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 Work of Art establishes the groundwork for a philosophy of literature, i.e., an ontology in terms of which the (...) basic general structure of all literary works can be determined. This "essential anatomy" makes basic tools and concepts available for rigorous and subtle aesthetic analysis. (shrink)

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 Work of Art establishes the groundwork for a philosophy of literature, i.e., an ontology in terms of which the (...) basic general structure of all literary works can be determined. This "essential anatomy" makes basic tools and concepts available for rigorous and subtle aesthetic analysis. (shrink)

Featuring contributions from leading experts, this book represents the first collection of essays on the topic of art and science in the analytic tradition of ...

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 ...

Most scientific models are not physical objects, and this raises important questions. What sort of entity are models, what is truth in a model, and how do we learn about models? In this paper I argue that models share important aspects in common with literary fiction, and that therefore theories of fiction can be brought to bear on these questions. In particular, I argue that the pretence theory as developed by Walton (1990, Mimesis as make-believe: on the foundations of the (...) representational arts. Harvard University Press, Cambridge/MA) has the resources to answer these questions. I introduce this account, outline the answers that it offers, and develop a general picture of scientific modelling based on it. (shrink)

This monograph offers a critical introduction to current theories of how scientific models represent their target systems. Representation is important because it allows scientists to study a model to discover features of reality. The authors provide a map of the conceptual landscape surrounding the issue of scientific representation, arguing that it consists of multiple intertwined problems. They provide an encyclopaedic overview of existing attempts to answer these questions, and they assess their strengths and weaknesses. The book also presents a comprehensive (...) statement of their alternative proposal, the DEKI account of representation, which they have developed over the last few years. They show how the account works in the case of material as well as non-material models; how it accommodates the use of mathematics in scientific modelling; and how it sheds light on the relation between representation in science and art. The issue of representation has generated a sizeable literature, which has been growing fast in particular over the last decade. This makes it hard for novices to get a handle on the topic because so far there is no book-length introduction that would guide them through the discussion. Likewise, researchers may require a comprehensive review that they can refer to for critical evaluations. This book meets the needs of both groups. (shrink)

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. (shrink)

The time honoured philosophical issue of how to resolve the mind/body problem has taken a more scientific turn of late. Instead of discussing issues of the soul and emotion and person and their reduction to a physical form, we now ask ourselves how well-understood cognitive and social concepts fit into the growing and changing field of neuropsychology. One of the many projects that have come out of this new scientific endeavour is Zaidel’s (2005) inquiry into the neuropsychological bases of art.

The United Kingdom Climate Impacts Program’s UKCP09 project makes high-resolution forecasts of climate during the 21st century using state of the art global climate models. The aim of this paper is to introduce and analyze the methodology used and then urge some caution. Given the acknowledged systematic errors in all current climate models, treating model outputs as decision relevant probabilistic forecasts can be seriously misleading. This casts doubt on our ability, today, to make trustworthy, high-resolution predictions out to the end (...) of this century. (shrink)

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 Work of Art establishes the groundwork for a philosophy of literature, i.e., an ontology in terms of which the (...) basic general structure of all literary works can be determined. This "essential anatomy" makes basic tools and concepts available for rigorous and subtle aesthetic analysis. (shrink)

This article assesses the role of an important Russian public institution, the Russian Orthodox Church (ROC), in shaping the religious discourse on bioethics in Russia. An important step in this process was the approval of ‘The Basis of the Social Concept of the Russian Orthodox Church’ (2000), one chapter of which is devoted to bioethics. However, certain inadequacies in the creation of this document resulted in the absence of a clear position of the Russian Orthodox Church on some end-of-life issues, (...) reproductive technologies, embryo stem cells, and other topics.Using the example of reproductive dilemmas, the author researches how the ROC clarifies its teaching on issues relating to bioethics. In the 2010s the ROC introduced a new method of taking into account the views of believers and the articulation of the church’s position. This article examines the extensive public discussion of a new document, ‘Ethical issues Associated with In Vitro Fertilization’. (shrink)

