The Constitution of the State as a Problem of Phenomenology

Вестник РУДН. Серия: Литературоведение, журналистика. № 3, Том 25, 2020

The article is devoted to the question of some data obtained by Polish philosopher Roman Ingarden, and primarily to his study of the literary work of art. Development upon Ingarden’s ideas is associated with use of Russian authors which are rarely treated in phenomenological aesthetics. The dynamic types of the image structure is that appear as potential states and actualize themselves in the reader’s reception as problem of imageability of fictional entities. Thus the dynamic character of types of an image structure is a transition from non-thematic background into its actual state and back. To study the visual in fiction, one must understand that the reader’s encounter with the literary work actualizes potential types, which, according to R. Ingarden, “sparkle and go out”. The visual nature of the aesthetic object directly depends on which of these potential states are actualized.

Horizon. Studies in Phenomenology, 2019

's (1893-1970) philosophical legacy is not limited exclusively to ontology, as it usually is regarded. His thought also addresses aesthetics, philosophical anthropology, epistemology, ethics, axiology, philosophy of mind, philosophy of language, logic, philosophy of literature and original considerations on the history of philosophy. Ingarden's philosophical investigations concern, but are not limited to such topics as the status of the world, intentionality, experience, the notion of object, intersubjective cognition, the existence and cognition of the literary artwork, time, the question of aesthetic and moral values, responsibility, and causal relations. What unites these different topics and accounts in Ingarden's philosophical enterprise as a coherent project is the phenomenological approach, which Ingarden employs at the preliminary stage of research. Ingarden-who is educated in Lvov under Kazimierz Twardowski (1866-1938) and later in Göttingen and in Freiburg im Breisgau under Edmund Husserl (1859-1938)-is one of the key figures of the Göttingen Circle and develops in the eidetic line of the phenomenological movement. Although from the very beginning, he criticizes Husserl for falling into idealism and for adopting a transcendental stance, his own original philosophical project is formulated in a lifelong discussion with Husserl's ideas. At the same time, his project is influenced by other prominent philosophical personalities of modern and contemporary philosophy, including Kant, Bergson, Scheler, Hartmann, Conrad-Martius, Stein, not to mention the Lvov-Warsaw School of logic, and many others with whom he discusses the most important philosophical questions. As a result, Ingarden's philosophy connects different traditions, while also presenting an original contribution to the 20 th century philosophy and, more generally, to humanities, e.g., to the New Criticism, one of the dominant trends in Anglo-American literary theory and criticism. On the occasion of and to commemorate the fiftieth anniversary of Ingarden's death, this volume presents the reader with the present collection of in-depth studies INTRODUCTION

Phainomena, 2024

The aesthetics of Roman Ingarden and Nicolai Hartmann are phenomenological in the Husserlian sense of the term. Although both Ingarden as well as Hartmann owe their ideas to Husserl, each of them worked independently of the other and provided different accounts with regard to the anatomy and the mode of existence of the literary work of art, which have proven to be invaluable for its study. While Ingarden’s account utilizes the properties of conscious acts to explain the appearance of an aesthetic object, Hartmann employs the founding properties of the conscious acts in the human temporality, within which these acts are performed. However, there are also some specific similarities to be found in their theories of ontology, concerning the “stratified structures” of the different kinds of aesthetic objects. The present paper is an attempt to develop a comparison with respect to certain questions related to Ingarden’s and Hartmann’s ontologies of the literary work of art. The aim is to answer these questions from the point of view of both Ingarden as well as Hartmann.

RUDN Journal of Studies in Literature and Journalism, 2020

The article is devoted to the question of some data obtained by Polish philosopher Roman Ingarden, and primarily to his study of the literary work of art. Development upon Ingardens ideas is associated with use of Russian authors which are rarely treated in phenomenological aesthetics. The dynamic types of the image structure is that appear as potential states and actualize themselves in the readers reception as problem of imageability of fictional entities. Thus the dynamic character of types of an image structure is a transition from non-thematic background into its actual state and back. To study the visual in fiction, one must understand that the readers encounter with the literary work actualizes potential types, which, according to R. Ingarden, sparkle and go out. The visual nature of the aesthetic object directly depends on which of these potential states are actualized.

Časopis za kritiko znanosti, 2024

In this article I present Aristotle's three-part structure (plot, climax, denouement) of narrative, which is characteristic for drama and screenwriting. I show that this structure is characterised by a focus on the bad, on (natural, social, personal) catastrophes, conflict, violence, domination and war, and that the driving force of the story is some problem or obstacle that the protagonist/heroine has to overcome, with the latter resulting in a change in the protagonist/heroine. The problem or obstacle also serves as a temporal driver of the story. Instead of Aristotle's three-part structure, I offer my own structure, which focuses on the good, the joyful, the egalitarian, and is not based on the problem and obstacle driving the axis and timing of the story. Instead, we can talk about the »eternal now« and the completion of character. Key words: narration, drama, film, Aristotle, Dirik, Öcalan, Plato

Dört Öğe, 2018

Literary works of art present us a f ictional world in which the objects and states of affairs are purely intentional. These objects and state of affairs do not have a correlative in an ontic sphere that is independent from the work itself. However, that does not mean that the sentences in a literary artwork do not have any assertive power. The predicative sentences in a literary artwork assert something in a particular manner. Hence, literary works of art have a cognitive value. They say something to us about the world we live in, about our lives, our being on this world etc. But they do not teach us about the world in a straightforward way by referring directly to the extra-textual world. Rather they teach us by presenting us their own world; the quasi-real world of the text. In this paper I will try to reveal the particular manner by which the literary artworks help us to better understand our disposition through the world. I will achieve this aim by focusing on the structural and functional differences between the literary work of art and the factual work in Roman Ingarden’s literary theory.

