to engage its strata. This is what I attempt to do in Section 1.2. Virtualized ficta’s intentional dependencies are strongly manifest in what I call the (...) ‘‘strata of the virtual work’’. That is, I repurpose Ingarden’s strata of the literary work, the picture, and the film to showcase that virtualized ficta, from the bottom up (i.e., from their pure ontology to aesthetics) are purely intentional entities. In short, I argue for a purely intentional account of virtualized ficta as ficta-made-virtualia, whose ontological status is determined by the creative acts of game developers and gamers. (shrink)

In this article, I explore the problems of ficta ‘generation’ and ‘properties’ in light of the philosophies of Alexius Meinong and Roman Ingarden. Comparing Ingarden and the historical Meinong is not a novel idea. By contrast, comparing Ingarden and a phenomenological Meinong has not, to my knowledge, yet been explored. Here, I rely on Alberto Voltolini’s ‘phenomenological conception of außerseiende entities’. I devise Ingarden’s phenomenological ontology to account for the problems of ascription and generation that cripple Meinong’s account. In short, (...) I argue that Ingarden’s account is better suited to accommodate ficta’s generation and properties in a way that does not complicate our approach to fiction. (shrink)

I propose that metaphysical study is initially indifferent to the truth of Metaphysical Realism about Metaphysics (MRM) and Metaphysical Realism and does not presuppose them. Metaphysical Realism is a metaphysical doctrine the truth of which cannot be settled logically prior to metaphysical investigation. MRM presupposes Metaphysical Realism and therefore, one should not hold MRM uncritically. An epistemological consequence of this is that arguments against the possibility of cognition about metaphysically real entities (by e.g., Hume) are not arguments against the epistemic (...) legitimacy of metaphysics without further arguments for MRM. This paper is also a case study of the philosophical significance of having rich enough acquaintance with the history of philosophy, the recent history included. (shrink)

Formal ontology as a main branch of metaphysics investigates categories of being. In the formal ontological approach to metaphysics, these ontological categories are analysed by ontological forms. This analysis, which we illustrate by some category systems, provides a tool to assess the clarity, exactness and intelligibility of different category systems or formal ontologies. We discuss critically different accounts of ontological form in the literature. Of ontological form, we propose a character- neutral relational account. In this metatheory, ontological forms of entities (...) are their standings in internal relations whose holding is neutral on the character of their relata. These relations are “formal ontological relations”. Entities belong to ontological categories because they stand in the same formal ontological relations. We hold a nominalist relationalism about ontological categories and forms. We conclude by showing that our metatheory is useful for understanding categorial fundamentality/non- fundamentality, different formal ontologies, and for unifying metaphysical questions. (shrink)

Husserl’s allegiance to realism came under attack following his Ideas. Ingarden was a fierce critic of his teacher’s turn to transcendental idealism and provided compelling arguments both for his idealist reading of Husserl and for his rejection of idealism. One of the main arguments Ingarden devised against Husserl’s turn was based on his aesthetics. Against Husserl, Ingarden established literary works and fictional objects as purely intentional objects that are (1) doubly structured, vis-à-vis their formal ontology, and (2) endowed with spots (...) of indeterminacy. These facts, Ingarden argues, necessitate the transcendence of the purely intentional object. In this paper, I explore his argument, while establishing the ontological foundation on which it rests. (shrink)

Autobiography of Barry Smith; emphasizes the role of Dummett and Husserl, Austrian philosophy and economics, and the Munich-Göttingen-Kraków school of realist phenomenology.