The Logic & Structure project is about the language of mathematical logic and how it can be of use in the visual arts. It involves a conversation between a mathematical logician and a group of artists. The project is ongoing, and this is a report on its first two phases. This text has two parts. The first, “Logic”, is a short introduction to certain aspects of logic, as it was presented to the participants. The second part, “Structures”, describes some of (...) the outcomes.The inspiration for the project comes from modern model theory whose advances revealed the extent to which formal methods may be helpful in describing and analysing mathematical structures. While the structures that are studied are often immensely complex, the formal language in which their properties can be expressed is simple. Its syntax is precisely defined and well understood, and this understanding often successfully guides us in our explorations of the rich world of mathematical objects. Our goal is to see the extent to which a similar approach could be of value when talking about works of art as structures. To this end, one could try to describe existing art objects in terms of suitably chosen formal languages, but we follow a reverse route. The language is described first, and the participating artists are asked to come up with artwork in which formal elements and their relations are chosen in advance, making it easier to identify those features of the created pieces that can be formally expressed. In other words, we are not thinking of applying formal methods to create art; rather we want to begin with samples that can serve as material for discussion. (shrink)

The article deals that biblical theology of Еmerging church focused primarily on the issues of the role of the community in the interpretation of Holy Scripture, the characteristics of the Biblical narrative and comparison of the Bible and the Word of God. According the theology of community sources for the development of theology found in Holy Scripture, tradition and culture, through which God speaks. Therefore Holy Scripture is not the monopoly authority in matters of faith and theology. To explain Holy (...) Scripture can only staying in the church community where truly knowable Christian truth. According B.McLaren the Bible should never be studied and analyzed. The Bible should be seen as a work of art and to read like a story based on the fact that most of the text of Holy Scripture is precisely the narrative. The cause of erroneous traditional reading of the biblical narrative is that it was generated by the synthesis of the Greek philosophical tradition with the political, economic and military dominants of Roman Empire. B.McLaren considers the correct way of understanding the Bible attitude to it as a library of specific community, which traces its history to the biblical patriarchs. The task of the modern reader of the Bible - put yourself in text, in conversation, in history, in a community of people who seek God. (shrink)

The Polish philosopher Roman Ingarden is, with Heidegger, Sartre and Merleau-Ponty, one of the foremost representatives of the phenomenological movement founded by Edmund Husserl. The ideas of his most famous work, The Literary Work of Art, have made a powerful impact on contemporary aesthetics and literary theory. The present volume, a collection of essays all of which appear in English here for the first time, derives from the period towards the end of Ingarden's life when he turned from special (...) problems in aesthetics to the general theory of value and to the study of human nature. Six of the essays, including the longest piece, a masterly study of the problem of responsibility, were originally published in Polish as Little Book on Man. The remaining three essays: on the objectivity and relativity of values, on our knowledge of values and on the foundations of ethics, have been specially translated for this volume, which includes an introduction by the editor. The work is above all of interest to philosophers, who will find here an aspect of Ingarden's thought hitherto unknown to English readers. But the clear and forceful style of these pieces, which has been captured admirably by the translator, will also make the work of interest to the layman, to whom it offers an insight into the ways in which phenomenological philosophy may be put to work in solving problems which have a direct bearing upon his own life. Of interest to: Philosophers, anthropologists, aestheticians, students of these disciplines. (shrink)

The article is an attempt not only to refer again, but also interpret some pivotal elements of the concept of sublimity presented in Kant’s Critique of Judgment. Kant presented a source interpretation of the category referring to sublime phenomena of nature or simple works of art, but such delineating of the field of interest was caused by the epistemological aims of the third Critique. In this presentation I would like to widen Kant’s interpretation of the conception and add some references (...) of the sense of freedom to the content of psychological character. This problems are a subject of intensive research among Torun aestheticians. (shrink)

