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2020
Roman Ingarden (1893–1970) należy do najbardziej znanych na świecie polskich filozofów. Był uczniem Husserla i od niego przejął metodę fenomenologiczną, którą konsekwentnie stosował w rozważaniach ontologicznych i estetycznych. Często pisał równolegle w języku polskim i niemieckim.
Potocka, Maria Anna +2 more
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Roman Ingarden (1893–1970) należy do najbardziej znanych na świecie polskich filozofów. Był uczniem Husserla i od niego przejął metodę fenomenologiczną, którą konsekwentnie stosował w rozważaniach ontologicznych i estetycznych. Często pisał równolegle w języku polskim i niemieckim.
Potocka, Maria Anna +2 more
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The geometry of Ingarden spaces
Reports on Mathematical Physics, 2004zbMATH Open Web Interface contents unavailable due to conflicting licenses.
Radu Miron
exaly +2 more sources
1989
Roman Ingarden’s consideration of theatrical performance can be found in his book “The Literary Work of Art.”1 Two articles in it are especially concerned with theatre: “The Stage Play” (317–23) and the appendix “The Function of Language in the Theatre” (377–93). The latter Ingarden wrote in the fifties,2 more than twenty years after the former. Though
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Roman Ingarden’s consideration of theatrical performance can be found in his book “The Literary Work of Art.”1 Two articles in it are especially concerned with theatre: “The Stage Play” (317–23) and the appendix “The Function of Language in the Theatre” (377–93). The latter Ingarden wrote in the fifties,2 more than twenty years after the former. Though
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2004
In his work, The Cognition of the Literary Work of Art, Roman Ingarden tells us that the wrong kind of “perspectival foreshortening” in the concretization of the literary work of art takes place when the reader takes a “philological” attitude during reading.1 The purpose of this paper is to explain why Ingarden would make such a remark.
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In his work, The Cognition of the Literary Work of Art, Roman Ingarden tells us that the wrong kind of “perspectival foreshortening” in the concretization of the literary work of art takes place when the reader takes a “philological” attitude during reading.1 The purpose of this paper is to explain why Ingarden would make such a remark.
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Ingarden, Inscription, and Literary Ontology
Journal of the British Society for Phenomenology, 1987It would be both presumptuous and futile to attempt within the space of a short essay an adequate critical exposition and assessment of Roman Ingarden’s theory of on-tological status of the literary work of art. For Ingarden’s theory, extensively articulated in The Literary Work of Art and still further developed in the The Cognition of the Literary ...
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Revue Philosophique de Louvain, 1970
Van Breda Herman Leo. In memoriam Roman Ingarden. In: Revue Philosophique de Louvain. Troisième série, tome 68, n°99, 1970. pp. 423-426.
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Van Breda Herman Leo. In memoriam Roman Ingarden. In: Revue Philosophique de Louvain. Troisième série, tome 68, n°99, 1970. pp. 423-426.
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INGARDEN AND THE PRAGUE SCHOOL
Neophilologus, 1997Commentators have pointed out a number of noteworthy connections between Prague School Structuralism and the phenomenological tradition. Examining Roman Ingarden's Das literarische Kunstwerk – first published in German in 1931 – vis-a-vis the theories of the Prague School yields additional insight into the phenomenological contexts of Czech ...
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