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Roman Ingarden’s Literary Theory

1976
Ingarden was one of the closest and most devoted disciples of Edmund Husserl.1 But this does not mean that he submitted completely to his teacher’s thinking It is characteristic of the ‘phenomenological school’ and at the same time to a much lesser degree tragic that Husserl did not have disciples who were willing to continue directly on his path ...
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Ingarden on the Theatre

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 (1893–1970)

2009
The foundations of Ingarden’s aesthetics were formed in the context of his polemic with edmund husserl’s transcendental idealism (Ingarden 1929). The critical function and productive employment of the phenomenological method determines the autonomy and theoretical relevance of his aesthetics.
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Ingardens Kritik an Bündeltheorien

1994
Bundeltheoretische Konzeptionen haben in der neueren und zeitgenossischen Philosophie eine Reihe prominenter Vertreter gefunden.4 Fur meine Zwecke ist es gunstig, vorerst verschiedene Typen bundeltheoretischer Positionen zu unterscheiden.
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Roman Ingarden’s Moral Philosophy

1976
Two publications of Roman Ingarden deal directly and exclusively with ethical problems: ‘An Inquiry into Moral Values’1 (this is almost an exact record of one of his lectures on ethics held at the Jagiellonian University in 1961/62) and Ueber die Verantwortung 2 (an extended version of his lecture delivered at the International Philosophical Congress ...
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Ingarden's Benign Circle

Dialectics and Humanism, 1977
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