Współcześnie próby systematyzowania sztuki na podstawie jej wartości zastępują raczej teorie opisowe, które stronią od jej ocen. Co więcej, refleksja postmodernistyczna, zmieniając swój stosunek do sztuki niskiej, skutecznie zatarła różnice w hierarchizacji walentnych treści sztuki. Wzmocnienie głoszonych w awangardzie programowych tez zmierzających do unieważnienia dotychczasowych kryteriów postaw oceniających wartość sztuki przyszło wraz z tzw. filozofią postmodernizmu. Założenia postmodernizmu ukazują wizję sztuki współczesnej, która osiągnęła kres swoich możliwości twórczych, innymi słowy nie ma współczesnej możliwości powiedzenia w sztuce czegoś nowego, co nie (...) będzie tylko cytatem, powtórzeniem, rekapitulacją tego, co już w sztuce było. Tego rodzaju hipoteza zakłada, że wyobraźnia ludzka jest zbiorem skończonych możliwości, a w procesie rozwoju kultury doszliśmy w czasach współczesnych do punktu, w którym wszystkie możliwe kombinacje zostały już wykorzystane. W tej sytuacji możemy albo przyjąć postawę zniechęcenia, albo sięgnąć do czasów minionych i wyselekcjonować poszczególne elementy, zestawiając je w eklektycznej kombinacji tak, aby nosiły znamiona nowości. Ale, aby przeprowadzić ten eklektyzm, który ma spełniać pozory nowości, trzeba wyjść od zwątpienia w kategorię racjonalnego rozumu, czyli braku wiary w naturalny porządek świata. Tylko wtedy głównym operatywem na gruncie kultury pozostanie wszechobecna ironia. I w tym duchu, zgodnie z założeniami postmodernizmu, należy czytać tzw. wielkie narracje historyczne, czyli systemy filozoficzne, religie, projekty społeczne czy też teorię sztuki. Obecne w historii narracje należy traktować jak wielkie literackie opowieści, które, być może, mają ciekawą fabułę, ale nie są prawdziwe i nie wychodzą poza zdawkowy komentarz. Katalog często stawianych hipotez wybranych i omówionych w artykule wskazuje na ich niejasną i często wadliwą konstrukcję. Nie oznacza to jednak niemożności stawiania pytań o wartościowanie na gruncie estetyki. Należy pamiętać, że pewne kwestie pozostają niezmienne w ocenie sztuki. Kryterium oceny dzieła sztuki uzyskane na podstawie cech empirycznych pozostaje niezmienne, a zatem to, co nazywamy kwestiami warsztatowymi, może przejść jako pierwsza przesłanka uznania, bądź nie, dzieła sztuki za wartościowe. Podobnie na bazie pewnej fikcji wizualnej urzeczywistniane są wartości, które nie są dostępne w świecie realnym, tym samym nie pełnią funkcji czystej repetycji doświadczenia ze świata realnego, więc mogą zaistnieć w świecie sztuki. Tym samym wartość sztuki może być mierzona skalą wprowadzenia do doświadczenia podmiotu poznającego czegoś, czego dotąd podmiot nie doświadczył. (shrink)

Philosophe polonais et disciple d'Edmund Husserl, Ingarden envisage la relation a l'oeuvre d'art comme une experience menee dans un echange reciproque et continu avec l'objet. Il defend ainsi une esthetique qui n'est ni purement subjectiviste en ce qu'elle n'est en rien reductible aux sentiments emotionnels d'un sujet, ni purement objectiviste en ce que les determinations reelles et materielles de l'oeuvre donnee exigent la participation intentionnelle du spectateur pour s'accomplir en manifestation intuitive concrete. Objet intentionnel par excellence, l'oeuvre d'art se tient (...) entre monde reel et monde spirituel, entre realite et jeu imaginaire. Elle se donne au spectateur comme une invitation a deployer son activite intentionnelle et, ce faisant, a participer a la vie de l'oeuvre a travers l'histoire de ses receptions. Les textes reunis ici offrent un large panorama des preoccupations esthetiques d'Ingarden. Ils presentent les principaux resultats de ses recherches theoriques concernant la nature des vecus et des objets esthetiques, ainsi que des applications concretes des analyses ontologiques menees sur differents types d'oeuvres d'art (litterature, peinture, architecture et film). L'ensemble des analyses ontologiques et phenomenologiques y est egalement toujours adosse a la question des valeurs, et de l'evaluation artistique ainsi qu'a la recherche d'un fondement objectif des valeurs. (shrink)

