Roman Ingarden

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Ingarden, Roman


Born Feb. 5, 1893, in Kraków; died there June 15, 1970. Polish philosopher, phenomenologist, doctor of philosophy (1918), professor (1933), and member of the Polish Academy of Sciences (1957).

Ingarden studied under E. Husserl. He taught at the University of L’vov from 1933 to 1941 and at the Jagiellonian University from 1945. From 1938 to 1948 he was the editor of the journal Studia Philosophica. He developed his own version of phenomenology, differing from Husserl’s idealist phenomenology, and was best known for his work on aesthetics. He wrote many works on problems of aesthetics, epistemology, logic, and the so-called formal ontology, as well as a number of works on various trends in contemporary bourgeois philosophy, including phenomenology, Bergsonism, and neopositivism.


Spór o istnienie świata, 2nd ed., vols. 1–2. Warsaw, 1961–62.
Dzieta filozoficzne: Z badań nad filozofiq wspófczesnq. Warsaw, 1963.
Studia z estetyki, vols. 1–2. [Warsaw] 1966.
In Russian translation:
Issledovaniia po estetike. Moscow, 1962.
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The author finally brings Philosopher Roman Ingarden's views on aesthetic experience and aesthetic objects and condones the point that a judgement on a work of art is only valid when it is given on "the basis of an aesthetic process" (85) and has flown from the state of 'bhava'.
La autora analiza e interpreta, desde la plataforma hermeneutica de Roman Ingarden, la cultura de la corrupcion representada en la novela de Serna, que permea todos los estratos de la vida social y cultural de nuestro pais.
Hrushowski's (Harshav's) work on recency and primacy ("Fictionality"; "Integrational") as well as Sternberg's distinction between suspense, curiosity, and surprise in Expositional Modes and Temporal Ordering in Fiction (1978) are based on cognitive principles, as is the work on gaps conducted, first, by Roman Ingarden, and later by Wolfgang Iser in the context of what became reception theory.
Los tres primeros se ocupan de explicar los principios generales de interpretacion de la obra de arte literaria, cada uno, desde el punto de vista del pensamiento hermeneutico de Hans-Georg Gadamer, Paul Ricoeur y Roman Ingarden, respectivamente.
Para iniciar nuestro recorrido sobre el objeto estetico acudiremos, en el mismo espiritu expresado en el parrafo anterior, a la ayuda de Roman Ingarden (3), fenomenologo discipulo de Husserl, quien penso en profundidad sobre la experiencia estetica y el fenomeno del objeto estetico en si mismo y desde si mismo (4).
A partir de las propuestas de Roman Ingarden y Wolfgang Iser, Gloria Vergara y Ada Aurora Sanchez, coordinadoras del libro Hermeneutica y recepcion de la obra literaria, sostienen que el valor semantico y formal de la literatura son perceptibles si hay un lector que los movilice a traves de la lectura: "Hasta cierto punto, el autor propone y el lector dispone".
Reimers shows no knowledge of the breakthrough rediscovery of classical realism in Husserl's Logical Investigations, which excited subsequent thinkers to continue down the realist path, including Adolph Reinach and Alexander Pfaender (Von Hildebrand's main teachers, not Husserl nor Scheler), Roman Ingarden, Dietrich Von Hildebrand, and so forth.
En la ponencia presento el analisis ontologico del ser humano que Roman Ingarden lleva a cabo en su opus magnum, esto es, en Streit um die Existenz der Welt [1], o Controversia sobre la existencia del mundo.
(142) There is no doubt that Swirski goes into this problem deeper than anybody else in literary studies, notably including Roman Ingarden. You could say that Swirski transposes the antipsychologism of Logische Untersuchungen onto the plane of contemporary analytic philosophy, demonstrating that a literary work has an autonomous ontological status (i.e., one which cannot be reduced to real or ideal entities).
Her friend Roman Ingarden ascribed Stein's long-term interest in the other as a personal, psychological trait: What interested her most was the question of defining the possibility of mutual communication between human beings, in other words, the possibility of establishing community.
Perhaps we think, a little ruefully, that books such as Roman Ingarden's The Literary Work of Art and The Cognition of the Literary Work of Art and Mikel Dufrenne's The Phenomenology of Aesthetic Experience were never of much help to us, and we may think back to the failed attempt by Georges Poulet to develop a phenomenological criticism, a "criticism of consciousness." (3) Yet, especially in its turn to religion, criticism has much to learn from the first "theological turn." We can, as I have said, learn to rethink the literary "object," and in doing so learn to be attentive to a wider range of phenomenality in literature than we have been used to acknowledging.