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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 Ontologie-Konzeption
1994Ich will nun das Augenmerk auf Ingardens Konzeption einer phanomenologischen Ontologie werfen. Das Hauptziel des vorliegenden Kapitels ist es, Ingardens Konzeption im Lichte des im ersten Kapitel Ausgefuhrten zu diskutieren (§§7–9). Die vorangestellte Doxographie (§6) wird entsprechend nur kurz ausfallen.
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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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Roman Ingarden’s Literary Theory
1976Ingarden 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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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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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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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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