Roman Ingarden's research while affiliated with WWF Poland and other places

Publications (100)

Article
For the fist time the work "Critical Remarks on Positivistic Logic" by Polish philosopher Roman Ingarden is translated into the Ukrainian. Translator - Assoc. Prof. Ihor Karivets
Chapter
All written (“literary”) works of art are characterized by the fact that they are many-layered and multi-phase due to the successive arrangement of their parts. There are at least four strata: (a) the stratum of word sounds and phonetic formations; (b) the stratum of semantic units of various orders; (c) the stratum of represented objects;1 and, fi...
Article
Vyd. 1. Přeloženo z němčiny 2000 výt.
Chapter
As I have said, the musical work is a multiphased structure in which the basic1 and elementary phenomena are sounding or rustling (percussive) qualities.2
Chapter
As a conclusion to my investigations I wish to discuss two issues that are important to the philosophical notion of a musical work. The first concerns the question of its unity or wholeness, while the second is a matter of its identity, to which I have already referred, and the manner in which this identity can be demonstrated in the multiplicity o...
Chapter
If we agree about the foregoing distinctions, then the question becomes even more pressing as to what a musical work really is. The following sketchy analysis of its structure and properties provides groundwork for the solution of this problem.
Chapter
We are living through the aftermath of psychologism, which still has many followers, particularly in Poland, although elsewhere its grip has been broken and it is seen as a thing of the past.1 Especially to art theorists and musicologists, who themselves take no interest in philosophy yet are inclined to make general assertions regarding the object...
Chapter
Our discussion so far will enable us to consider the ontological status of a musical work.
Chapter
Let us finally turn to the question of the identity of a musical work during a specified period in our historical time. This problem arises especially in longer periods that include a succession of different styles and even perhaps of fundamental ideals concerning musical and artistic aspirations. Old works live, that is, they are played and heard,...
Chapter
Which of the two possibilities then are we to accept: are we to agree that we need to distinguish the B Minor Sonata by Chopin from its many performances or alternatively that this distinction is not justified?
Chapter
Having rejected attempts to identify the musical work with its performance or with certain conscious experiences, we now have to consider the supposition that the musical work is nothing but its notation or score. This thought will undoubtedly occur to those investigators who regard the postulate entia non sunt multiplicanda praeter necessitatem as...
Chapter
We have treated the question of the responsibility that exists after the completion of an action. But how does the problem of responsibility that grows out of action present itself? How does action take place when it is undertaken in the first place with regard to (or for) the fact that it will result in a particular responsibility on the part of t...
Article
Ich werde heute meinem Plane gemäß über die natürliche Welt und die Generalthesis der natürlichen Welt sprechen und dann über die sogenannte transzendentale phänomenologische Reduktion. Es ist zur Zeit Sitte, daß man sagt, es gibt zwei Reduktion, nämlich die eine ist die eidetische Reduktion und die andere ist eben diese ‘transzendentale phänomenol...
Chapter
It is undoubtedly possible to hold that the position of transcendental idealism is not reached simply by using phenomenological reduction and by avoiding the error of petitio principii in epistemology. Sometimes it seems that even using this reduction it is possible to avoid the idealist solution but this solution is adopted only because, in carryi...
Chapter
The concept of philosophy as rigorous science has a postulatory and programmatic character: Husserl wanted to realize such a philosophy and was convinced that its realization was possible when and only when philosophy became eidetic knowledge about pure consciousness and its intentional correlates obtained in immanent eidetically attuned perception...
Chapter
The concept of philosophy as rigorous science6 emerged in close relation to Husserl’s critical attitude to European philosophy in its factual form. Husserl, who came over to philosophy from mathematics, condemned not only the many existing philosophies but also — as he said — the unending “quarrels” (Hader) between philosophers but first and foremo...
Chapter
Undoubtedly, there are several formal-ontological assertions included among the foundations of Husserl’s transcendental meditations. They are, however, never distinctly explicated neither in Ideas nor in later works although they can be clearly seen in different substantial and decisive conclusions.21 It is, of course, impossible to delve into all...
Article
"This long-awaited translation of Das literarische Kunstwerk makes available for the first time in English Roman Ingarden's influential study. Though it is inter-disciplinary in scope, situated as it is on the borderlines of ontology and logic, philosophy of literature and theory of language, Ingarden's work has a deliberately narrow focus: the lit...
Chapter
Closely connected to what I said in the preceding section is the question as to what is the essential function and what are the limits of applicability of the phenomenological reduction. Husserl introduces it in Ideas I with a clear aim in mind which has nothing in common, at least not expressis verbis, with the correct method of epistemological in...
