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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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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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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 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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Philosophy Compass, 2012
Abstract While Roman Ingarden remains best known among English‐speaking philosophers and literary theorists for his work in aesthetics, and primarily for his study of the literary work of art, his studies in aesthetics and art belong in fact to the comprehensive program of phenomenological research in ontology and metaphysics that ...
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Abstract While Roman Ingarden remains best known among English‐speaking philosophers and literary theorists for his work in aesthetics, and primarily for his study of the literary work of art, his studies in aesthetics and art belong in fact to the comprehensive program of phenomenological research in ontology and metaphysics that ...
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Ingardens Kritik an Bündeltheorien
1994Bundeltheoretische 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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Ingarden on Language and Ontology
1972This paper has two aims. First it wants to draw attention to the works of Roman Ingarden, which contain to-day’s most elaborate phenomenological descriptions in the fields of language and ontology (i.e. concerning the acts and products of linguistic activities, and concerning the formal structures and existential dependencies of beings).
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The Philosophy of Roman Ingarden
2002One of the most outstanding Polish philosophers, Roman Ingarden, was a bilingual writer. His fundamental works are available in Polish and German versions. In the 1950s, when Ingarden lapsed into silence on account of political ideology (he was not allowed to depart from Poland or give lectures at the university), his thought was presented on the ...
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