In this paper, I attempt to formulate an Ingardenian conception of the literary work’s aesthetic value. Following Mitscherling’s lead, I attempt to place Ingarden’s aesthetics within his overall phenomenological-ontological project. That is, I argue that Ingarden’s aesthetics can only be properly fathomed in the context of his ontological deliberations, since, as he himself often enunciated, all his philosophical investigations constitute a realist rejoinder to Husserl’s turn toward transcendental idealism. To this end, I bring together insights from his aesthetics and ontology (...) to establish a coherent account of values, where artistic and aesthetic values are analyzed as they manifest themselves in the literary work of art. By attending to the ontology of its aesthetic (and artistic) values, I argue, the literary work’s stratified formation becomes more explicit. Keywords: Roman Ingarden, aesthetic value, artistic value, the literary work of art, ontology, aesthetics. (shrink)

The primary focus of this project is the silent and subvocal speech-recognition interface unveiled in 2018 as an ambulatory device wearable on the neck that detects a myoelectrical signature by electrodes worn on the surface of the face, throat, and neck. These emerge from an alleged “intending to speak” by the wearer silently-saying-something-to-oneself. This inner voice is believed to occur while one reads in silence or mentally talks to oneself. The artifice does not require spoken sounds, opening the mouth, or (...) any explicit or external movement of the lips. The essay then considers such subvocal “speech” as a mode of writing or saying and the interior of the mouth or oral cavity as its writing surface. It briefly revisits discussions of telepathy to recontextualize Heidegger’s warning against enframing language exclusively within calculative technics and physiology, which he suggests is detrimental to Mundarten (mouth-modes of regional dialects). It closes in reconsideration of Husserl’s phenomenology of language and meaning in Ideas as it might apply to subvocal speech-recognition interfaces. It suggests ways by which the electrophysiology that the device detects and deciphers (as an alleged intention of a presumed natural language unspoken vocally or aloud) might supplement Husserl’s insinuation of the Leiblichkeit of language through a self-stamping extraction of an extension of meaning. (shrink)

part, whole, ideal quality, foundation, unity, space, topoontology, topophilosophy, formal ontology, topology, mathematical philosophy, topology, topology of the person, topology of mind, mathematics in philosophy, mereology, mereotopology, phenomenology, Benedict Bornstein, Edmund Husserl, Roman Ingarden, Kurt Lewin, René Thom.

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, (...) when he asserts that Husserl had fully transformed his philosophy into a transcendental idealism in the second edition. While Husserl does appear to adopt a transcendental phenomenology by asserting–in his programmatic claims–that the intentional content and object are now included in his domain of research, he does not alter his actual descriptions of the intentional relationship in any pertinent manner. Third, I show Ingarden correctly predicts many of the insights Husserl would arrive at about logic in his late philosophy. This analysis augments current readings of the evolution of Ingarden’s philosophy, by more closely examining the development of his largely neglected early thought. I execute this critical assessment by drawing both from Husserl’s later writings and from recent literature on the Investigations. By doing so, I hope to additionally demonstrate how research on the Investigations has matured in the one hundred years since the release of that text, while also presenting my own views concerning these difficult interpretative issues. (shrink)

The time of the literary work of art is a schematized aspect of the represented objectivities of the literary work. Roman Ingarden’s analysis of the time of the literary work extends upon Husserl’s phenomenology of time consciousness but nevertheless remains consistent with it, insofar as within a literary work as well as actuality, an objective time or literary objective time is constituted from an experience of temporal objects. The time of the literary work of art is experienced through its represented (...) objectivities and depends on an already existent concept of objective time. The time of the literary work, however, gains an indeterminacy, as the author of the literary work is able to manipulate our experience of time within the literary work by predicting how the reader will concretize its events, characters, and objects with respect to time. I use Alain Robbe-Grillet’s representation of the centipede in La Jalousie as an example of the possible manipulations of time, explicable through Ingarden’s analysis of time in the literary work of art. (shrink)

Koncepcja Edyty Stein rozumienia drugiego człowieka jest znana z jej dysertacji O zagadnieniu wczucia. Niemniej, gruntowne przebadanie struktury osobowości ludzkiej, jakie podjęła w Filozofii psychologii i humanistyki, rzuca nowe światło na tę kwestię. Stein dokonuje swoistej syntezy Husserlowskiego prymatu prawdy i Schelerowskiej koncepcji miłości, unikając przy tym idealizmu i woluntaryzmu, którym obarczone są te stanowiska. Steinowska koncepcja znajduje kontynuację w fenomenologii Merleau-Ponty’ego i R. Barbarasa.