While there are many stories of man, one moment seems to recur in all of them. This is the belief that we need to be able, and want, to look in the mirror of something that is qualitatively larger than us. This is the intention of the tradition whose philosophic patron is Plato. This need for unreality—the need for another world—presumably manifests itself in every area of human activity. One can therefore talk about a specific need for unreality that every (...) real life satiates itself with. I provide examples of this need: science, religion, love, past and future. In the light of eternal life, we would be continually beset by the values for which we would be obliged to sacrifice our lives. In the light of earthly life, such values are inconceivably less frequent. We learn the difficult art of living in a consumer world where we do not have to die. (shrink)

The development of the vital potential of the drama theater is in a continuous search for new forms of expression. Today, in an attempt to establish itself on the territory of a multicultural environment, as well as in an attempt to gain a unique method of communication with society, the theater as an art sphere expands the boundaries of its purpose. Going beyond the stage space turns out to be an important subject of research from the point of view of (...) the search for the artistic existence of the theater in the conditions of digital reality. This article discusses the issue of finding a place for a drama theater in a digital environment where the energy of human relations is significantly minimized and manifests itself in a specifically different way. The subject of the research for the author was the cultural and creative activity of the Tovstonogov BDT. The St. Petersburg Bolshoi Drama Theater does not need recommendations: it has a great history in the twentieth century, an attractive stage "today" for the audience and, undoubtedly, interesting prospects. In the practice of BDT under the leadership of Andrei the Mighty (2013-2023), there are such turns of dramatic action that are not directly connected with the stage and are almost out of place for the "repertory" theater. The phenomenon of the theater, as if removed from its ancestral roots, leaving the walls breathing tradition, is considered in the article as an experience of cultural and theatrical "exit" to the "stage" of digital reality. Among such experiments, the most significant are the social action "Help the doctors", as well as the experiments of "Minecraft" performances. In addition to the usual comparative historical method for art studies, others will be used, first of all, the formal method, which distinguishes the St. Petersburg school of theater studies. Scientific novelty is determined by the subject of research itself: BDT is considered as a phenomenon of a multi-genre cultural space, in which, as before, a special place is rightfully given to the actor, his role, as well as to the viewer who finds himself in the conditions of a new socio-cultural picture of the world. (shrink)

Between the zone of certainty beyond all doubt and the zone of incomprehensible uncertainty, the sources of which are nothing but chance, we need to use solid results from a vast interdisciplinarity. We wish to give here a sense of the factors in play and the state of the debate and advance in the territory of how interdisciplinarity may help to solve problems which are common in many areas of knowledge. Chaos and complexity certainly put limits on what we can (...) know. High complexity, asymmetry and/or non-linearity are universal types of imprecision. Can hazard have purpose and direction?The idea is that the more effort we put into project design to cover as many details and possible consequences as possible we can grasp in our in-depth analysis aiming to create the project (in art or science or society), the greater the chances that the random occurrence of the unpredictable event will settle on the project's purpose and direction and not on contrary to them. There is no vicious circle here. This kind of method can explain many good results already obtained in such circumstances. Simplicity, beauty, rationalistic optimism, are features of unshakeable scientific results We may call this feature of scientific theory or art _uniqueness. _Uniqueness is strongly correlated with _essentialization. _Science is working in that sense: to simplify a phenomenon to its essence in order to study it easily without losing anything important in the analysis. That is _essentialization. _Why and how complex systems move to the edge of chaos? And what do they do to stay there? They are in constant struggle to create or keep order in complexity. That is the pattern of self-organization, the specific feature of human nature. That is why our action is meant to build resilience to deal better with unpredictable events and prevent the emergence of a critical threshold. Uncertainty, indeterminacy, randomness, and contradictions appear, not as non-essential substances of debate to be eliminated by explanation, but as everlasting ingredients of our conception of reality. There are compelling reasons to believe that it is impossible to make accurate, nontrivial predictions concerning human behavior. Logic and reason are and remain priority, but unpredictability forces us to imagination and creative thinking. Indeed we are confronted with a new human landscape. The anomalies become the new normal. (shrink)

