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Roman Ingarden The Literary Work Of Art Pdf

The ontologically heteronomous aspect of literary works which results from the work being created, reanimated, and constructed by the imagination of the reader, has been stressed by Ingarden. It is clear that this process is similar to the process of the author setting in motion the creative-formalistic imagination of the reader. The reader creates the work, the artist constructs the work, and the reader constructs the aesthetic objectivity. But the manner in which the work is created is different from the mode of creation of the artist. The role of the reader-creator of the work is the discursive transformation of the artistic properties of the work. In this process, the reader plays the role of the artist who sets in motion the creative-formalistic imagination of the author. The reader creates an artistic experience through the intersubjective act of communication and dialogue.

roman ingarden the literary work of art pdf

As with any work of art, the literary work is defined by what is distinct about it. This is its specificity. Nevertheless, in this case the specificity of the work is not limited merely to the specific creative properties of the work but also to the specific form of the work. In the case of the literary work, this form is the literary space. The realization of the potential of the work requires the use of a form that becomes the bearer of the characteristics of the work itself.

In the course of his study, Ingarden's work reaches a conception of literary works which points out that they do not constitute any special and finite entity in themselves. Ingarden believes that the literary work is a total reality that calls for judgment. This judgment is not an independent empirical judgment that judgments existential entities in the universe, but rather judgment is the making of the world that allows man to mediate between the world and himself. Thus, in the regard of ontology, the task of the literary work is to create. In relation to this requirement, Ingarden developed an analysis of it in terms of subjective unity, objectivity, an independent quality of the work, and the relationship between the audience and the work. However, due to the absence of a comprehensive analysis of the nature of the literary work, Ingarden implicitly focuses on several important aspects of the ontological status of the literary work. Most of Ingards work is devoted to what he calls the quality of objectivity of the literary work. This includes, among other issues, the need to offer a metaphysical or, what Ingarden calls, a transcendental ontological analysis. Ingarden saw the explanation of objects with the use of metaphysical categories as limited and incomplete, and he can be considered one of the first commentators of Husserls analyses on intuition and the function of the categories. Ingarden identifies several specifically philosophical issues that are neglected in the various traditions. First, Ingarden stresses the importance of the reader in the relation between the work and the individual. The ontological status of the literary work, according to Ingarden, is a function of the relationship between the reader and the work. For him, the nature of the ontological status of a literary work is determined by the understanding of the concept of the aesthetic object. And, finally, we can fully understand literary works only by understanding their aesthetic function. We find several examples of Ingardens writings about literary topics in the blog Roman Ingarden the literary work of art pdf

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