Roman Ingarden's Ontology and Aesthetics

Cover

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pp. 1-3

Title Page

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pp. iii-

Copyright

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pp. iv-7

CONTENTS

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pp. vii-ix

FOREWORD

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pp. xi-xii

Dr. Mitscherling provides the first comprehensive monograph on the life and the works of a philosopher who in Germany and in his native Poland has long been known as a thinker of marked originality. Now that several of Roman Ingarden's writings have...

PREFACE AND ACKNOWLEDGMENTS

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pp. xiii-xvi

The present work comprises only one small part of a large body of research devoted to the exploration of the field opened up by the revision of hermeneutic ontology initiated with a paper I delivered in Graz, Austria, in 1994 entitled "Nietzsche's Rhetorical...

INTRODUCTION

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pp. 1-8

The basic claim of this book is twofold: (1) that we are not in a position accurately to interpret and evaluate Ingarden's studies in aesthetics until we place them within the framework provided by his realist ontological position as a whole, and (2) that, conversely...

CHAPTER ONE: A SKETCH OF INGARDEN'S LIFE, CAREER, AND WORKS¹

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pp. 9-40

Ingarden's life and career spanned not only one of the greatest eras of European intellectual and cultural history but also the last chapters of one of the most tragic periods of the turbulent history of Poland, much of which revolved around Krakow, the city of his...

CHAPTER TWO: INGARDEN'S INTERPRETATION OF HUSSERL

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pp. 41-78

In this chapter I offer a critical examination of Ingarden's interpretation of Husserl as a 'metaphysical idealist'. While the idealist interpretation antedates Ingarden's first statement of criticism, his ceaseless endeavour to drive home his point for his entire career...

CHAPTER THREE: CONTROVERSY OVER THE EXISTENCE OF THE WORLD

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pp. 79-121

While Danuta Gierulanka correctly remarks that Ingarden's Controversy "came about in a spirit of opposition to Husserl's idealism," and that Ingarden began the preparatory work for Controversy in 1925,1 he had, in a sense, begun this work as early...

CHAPTER FOUR: THE LITERARY WORK OF ART

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pp. 123-162

In the preface to the first edition of The Literary Work of Art¹ Ingarden states (LWA Ixxii): Although the main subject of my investigations is the literary work, or the literary work of art, the ultimate motives for my...

CHAPTER FIVE: INGARDEN'S ANALYSES OF OTHER SORTS OF ARTWORKS

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pp. 163-191

As we have seen, Ingarden's primary philosophical concern lay not in aesthetics per se but in ontology. He undertook his extensive analyses of art in order not to gather material for the construction of a general 'theory of art' but rather to elucidate and, to...

CHAPTER SIX: INGARDEN AND CONTEMPORARY AESTHETICS

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pp. 193-214

As I shall be explaining in Sections B and C below, Ingarden's analyses of the ontology of art provide both a strong foundation and a powerful tool that could be employed in current research in aesthetics and theory of art.¹ The operative expression here, however,...

BIBLIOGRAPHY OF WORKS CITED

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pp. 215-226

INDEX OF SUBJECTS

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pp. 227-234

INDEX OF PROPER NAMES

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pp. 235-245