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 (...) givenness. On Husserl's view, there are necessary correlations between types of objects and the types of intentional acts through which they are given. Spiritual objects, unlike their matter, can only be given in acts belonging to the “personalistic attitude,” which has a motivational and expressive structure. My broader claim is that Husserl's phenomenology is a sophisticated metametaphysical view about the methodology of first‐order metaphysical inquiry. (shrink)

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)

In 'The Work of Music and the Problem of Its Identity' by Roman Ingarden we are presented with a philosophical theory of the structure of the musical work. The author includes melody, rhythm and harmony among the primary elements of the musical work while dynamics, tempo and colouration (sonoristics) are classified as its secondary elements. The elements designated by the score constitute a schematic prescription for creating a particular work. Still, the scheme also includes numerous gaps and indeterminacies which can (...) be filled in only through performance which makes the work an individualized concretum. However, it is puzzling why the list of the elements of the musical work does not include articulation. In this article I claim that the absence of articulation in the theory of the structure of the musical work indicates its omnipresence, thus the broader we understand the term articulation, the better it penetrates into the remaining elements of the musical work, preserving its distinctiveness at the same time. (shrink)

In this paper I present the Ingardenian distinction between inseparability and dependence. My considerations are both historical and systematic. The historical part of the paper accomplishes two goals. First, I show that in the Brentanian tradition the problem of existential conditioning was entangled into parts—whole theories. The best examples of such an approach are Kazimierz Twardowski’s theory of the object and Edmund Husserl’s theory of parts and wholes. Second, I exhibit the context within which Ingarden distinguished inseparability and dependence. Moreover, (...) Ingarden’s motivations are presented: the problem of understanding the Husserlian concept of “immanent transcendence,” the issue of the existence of purely intentional objects, and finally the problem of the relationship between individual objects and ideas. The systematic part deals with the ambiguity of Ingarden’s definition of inseparability. I seek to improve this definition by reference to the distinction between absolute and summative wholes. I also present some divisions of inseparability and dependence and investigate whether these types of existential conditioning are reflexive, symmetric, or transitive. (shrink)

1. Phenomenology is first and foremost about intentionality. As Husserl puts it, “Intentionality is the name of the problem encompassed by the whole of phenomenology”.1 Broadly understood, the phen...

The Polish phenomenologist Roman Ingarden gained recognition primarily due to his research on aesthetics. However, he considered the ontology to be the main area of his philosophical interests. At the beginning of his scientific career, Ingarden realized that he could not agree with his teacher Edmund Husserl, who considered phenomenology as a transcendental philosophy. From Ingarden’s point of view, the fallacy of this approach lies in the fact that it leads to metaphysical idealism and makes it impossible to grasp the (...) difference between real-life objects and intentional objects, i.e. objects generated by pure consciousness. In his main work Controversy over the Existence of the World, Ingarden tried to identify the difference between the ontological structures of real and intentional objects, expecting in this way to uphold the legitimacy of a realistic point of view and to prove that the real world is not a product of pure consciousness, but exists independently of him. Nevertheless, the result achieved by using the existential and formal ontological analysis of the a priori structures of various objects turned out to be insufficient to refute Husserl’s transcendental idealism. The article focuses on the last lifetime publication of Ingarden—his book On Responsibility. Its Ontic Foundations published in 1970. Since this work is devoted to the study of the phenomenon of responsibility, it may seem that here we are dealing primarily with research on ethics. The article attempts to show that the book can be read as an ontological study that continues the “debate about the existence of the world,” i.e. as an attempt to prove the reality of the world. However, this proof is no longer based on an analysis of the a priori structures of various objects, but on a direct experience of responsibility. (shrink)

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 (...) semi-permeable cellular membranes. The importance he eventually grants to inner secretion is considered alongside perspiration and salivation collateral to skin and membranes. It suggests that Ingarden's interest in thermoregulation, partial permeation, and secretion invites alternative conceptions of temporal consciousness in physiological experiences, beyond sequential and linear clock-time and/or Kantian intuition. Temporality experienced as temperance becomes discernible at a permeable point in which the sedimentation of Husserl, the maturation of Marion, and the fluidity and secretion of Ingarden mix and mingle into the taste of time. (shrink)

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.

