Each such attempted identification leads to various absurdities, e. As a result, works of literature cannot be classified in either of the major categories of objects accepted by traditional metaphysics — neither the categories of the real nor the ideal are suited for them. Any acceptable ontology of literature thus must accept entities of another category.
He conceives of this task as preliminary to any questions of the values that works of literature may or may not have, as we will be better able to see where values of different types can inhere once we know what the different parts of the literary work are. Each of these strata has room for its own typical sorts of aesthetic value or disvalue ; thus we may distinguish the values of rhythm, alliteration, or mellifluousness at the level of word sounds, from the values in interesting or jarring juxtapositions of ideas and concepts at the level of meaning units, from the quasi-visual splendor of the scene presented, from the values of sympathetic or complex characters and intricate plots.
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- Lost in Wonder: Essays on Liturgy and the Arts.
Among the strata are various forms of mutual dependence and influence, and the harmonies or disharmonies among the strata e. A stratified theory like Ingarden's has considerable strengths. It provides a framework within which we can offer detailed analyses of literary works identifying their many sorts of value or disvalue, rather than simply passing judgment on the whole. As a result, many apparent conflicts in judgments of taste may be resolved without embracing subjectivism, by noting that the individuals concerned may be passing judgment on different strata of the literary work.
It also enables us to understand stylistic differences among authors and over time as differences in which strata are emphasized and which de-emphasized, e. Virginia Woolf's The Waves , or even background both of these to the rhythms and sound patterns at the level of phonetic formations e. Edith Sitwell's nonsense poetry. Yet we can do so without seeing such changes as forming a radical break or undermining the idea that these are all part of a continuous literary tradition.
In , immediately after writing The Literary Work of Art , Ingarden expanded his analyses of the ontology of art from literature, to also discuss music, painting, and architecture in a series of essays originally intended as an appendix to The Literary Work of Art. As it happened, however, the appendix was not published along with The Literary Work of Art , and remained dormant until after the war, when in essays on the picture and the architectural work were published in Polish.
Roman Ingarden (Stanford Encyclopedia of Philosophy)
The three studies were expanded and finally published in German in , along with an article on film, and were not translated into English until Each also examines whether and to what extent the form of art in question, like the literary work, may turn out to have a stratified structure. The musical work, Ingarden argues, is distinct from experiences of its composer and listeners, and cannot be identified with any individual sound event, performance or copy of the score.
But nor can it be classified among ideal entities, since it is created by a composer at a certain time, not merely discovered [ Ontology , 4—5]. In itself, a traditionally scored work of Western music is a schematic formation full of places of indeterminacy e. Unlike the literary work, however, the work of music is not a stratified entity, there being no essential representing function of the sounds of the musical work unlike the sounds of a novel.
The picture, too, is a purely intentional object, created by an artist and founded both in a real painting a paint-covered canvas , and in the viewer's operations of apprehending it. The picture as a work of art cannot be identified with the real paint-covered canvas hanging in a gallery, for the two have different properties and different modes of cognitive accessibility.
The picture can only be seen, and indeed only seen from certain points of view; the painting, by contrast, can be seen, smelled, heard, or even tasted, and can be observed from any point of view. Ingarden also holds that the picture as such unlike the painting is not an individual object of any sort -- one and the same picture may be presented in many paintings if they are all perfect copies of an original.
It might be worth noting that while this is plausible enough for the picture, considered as such, we do typically treat works of visual art as one-off individual objects distinct from perfect copies or forgeries.
Roman Ingarden
Moreover, the picture, to be seen, requires that viewers take up a certain cognitive attitude regarding it, not required to observe the painting. The fact that even such purely intentional objects as works of art of various kinds are founded not exclusively in consciousness, but also in various ways on real spatio-temporal objects, is also an important part of Ingarden's arguments against idealism, suggesting that even if the proper mode of being for the world of experience was purely intentional being, that still would not be sufficient to show that all that exists is a pure product of consciousness.
As Ingarden emphasizes, a flag, for example, should not be identified with the mere piece of cloth of which it is fashioned, for it has different essential properties, and has an additional foundation in the mental acts of the community that accept it as a flag and endow it with meanings and embed it in norms of action e. Similarly, a church is not identical with the real building on which it is founded, but rather is created only through acts of consecration and the preservation of appropriate attitudes in the relevant community.
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In virtue of its secondary dependence on acts of consciousness, the church is endowed with various social and cultural properties and functions that a mere ordered heap of building materials cannot have. In this way Ingarden provides the basis for an account of the nature of cultural and social objects that takes neither the reductionist route of identifying them with their physical bases, nor the subjectivist route of treating all objects as mere social constructions. The life-world takes its unique place as the common product of acts of consciousness and an independent real world, and its existence in quite specific ways presupposes that of both of those foundations.