Chapter
Finally, let us consider the formal and material ontological arguments which may lead to the idealist solution. This is, I remind you, the thesis about the transcendence of real objects, particularly perceived objects, in relation to cognitive acts in which they are given, and, secondly, the assertion about the fundamental material difference betwe...
Chapter
Some are of the opinion that there never was such a period in which Husserl was a realist with regard to the real world and that only certain of his Göttingen pupils interpreted Husserl’s opinions realistically.1 These were the pupils from the period before the first world war influenced by A. Reinach who was originally Th. Lipps’s pupil and was br...
Book
I: Husserl's Position.- 1. The original realist standpoint.- 2. The concept of philosophy as rigorous science.- 3. Postulates determining the appropriate method of epistemology.- 4. The results of the investigations into outer perception and the constitutive analysis of objects of the real world.- 5. The formal-ontological foundations of the ideali...
Chapter
It so happened that in the very years that Husserl jumped into the arena of epistemology, Leonard Nelson directed a sharp attack against the theory of knowledge.10 We know that Nelson made an attempt to show the impossibility of epistemology by pointing out that inevitably in it one cannot avoid committing the error of petitio prinoipii, Husserl, a...
Chapter
I have often asked myself why Husserl, really, headed in the direction of transcendental idealism from the time of his Ideas 1 whereas at the time of the Logical Investigations he clearly occupied a realist position. In later years he at last reached a solution whose correctness he could not doubt.
Chapter
It is now almost common-place to speak of the ‘later’ Husserl, as if this ‘later’ Husserl had assumed an entirely new position. In this connection one usually thinks of his Crisis. What are the facts of the matter?
Chapter
Um eine philosophisch grundlegende Auslegung der Philosophie Edmund Husserls und deren Bewertung der grossen philosophischen Probleme, darunter das Problem Idealismus-Realismus, zu erreichen, muss man sich mit den entscheidenen Begriffen, die Husserl anwendet, auseinandersetzen um ihren präzisen Sinn zu gewinnen. Es handelt sich hier um den Begriff...
Article
Traducción de: Uber die Verantwortung: Ihre Ontischen Fundamente Ultima obra del filósofo Roman Ingarden (1893-1970), considerado el principal exponente de la fenomenología en Polonia, quien concentra en este opúsculo tardío lo esencial de su pensamiento en el terreno de la antropología y la ética. A partir de expriencias cotidianas y accesibles co...
Article
Traducción de: Was wir über die Werte nicht wissen Conferencia dictada en 1965 por el filósofo polaco Roman Ingarden (1893-1970), quien a partir de una conciencia del no saber propone determinar lo que no sabemos de los valores, mundo del que ha hecho su objeto de estudio la axiología.
Article
TRADUCCION DE: UBER DIE VERANTWORTUNG. IHRE ONTISCHEN FUNDAMENTE

Citations

... It is clear that these modeling principles go far beyond mere mathematical notation, but they already imply a kind of fundamental ontologic strategy. In fact, this strategy corresponds closely to the ontology of a work of music as defined by Roman Ingarden: "[Das Musikalische Kunstwerk ist das] durch die Partitur bestimmte schematische Gebilde [zusammen mit der vollständigen] Mannigfaltigkeit von möglichen, ästhetisch zugelassenen Konkretisationen" [30]. ("[The work of music composition is] the schema defined by the musical score, [together with] the multitude of all aesthetically allowed concretizations of this schema." ...
... Elsewhere we have explored applications of Ingarden's systems theory for designing the structures and dynamics of computer game environments through the software program Parinsula (Gladden, 2019, Version 0.9.4), which draws onIngarden's (1974) thought to develop a real-time visualization of organism-like systems that can potentially be adapted for use in architecting VR-facilitated virtual worlds. ...
... It is hard to imagine that anyone would deny or ignore their responsibility or deliberately behave irresponsibly. The responsibility is a complicated concept, according to Ingarden (1964Ingarden ( , 1983, it commits us to study its different dimensions together. Lucas (1995) claims that, before we can form a clear idea of what the real responsibility includes, we must also consider the circumstances in which we are not responsible. ...
... Lewis (1929), 193, 66. 13 Vgl. Ingarden (1998), 14 ff., 267, 300 f., 340 ff.; Ingarden (1992), 284 ff. 14 Vgl. ...