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 (...) two different, but intertwined ways. For Ingarden, creative imagination is understood as a noematical structure which generates the imagined object as a purely intentional object. Ingarden’s description expresses the ontological status of the imagined object as ontologically dependent on the act of imagining, and on the content of the imagined object. In his review of Ingarden’s Das literarische Kunstwerk, Blaustein was clear that one has to revise Ingarden’s theory of purely intentional object by adopting it to imaginative intentionality and aesthetic experience. To elaborate Ingarden’s theory of imagination, Blaustein discusses it also with reference to Twardowski. Blaustein claims that Twardowski’s Cartesian differentiation between perceptive, reproductive, and creative imagination is based on a vague criterion, and moreover it does not refer to two key notions of descriptive psychology, i.e., the notion of the representative content, and the intentional object. As a result of his critique, Blaustein limits the concept of creative imagination to ‘fantasy’, understood as secondary imagination. (shrink)

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.

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 (...) as fundamental as consciousness or intentionality, this paper tries to sketch Ingarden’s answers to several genetic questions raised by Husserl: the relation between time and consciousness, the nature of the ultimate sense data and the question of motivation. (shrink)

ON THE PHILOSOPHICAL RESEARCH OF EDITH STEIN (translated by Inna Savynska)The main Polish philosopher Roman Ingarden in his lecture presents a cross-section of Edith Stein writings and demonstrates the shot timeliness of her ideas. Roman Ingarden was a Stein’s friend from the time of her studies in Göttingen;he knew her ideas and conceptions. He wrote that hers was a search for ananswer to the main question: «What is the structure of man?» That is why she proposed a phenomenological analysis by (...) «Empathy». Stein’s theses «On the Problem of Empathy» is the central object in this lecture. In that work, Stein first focuses on such phenomena as the human body, soul, spirit, experience, consciousness. While discussing Stein’s concepts, Ingarden presents also the evolution of her ideas from realistic phenomenology to mystical theology of Saint John of the Cross’ and Saint Theresa of Avila’s. Roman Ingarden did not enter as firmly as Stein into the mystical range, but he opened a path into the transcendence by creating an idea of metaphysical qualities. In her dissertation, Stein first focuses on the phenomenon of the human body and soul. Ingarden considers pairs of phenomenological notions «Leib- Körper», «Seele-Geist». Their relationships form an ontology of a Person. The anthropological questions, which Edith Stein raised in her academic research, bring about a constitutive element of man – Geist. Empathy is an instrument that help to recognize Geist and Personal experience – truth about man. (shrink)

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 (...) as the founder of reader-oriented hermeneutics. (shrink)

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 (...) implies, however, a drastic reinterpretation of the notion of an object. I refer to Ingarden’s conception of a purely intentional object to show the difficulties connected with regarding noema as an object separate from consciousness but still existentially dependent on it. Analyzing Husserlian notion of a noematic core I emphasize the relevance of universals for Husserl’s theory of consciousness. (shrink)

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.

