Roman Ingarden Research Articles

Metaphysical and Cultural Nature of Sacrifice in the Life and Death of E. Stein and S. Weil

The article explains the metaphysical, culture-making and creative act sacrificing one’s own life in the name of higher values. At the beginning we discuss the causes of a contemporary cultural crisis and the disap­pearance of metaphysical attitudes. We have formulated a thesis that the revival of metaphysics in contemporary culture can be grounded in the experience of metaphysical qualities that are present in heroic acts of offering one’s own life for another. The next step in our analysis was to identify the necessary and sufficient conditions for self-sacrifice, and then, on the examples of E. Stein and S. Weil, we show what the ultimate sacrifice of one’s own life is. Using the method of humanis­tic interpretation, we have reconstructed the descriptive and normative reasons which motivated the two women to their acts of self-sacrifice. And although Weil and Stein do not meet the criteria to be categorized as self-sacrifices, we have found that they indeed were ultimate sacri­fices because they were directed towards the realization of the highest moral and religious ideals. Using the category of “metaphysical quali­ties” developed by the Polish phenomenologist Roman Ingarden, we proposed an interpretation in which the sacrificial act was interpreted as supererogation in which metaphysical qualities such as holiness, sublimity, etc. are phenomenologically present. Such an act also has a cultural-creative dimension, consisting in building a culture and civilization of life in which the value of the existence of another human being is a correlate of a metaphysical desire rather than biological and psychological needs. The thesis is that, contrary to the contemporary crisis in metaphysics and axiology, they are essential and irremovable elements of culture, without which it cannot grow properly.

O lekturze intuicyjnej w dobie neuronauki

<p>Autorkę interesuje zakres modyfikacji szkolnej polonistyki przez odkrycia z zakresu neuronauki społecznej. Odwołując się do filozofii (Henriego Bergsona, Romana Ingardena, Francisco Vareli), najnowszych odkryć z zakresu neurologii, rozważa różnice pomiędzy „przeżywaniem” a „doświadczaniem”. Przywołano też wcześniejsze koncepcje dydaktyczne (Kazimierza Wóycickiego, Bronisława Poletura, Wincentego Okonia, Stanisława Bortnowskiego, Anny Janus‑Sitarz) oraz wyniki eksperymentu związanego z intuicyjnym odbiorem wiersza Bolesława Leśmiana ***<em>Wyszło z boru ślepawe, zjesieniałe zmrocze…</em> Na tej podstawie została nakreślona strategia lektury intuicyjnej opartej na fenomenologii, neuronauce i własnej praktyce nauczycielskiej.</p>

Reading for Opacity and the Cognitive Value of Literary Fiction

This article addresses the question of the cognitive value of literary fiction starting from Peter Lamarque’s opacity thesis. My intention is to articulate the cognitive value of literary fiction in accordance with the opacity thesis avoiding the pitfall of formalism to which the opacity thesis risks to be reduced. In a first part, I examine Lamarque’s opacity thesis and discuss the problems of the distinction between opacity and transparency in case of literary fiction. In a second part, I thematize the reader’s interest in reading literary fiction and I analyze it in terms of an interest at a distance. This examination enables me to articulate the cognitive value of literary fiction as intrinsic to the reader’s experience of literary fiction. The main argument for this approach is based upon an observation that I borrow from Roman Ingarden’s reflections on the literary artwork, according to which the reader’s focus on the literary fictional narrative as a whole distinguishes the reading experience of literary fiction. I argue that this focus on the narrative as a whole leads beyond a propositional understanding of the experience of literary fiction and helps us to better understand the reader’s interest in reading literary fiction.

Reading for Opacity and the Cognitive Value of Literary Fiction


 This article addresses the question of the cognitive value of literary fiction starting from Peter Lamarque’s opacity thesis. My intention is to articulate the cognitive value of literary fiction in accordance with the opacity thesis avoiding the pitfall of formalism to which the opacity thesis risks to be reduced. In a first part, I examine Lamarque’s opacity thesis and discuss the problems of the distinction between opacity and transparency in case of literary fiction. In a second part, I thematize the reader’s interest in reading literary fiction and I analyze it in terms of an interest at a distance. This examination enables me to articulate the cognitive value of literary fiction as intrinsic to the reader’s experience of literary fiction. The main argument for this approach is based upon an observation that I borrow from Roman Ingarden’s reflections on the literary artwork, according to which the reader’s focus on the literary fictional narrative as a whole distinguishes the reading experience of literary fiction. I argue that this focus on the narrative as a whole leads beyond a propositional understanding of the experience of literary fiction and helps us to better understand the reader’s interest in reading literary fiction.