... In seinen später verfassten Werken -in erster Linie in seinem Hauptwerk Der Streit um die Existenz der Welt (Ingarden, 1964(Ingarden, , 1965a(Ingarden, , 1965b(Ingarden, , 1974) -versucht er zu zeigen, dass es ein Fehler sei das reine Bewusstsein als die einzige und universale Seinssphäre zu betrachten. Ingarden war überzeugt, dass es auch andere Seinssphären und andere Seinsweisen der Gegenständlichkeiten gibt, die sich von der Seinsweise der intentionalen Gegenstände unterscheiden. ...
... This terminology is discussed in the relevant literature, for example, by Sonia Livingstone (2009, 134): "In English, 'mediation' has been 'repurposed,' away from the old meaning of conciliation toward and emphasis on the media, as enabled by the fortunate coincidence in the terms for linking disparate elements and for the media of communication." 2 Cf. Searle (1995Searle ( , 2010 and Ingarden (1964Ingarden ( , 1965Ingarden ( , 1974. ...
... Such definition of a musical aesthetic experience is strongly founded on empirical research but it is also in line with previous philosophical/phenomenological accounts aiming to describe the nature of the human relation to art in general as a subjective experience. Ingarden pointed to the role of the subject-driven experience, as a teleological experience to be instantiated in the concept of an encounter between the artist/performer and observer, holding a dynamic tension between the artwork as an ultimate, finished and fixed source (Ergon) and the experience as an individual process of apprehending and knowing (Energeia) [11,12] (see also [13]). Dewey, on the other hand, revoked the idea of the aesthetic experience as a question of mere knowledge and moved gradually in the direction of humans craving meaning in the sense of lived, embodied experiences with full involvement with the world. ...
... This refers primarily to the changes associated with accelerating and stopping, and, consequently, to the facades alternating between being caught in an interval of a movie and re-entering again into the phase of rigidity, recomposed into a stable form. The "movie experience" with the liquid architecture of the street, enabled by the interface of the bicycle, but indirectly -in "coimagined" analogy -also by the interfaces of the computer and the simulator, has been provoked by what Ingarden (1969) terms "aesthetic original emotion" (Ger. "aesthetische Ursprungsemotion"). ...
... Fleck sucht sich nun aus ganz unterschiedlichen Gebieten Ideen zu dieser Thematik zusammen, es gibt daher eine bunte Mischung von Quellen, aus denen er für seine eigene Gestaltauffassung schöpft, darunter sind: Diskussionen um die Rolle der Beobachtung in der Quantenphysik (Bohr 1928]: 58, [1935] 219, [1947 411), vergleichende Anatomie (Bethe 1928, Petersen 1928) und biologische Umwelttheorien (Uexküll), 14 Diskussionen um Photogramme (Pijper 1930, 1931, 1938[1948: 534) und wissenschaftliche Bildsuggestionen Ernst Haeckels (Fleck 1980: 51), graphische Darstellungen von Ideen, visuelle Kollektivvorstellungen in der Ethnologie (Fleck 1980]: 181-186, Fleck 2011: 243, Lévy-Bruhl 1926: 137 f.) 15 und Psychologie (Frostig 1929, Frostig 1930, Sinn-Sehen in der Geschichte der naturkundlichen Abbildung (contra Sudhoff), die Klecksographie (Fleck ]: 214, [1947 405), 16 sinnesphysiologische Diskussionen um mouches volantes 17 (ebd.: 215) -sprachtheoretische Ü berlegungen zu lautlichen Gestaltqualitäten (Ingarden 1976: 44, 74 f., 104) 18 -und eben die Gestaltpsychologie. Wenn man so will setzt Fleck selbst aus verschiedenen Elementen unterschiedlicher Provenienz seinen Gestaltbegriff zusammen und je nach Kontext kann bei Gestalt mal eine fiktive Entität, die graphische Darstellung einer Idee, die Stilisierung eines Bildes, die anschauliche Evidenz eines Wahrnehmungsbildes oder aber eines Vorstellungsbildes, ein gestaltendes, strukturierendes Sehen oder ein Sehen in Gestalten und von Gestalten oder Einprägungen im kulturellen Gedächtnis bedeuten, weshalb er auch zuweilen statt von Gestalt von Gepräge (Fleck : [1929(Fleck ] 53, 56, [1932(Fleck ] 134, 137, [1934(Fleck ] 184, [1936 288) spricht. ...
... definiert das literarische Drama als "a written text divided into two parts, the discourse of the author and that of the persona" (Ambros, 1989, 250). Auch Ingarden (1972) beschreibt den Nebentext als Möglichkeit der "Erleichterung für den Dichter . . . , auf kurzem Wege zu informieren" (Ingarden, 4 1972, 221). ...