During the Communist regime, after Poland was officially proclaimed the People’s Republic of Poland, the aim of the Polish Communist government was to control all aspects of society. Communist ideals were enforced in books and other publications; censorship was introduced on all published materials. This paper aims to present the situation of media in People’s Poland, as well as to provide a background and description of Polish censorship. Additionally, this paper will exposit and examine the socio-political role of Tygodnik Powszechny (...) in Polish society. As TP is a Catholic weekly, an outline of the unique socio-political role of the Polish Roman Catholic Church in communist Poland will accompany the above analysis. This paper is based on the research conducted by the author in partial fulfillment of the requirements for the Master of Arts degree written and defended at the Central European University in Budapest in 2012. (shrink)

Este artículo se centra en la música en el entorno Fluxus entendida como creación artística de aproximación a la conquista del espacio y de superación de los límites sonoros, en aras a potenciar su expresión a través de la acción del intérprete y la utilización de artefactos. El resultado de todo ello fue un repertorio de imágenes de una gran potencia connotativa en el panorama artístico de los años sesenta.

Albrecht Dürer was German, but it was Italy he loved and followed the example of. Along with Erasmus of Rotterdam, he was one of the first to instil the ideas of Italian humanism in northern Europe, paying attention to the study of ancient culture, and thus fighting for the renewal of art in the spirit of the Renaissance. Dürer believed that using the patterns developed in Florence, the art of imaging would achieve unprecedented narrative power. The uniqueness of the artist (...) from Nuremberg was also that he was able not only to assimilate and synthesise German Gothic art with the achievements of the Florentine school, but also to develop his own vision of the theory of art taking into account the specifics of native art. His research on the theory of movement, the implementation of objects into the structure of the image, the search for the perfect beauty in woodcut and copper engraving can be considered to be unique and pioneering projects in Germany. The influence of Dürer on the sphere of Renaissance iconography is invaluable, but unfortunately it is often omitted in the literature as secondary or even insignificant. The article shows that Dürer’s theoretical influence on the shape of early modern art is noteworthy. (shrink)

English summary: As part of his research on the ontology of art, Roman Ingarden (1893-1970) analyzed architecture as an art form through the successive approaches of ontology, esthetics, and phenomenology. This is one of the first texts from the Husserlian school of phenomenology to examine architecture, and is also an excellent example of Ingardens esthetics. French description: Dans le cadre de ses recherches consacrees a l'ontologie des oeuvres d'art, Roman Ingarden (1893-1970) se confronte a la realite architecturale et (...) la soumet a un exercice concret d'analyses tour a tour ontologiques, esthetiques et phenomenologiques. Ce texte est l'un des premiers textes issus de l'ecole phenomenologique husserlienne a s'interroger sur le sens et le statut de l'architecture en tant qu'art. Il temoigne de la probite et de l'acuite intellectuelles du phenomenologue polonais qui n'hesite pas a revisiter ses analyses et ses convictions au risque de sa propre deception. Il offre egalement une bonne voie d'entree dans l'esthetique d'Ingarden car il en decline les principaux concepts et en propose une application eclairante. (shrink)