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 (...) when the book was published, the Controversy was no longer seen as a serious polemical topic, whether it was disqualified as an archaic metaphysical pseudo-problem, or taken to be the last remnant of an antiscientific approach to philosophy culminating in idealism and relativism. Second, Ingarden’s reasoning on the matter is highly complex, at times misleading, and even occasionally faulty. Finally, his analysis is not only incomplete – Controversy being unachieved – but also arguably aporetic. -/- One may wonder, then, why it is still worth excavating this mammoth treatise to study an issue apparently no longer relevant to contemporary philosophy. Aside from historical and exegetical purposes, which are of course very interesting in their own right, Ingarden’s treatment of the Controversy remains one of the most detailed and ambitious ontological undertakings of the twentieth century. Not only does it lay out an incredibly detailed map of possible solutions to the Controversy, but it also tries to show why the latter is a genuine and fundamental problem that owes its hasty disqualification to various oversimplifications over the course of the history of philosophy. -/- In this chapter, I first give an overview of Ingarden’s method, which relies mainly on a combinatorial analysis. Then, I summarize his examination of possible solutions to the Controversy, and determine which ones can be ruled out on ontological grounds. Finally, I explain why this ambitious project ultimately leads to a theoretical impasse, leaving Ingarden unable to come up with a definitive solution to the Controversy – regardless of the fact that the book is unachieved. I argue that his analysis of the problem yields a more modest but nonetheless valuable result. (shrink)

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 (Fundierung). My main objective is to display Stumpf’s (...) concepts of partial content, independent content, spatial wholes, sound wholes, and the different kinds of connection among parts, in particular, fusion (Verschmelzung). Second, I will show how Husserl improved this background, in particular with regards to the exact nature of the theory of manifolds (Mannigfaltigkeitslehre), in discussion with Georg Cantor, the father of set theory. Third, I will focus on Ingarden’s use of formal ontology and on the different modes of being that can be justified by appealing to the concept of ontological dependence in its Ingardenian variations. If my interpretation is adequate, it should be inferred that formal ontology is the operative theory of phenomenological philosophy, and this must be acknowledged in its full significance with respect to the supposed independence of the phenomenological method since 1913. A further consequence, not developed in this essay, is that formal ontology can be mathematised. (shrink)

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 (...) es nicht erlaubt, zwischen dem im Prozeß der Konstituierung entstandenen ›Sinn‹ des Gegenstands und dem bestehenden Gegenstand, zwischen dem ›Phänomen‹ eines gewissen Seins und diesem Sein selbst, zwischen dem Sinn seiner Existenz und der Existenz selbst zu unterscheiden.«. (shrink)

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. (...) Dans ces textes, Ingarden développe deux concepts centraux qui seront mis en application par Kocay dans la dernière partie de son ouvrage avec l’analyse du Journal d’un curé de campagne de Bernanos et du Journal du voleur de Genet: la concrétisation et la stratification. La concrétisation constitue «la notion de base de l’esthétique d’Ingarden» et ce terme renvoie au processus d’interprétation-compréhension du lecteur face au texte, processus qui résulte en la formation d’un objet esthétique. La concrétisation consiste au moins à remplir ce qu’Ingarden appelle les «lacunes d’ordre conceptuel», c’est-à-dire certains non-dits du texte. À aucun moment Conan Doyle ne dit que Sherlock Holmes est un être humain ou qu’il a trente-deux dents, et pourtant c’est ce que nous inférons de notre lecture, en utilisant nos croyances sur le monde, les traditions littéraires dans lesquelles s’inscrit l’auteur, etc. Il ne s’agit pas de combler tous les blancs, ce qui serait impossible, mais de constituer un objet en vue de son appréciation esthétique. Chaque lecteur peut concrétiser différemment un même texte, mais Ingarden refuse de sombrer pour autant dans le relativisme: l’objet esthétique constitué ne l’est pas pour la seule jouissance personnelle de son lecteur, mais il doit reposer sur les propriétés du texte lui-même et pouvoir être soumis au jugement d’autrui. Si plusieurs concrétisations d’un même texte sont possibles, toutes ne sont pas acceptables. De même, les qualités qui servent de base à l’appréciation esthétique doivent avoir leur source dans les qualités du texte lui-même, selon Ingarden. Lorsque Albert Cohen réussit à nous faire pénétrer dans l’esprit oisif d’Ariane d’Auble, dans Belle du Seigneur, à nous faire ressentir son désœuvrement en nous faisant participer aux mouvements incohérents de son imagination, c’est par un style particulier, un rythme de phrase qui épouse parfaitement les mouvements erratiques de l’esprit d’Ariane. La valeur que nous attribuons à ces pages repose sur des propriétés du texte lui-même, propriétés que nous valorisons parce qu’elles provoquent l’effet esthétique attendu. (shrink)

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. (...) Ingarden specifies what is characteristic of a work of literature by asserting that all declarative sentences appearing in the stratum of meaning units of such work possess what he calls a quasi-judgmental character. We discuss here Ingarden’s theory of quasi-judgments and draw out its implication that all works of literature are works of fiction through and through. (shrink)

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'.