Poética estrutural em movimento: Jan Mukařovský e Roman Jakobson, 2021

There are many perspectives that we may adopt when writing a history of literary theory and criticism and, in general, a history of literary thought. One of the approaches that I consider stimulating is the mapping of personal relationships between various literary scholars.The study deals with the relationship between two literary scholars: Jan Mukařovský and Roman Jakobson. The study analyses their transformation in the broad context of their life and work, but also in the context of the political and cultural events that took place during their lifetime. The central point of the study is an outline of the epistemological basis of Mukařovský ́s and Jakobson ́s structural poetics. Five key theoretical and methodological principles are: 1) A work of art is a sui generisphenomenon; 2) The principle of whole and part; 3) Movement. Literature is in constant motion; 4) Working with (literary) material; 5) A work of art is a sign. Art is a system of signs. (continua na p. 1)

2020

Phenomenology of music has been a perspective trend of phenomenological aesthetics for more than a hundred years. The topic of the paper is fixation the main problems and vectors of development of phenomenology of music. The authors execute an analysis of Roman Ingarden’s position in the discussions concerning the methodological and ontological problems of phenomenology of music. The paper aims at revealing succession in Roman Ingarden’s solutions to the phenomenology of music problems. The other aim is reflection on the originality of Ingarden’s ideas in the context of phenomenological interpretations of music in 20th and 21st centuries. The solution to these tasks allows the authors to fix key problems and identify the principal positions of phenomenology of music. The main sources of the comparative and historical analysis are the studies carried out by Husserl, Sartre, Merleau-Ponty, Clifton, and Ihde. The most important ontological problems of phenomenology of music are: spatio...

Art Research Journal, 2014

sustained only in the imaginary field. The idea here is to discuss, from their invisible and immaterial works, the issue of the unspeakable in art appreciation, understood as the missing element in the enjoyment of it, whether literary or cinematographic, musical or choreographic, pictorial or scenic. The notion of the unspoken that it is worked here is borrowed from Richard Wagner, who used it in his theoretical texts on opera. For Wagner, the gesture (gebárde) allowed the viewer to see what the sung narrative and orchestra music only insinuate. The singer gesture would translate the unspeakable of his singing, as well as the gesture of the orchestra, the leimotiv, would translate the unspeakable of the music produced by it (Wagner, 1964, p. 217). Our point extends the meaning of Wagner observation beyond the functional semantic and dramatic features that were required by his operas. Here, the unspeakable is taken into account in the context of the contemporary art-applicable to any example of the scenic and performing arts. It is, at the same time, everything that is latent in every work of art and that, in all these, would reveals visually, auditory or physically, those powers that remained secret in there. In a period in which the spectators, in their untransferable experiences with the works of art, are the ones who establishes the meanings, or confirms their impossibility, the unspeakable is both what each work denies, making it interesting, as what it delivers freely and turns it obvious and redundant. Thus, the own gesture of the actor, singer or performer, as their presence and the scene they establish, their ephemerality and the reverberations that provoke in the memory, are things said that bury, for revealing it, the unspoken. The unspeakable revealed, dies and depletes the works of their secrets. The emptiness, the immateriality and invisibility, are instances, however, where the works escape of revealing what it is unspoken on them, and guarantee the impossibility of saying it. To see the gesture, the body, the dance step, or listen to the music note generated by the orchestra and see the brushstrokes of the canvas or filmed images, it performs in the mind of the spectator, if absent, would have to be made by himself. The mere presence of the works already conceals, muffles and prevents their formation in the mind of the receiver. It steals from the assistants the prerogative of the view and adjustment, imposing protocols and paths, behaviors and attitudes, regulating the processes of reading, whether visual, auditory or intellective. This, of course, relates to the limit issue, because any work can have in its constitution, plastic and architectural, visual or sound, a concrete, material

Talk: "Questions Knock at Reality". Ingarden's Erotetical Path towards Realism Abstract: What is a question? Of what do we ask questions? What do our questions say about reality? And, ultimately, can erotetics, the theory of questions, be a useful tool for a realist philosopher? This paper will investigate Ingarden’s theory of questions as a means by which to tackle the controversy over the existence of an independent reality in Essentiale Fragen. This paper aims to consider Ingarden’s erotetical legacy and connect it to the realism-antirealism problem addressed by the philosopher throughout his entire academic life. The first section will introduce the text and the history of its reception. The second section will outline Ingarden’s theory of questions. The subsequent section will quantify the degree of ontological commitment present in the text and, consequently, its anti-psychologistic potential.