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The Literary Work of Art | Northwestern University Press
Das literarische Kunstwerk, 3rd ed. The English translation by G. Hereafter quoted as Literary Work. Google Scholar. The full text is in Polish, in Z teorii jezyka… ,pp. His Logik ,3rd ed. This work of Husserl recently translated in English by D. Cairns; M. Nijhoff, The Hague, was published in , while Das literarische Kunstwerk had been close to its printing stage.
Some of them have been included in vol. See G. On another occasion, however, Ingarden uses the term "material" in the same way Hartmann uses "matter", e.
In contrast, we can differentiate in all strata their "material" from their "formation" "Formung" or "effect" "Wirkung" etc. We face the same kind of problem, when we talk later of "formation" or "structuring" of the real foreground. Are we referring to phenomena within one stratum, or to those applying to more than one stratum? It is one of the most important insights of strata-theory, that the "form" of a work of art is itself stratified or that it consists of the formation of all strata.
And also by others 11 the observation has been made, that the "structure" of a work of art is established by factors of contents, meaning and form together , that is to say with Ingarden by the "polyphony" of its strata. Whenever we have to cite another use of these terms by our two authors, we shall do so in quotation marks. If "concrete sound-material" is considered to be the "ontic basis" of spoken or heard poetry, paper and ink and print in general could be seen as ontic base of written or printed poetry. In music, sound waves would take a corresponding role and in painting the electromagnetic waves sent out by pigments would have a similar function.
They cannot be exactly repeated.
The Literary Work of Art
The work of art, however, can be transferred e. Therefore, the strata-sequence of a work of art starts only with color and sound as potential or - as Ingarden would say - intentional qualities.
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They can be called that way, since the irreal foreground has been structured in such a way that the recipient will experience color or sound roughly according to the "intention" of the author of the work, though never exactly in the same way. These qualities are coordinated in "fields" Felder to each other, as well as to other possible sound and color qualities.
Ingarden and Hartmann had this in mind when they described the work of art as an "intentional" object "intentionalen Gegenstand" with "spots of indeterminacy" "Unbestimmtheitsstellen" , which has to be "realized" "realisiert" or "concretized" "konkretisiert" by the recipient, who is filling out these spots of indeterminacy.
The main differences between Roman Ingarden’s and Nicolai Hartmann’s strata-systems
This is only possible because of the art work's double mode of existence, based on concretely and potentially given foreground. Only this differentiation of "ontic basis" and "lowest stratum" of the work of art can solve the problem of "matter" and "material" as the basis of a work of art. As "matter" - sound, color, stone, etc. As "material" for the subsequent and more abstract strata, however, sound and color are given as "intentional" configurations in relationship to each other and to other possibilities.
As such they are transferable and repeatable and present the first and lowest stratum of the work of art. Wolfgang Ruttkowski Author.
Add to cart. Abstract Although both designed strata-models for various kinds of art and especially for literature, the philosophers Nicolai Hartmann and Roman Ingarden never entered into any kind of dialogue. Sign in to write a comment.
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