Starting out from the ontology of human work set out by Marx in Das Kapital, the paper seeks to analyse the relations between the artist and his actions and aims, the work of art he produces, and the audience for this work. The paper concludes with a discussion of the problem of creativity in the arts, drawing on ideas of Roman Ingarden and other phenomenologists.

Reinach is principally known for his anticipation in 1913 of many ideas subsequently developed by Austin, Searle and others under the heading of 'speech act theory'. This bibliography of primary and secondary literature by and on Reinach shows that his influenced extended more broadly into areas such as the theory of judgment, the ontology of states of affairs, and the philosophy of law.

Ever since its appearance in 1913, Reinach's work on a The A Priori Foundations of the Civil Law has served as the principal representative of phenomenological, aprioristic and ontological/realist approaches to the philosophy of law. This annotated bibliography provides an overview of the reception of Reinach's thinking, which has been of influence also in the realm of speech act theory.

Material things have material (spatial) parts. Acts, events, occurrences, have phases, which we can view as their temporal parts. Spatial surfaces and volumes, stretches of time, they all have parts again; they can all be considered "extended". Entities, on the other hand, such as directions, numbers, temperatures, colors, tones, fictional characters, prices, numbers, values, ideologies, goals, are all unextended; they are partless. Let us call such non-extended objects “nodes”, in order to express the fact that we have a tendency to (...) grasp them as pure correlates of our thinking, often at the same time viewing them effectively as placeholders within systems of coordinates in various intellectual and social domains. My aim, here, is to clarify this rough idea of “node” for the purpose of providing a corresponding clarification of Ingarden's idea of a purely intentional object. I first consider purely intentional objects in general, and then focus in particular on fictional examples. (shrink)

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 (...) approach, showing how it distinguishes the properties possessed by fictional objects (for instance of having been created by such and such an author in such and such a work) from characteristics (for instance of smoking a pipe, of living in Baker Street) which are merely associated with such objects. (shrink)

An account of Roman Ingarden's ontology of literature.

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 (...) might be involved in this new discipline, an account which is illustrated in application to the formal-ontological problems raised by negative states of affairs. (shrink)

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 (...) systematic studies of various facets of Ingarden’s philosophy by his chief interpreters and critics. The first selection in Volume IV is part of the Oslo Lectures, given by Ingarden in 1967, and here made public for the first time in its original German transcription. In these very important lectures Ingarden distills the results of his many years of critical reflection on the possibilities and limits of Husserl’s program of phenomenological research. The general topic of these lectures is: "The Problem of Husserlian Reduction". However, as the discussion proceeds it is not only problems attendant to the celebrated reduction that come under critical review but indeed the whole gamut of Husserlian motifs from intentionality to inter-subjectivity. (shrink)

This paper applies the ontological framework developed by Roman Ingarden in his Controversy over the Existence of the World to the domain of mathematics, concluding with some remarks on parallels between the mode of existence of mathematical entities on the one hand and of values on the other.

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 (...) on the antipsychologism of Edmund Husserl are intended as companion volumes, the first responding to the question, "How is the object of cognition, the literary work of art, structured?" and the second answering the question, "What is the procedure which will lead to knowledge of the literary work?" In The Cognition of the Literary Work of Art, Ingarden is concerned with the mode of cognition which corresponds to the necessary structures of the literary work of art which he has analyzed in his earlier study. He sets out to show that such a cognition is composed of heterogenous but closely connected processes and that it is accomplished in a temporal process. (shrink)