In addition to his work on the ontology of art objects of various kinds, Ingarden also undertook general work on the ontological status of the aesthetic object and the nature of aesthetic values. Thus in the case of literature, there are many places of indeterminacy at the level of character and plot — unlike in the case of real people, it is often simply indeterminate what a literary character had for breakfast, how far she sat back from the table, what the table was made of, etc.
Such indeterminacies are generally partially filled in by the reader in reconstructing the work, as the reader's background assumptions help at least partially flesh out the skeletal imaginary scene directly presented by the words of the text. Similarly, a representational painting generally leaves indeterminate, e. Yet again, viewers' reconstructive acts typically supplement these indeterminacies in various ways, e.
Finally, in the case of music, a score leaves indeterminate various elements such as the precise timbre and fullness of tone, and these are filled out in different ways in different performances of the work. Each work of art permits of a variety of legitimate concretizations which, unlike the work of art itself, may vary from viewer to viewer. If the concretion occurs within the aesthetic attitude, an aesthetic object is formed [ Selected Papers , 93], and so many aesthetic objects may be based on one and the same work of art.
Corresponding to this three-fold distinction between physical object, work of art, and aesthetic object, Ingarden posits a three-fold distinction among properties. Aesthetic values such as serenity, sublimity, profundity, etc. Since various aesthetic objects may be based on one and the same work of art, these may also differ in their aesthetic values. This can, at least in part, help account for the variety of aesthetic judgments that may be formed apparently concerning the same work of art.
Yet as usual, Ingarden is concerned to account for the role of consciousness in constituting aesthetic values and the variations in aesthetic judgments without embracing a subjectivism that would deny that there is any better or worse in aesthetic judgment, each being a mere report of the pleasure experienced by the one judging. Such subjectivism is to be avoided by noting first, that some concretizations are better suited to the work's demands than others, more faithful, or better able to bring out the potential values in the work.
A careful interpreter and evaluator can, through repeated contact with the work, come increasingly close to separating out idiosyncratic elements of her interpretations from what is proper to the work. Secondly, the aesthetic properties of the resulting concretization are not arbitrary inventions of the viewer, nor are they based on the pleasure she derives from the experience. Instead, their appearance simply requires a competent viewer to observe the work's neutral and artistic values in an aesthetic attitude.
A complete as of bibliography of Ingarden's works in English, French, German and Polish and of secondary sources is available in the edition of Ingarden's Selected Papers in Aesthetics cited below. Life and Work 2. Ontology and Metaphysics 2. Ontology and Metaphysics Most of Ingarden's major work focuses on ontology, which he considers a purely a priori enterprise, concerned not with what actually exists, but with what could possibly exist which concepts are non-contradictory , and with what according to the contents of the relevant ideas it would take for objects of various kinds to exist, or entail if they existed.
According to Ingarden, every literary work is composed of four heterogeneous strata: Word sounds and phonetic formations of higher order including the typical rhythms and melodies associated with phrases, sentences and paragraphs of various kinds ; Meaning units formed by conjoining the sounds employed in a language with ideal concepts; these also range from the individual meanings of words to the higher-order meanings of phrases, sentences, paragraphs, etc. Bibliography A complete as of bibliography of Ingarden's works in English, French, German and Polish and of secondary sources is available in the edition of Ingarden's Selected Papers in Aesthetics cited below.
Ein Beitrag zum Problem des Wesens , Halle: Festschrift, Edmund Husserl zum Geburtstag gewidmet , Halle: Untersuchungen zur Ontologie der Kunst: Der Streit um die Existenz der Welt , Bd. Erlebnis, Kunstwerk und Wert. Ihre ontischen Fundamente , Stuttgart: Szkic z teorii sztuki On the Structure of the Painting: In , however, he was banned from teaching due to his alleged idealism , supposedly being an "enemy of materialism". In he was reappointed at the Jagiellonian University after the ban was lifted, and so he went on to teach, write and publish.
Ingarden died on June 14, as a result of a cerebral hemorrhage. Ingarden was a realist phenomenologist , and thus did not accept Husserl's transcendental idealism. His training was phenomenological; nonetheless, his work as a whole was directed towards ontology. That is why [ citation needed ] Ingarden is one of the most renowned phenomenological ontologists, as he strove to describe the ontological structure and state of being of various objects based on the essential features of any experience that could provide such knowledge.
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The best known works of Ingarden, and the only ones widely known to English-speaking readers, concern aesthetics and literature. The exclusive focus on Ingarden's work in aesthetics does not reflect Ingarden's overall philosophical standpoint, which is focused on the ideas regarding formal, existential and material ontology set forth in his Controversy over the Existence of the World. From Wikipedia, the free encyclopedia. This article has multiple issues. Please help improve it or discuss these issues on the talk page.
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