KONDISI SOSIAL PENYAIR DALAM TEKS SYAIR 1999 KARYA ACHMAD MATHAR (KAJIAN STRATA NORMA ROMAN INGARDEN)

<p>This research discusses the text structure and social condition of the poet in poetry “1999” by Achmad Mathar. The purpose of this research is to outline and to describe the text structure, and the social condition of the poet in that poetry. This research uses qualitative-descriptive method by elaborating of data text that contains words, phrases, or verses. The data were analyzed using the theory of strata Roman Ingarden norm and theory of solipsism. The result shows that the text structure in the poetry ”1999” by Achmad Mathar has five layers, namely the sound layer, the meaning layer, layer of things, the world layer, and metaphysical layer. The five layers of strata give rise to the impression of reading and provide in-depth meaning which can arouse the spirit of fighting to achieve independence. As for the social conditions of the poet expressed through two interrelated phenomenasof the poet. The phenomenons namely: Saddam Hussein's life story and cartoon Hanzhala by Nājī al-'Alī. Both have lofty ideals for freeing the Middle East from the influence of the West and its allies importances.</p>

La construcción del significado en la experiencia estética

Based on the theoretical proposals of Roman Ingarden and Wolfgang Iser in the field of literary criticism, this article states that the void is constitutive of every work of art, and therefore it is possible to consider the work of art, in its different possible forms, as a mixture of indetermination and explicit meaning. This allows to define a common mechanism of meaning formation that acts in the different artistic forms.

Sound in the films of Michael Haneke from the perspective of phenomenological aesthetics

The philosophical and aesthetic ideas of phenomenology have been present in cinema theory since the silent period. Methods of phenomenological theory can be found in the analysis of the visual aspects of films or the artistic style of their authors. The essay analyses signs of phenomenological thinking in the audiovisual aspects of films - a little studied but significant area of directorial aesthetics. Its theoretical and methodological foundation includes the phenomenology of Edmund Husserl and elements of phenomenological aesthetics in the works of Maurice Merleau-Ponty and Roman Ingarden. Taking the work of a significant representative of auteur cinema, the Austrian director Michael Haneke, the author explores cinematic variations of the concept of phenomenological reduction, the method of perfectly clear apprehension of the essence and the layered semantic structure of the film. Conclusions are drawn about the presence of typological signs of phenomenological thinking in the work of other filmmakers, such as Robert Bresson and Jean-Pierre and Luc Dardenne. Visually, this presence is expressed in the tendency towards asceticism and documentarism in the choice of artistic devices; towards the disclosure of cinematic phenomena (facts); and aurally, in the tendency to minimize off-screen music and get rid of the expressiveness in the actor's speech, towards greater semantic significance of intra-frame music, individual sounds, pauses and non-sounds.

Traduire l’incertitude

About Some Poems of Hans Faverey (1933-1990)
 Representation, as an actualisation of a text, is the real object of translation. In order to better understand the implications of this theoretical position, it is explored through the study of translations into French and English of a few poems by the Dutch writer Hans Faverey (1933-1990) as his work constitutes a radical critique of representation. The means of his critique are: autonomy of the poem considered as a device, referential deviation, syntactic alteration, etc. These elements transform the translation process in the sense of a greater indeterminacy, but also change the nature of the translational process. These multidimensional modifications find an adequate theoretical framework in Roman Ingarden’s analysis of translation as an intentional object.

Wybrane dzieła współczesnego polskiego malarstwa abstrakcyjnego w świetle Ingardenowskiej koncepcji jakości metafizycznych

Selected works of the contemporary Polish abstract painting in the light of Ingarden’s
 conception of metaphysical qualities: The main thesis of my article is that Roman Ingarden’s concept of metaphysical qualities can be adapted to analyze and interpret artworks that
 represent some tendencies in abstract painting. I start by summarizing this concept, taking
 into consideration the elements of its reconstructions that are present in the source literature,
 especially those aspects that concern art. Although Ingarden’s idea can be used with many
 examples, I employ it to analyze chosen artworks by the outstanding Polish abstract artists
 Tamara Berdowska, Władysław Podrazik, Tadeusz G. Wiktor and Jan Pamuła. I do not intend
 to refer to these paintings strictly in Ingarden’s terms, but I use these criteria in a way that
 allows me to enrich the interpretation of these artworks by showing them in a new light. By
 recognizing the role of contemplation of art, I try to fnd the genesis of the analyzed examples
 and reveal how metaphysical qualities manifest in them and infuence the viewer. I underline
 aspects that are distinctive of the presented artists and are related to the exceptional ability of
 abstract language to correspond to Ingarden’s idea. Subsequently, when developing my point of
 view I maintain the relationship between aesthetic and metaphysical sense that creates a kind
 of interdependence. These artists intentionally go beyond purely aesthetic efects to relate to
 transcendence. By adapting Ingarden’s concept to some contemporary abstractions, I try to link
 philosophical and critical ways of approaching these artistic phenomena with special regards to
 their metaphysical connotations that tend to be overlooked in contemporary discourses.

Roman Ingarden: Phenomenology, Responsibility and the Ontological Foundations of Morality

Even if Roman Ingarden did not develop an ethics stricto sensu, and although his philosophy cannot be immediately associated with a “practical turn” in phenomenology, his investigation of the essence of the real world brought him to consider the nature of man and the ontological conditions of possibility of his morally oriented actions. Without expressing normative prescriptions, and maintaining his observations in the field of eidetic description, the author felt the need to provide a foundation for ethics, inasmuch as he strived to both highlight ethical phenomenon evidence in material ontology contexts, as well as demonstrate the structural presuppositions of this phenomenon within the context of formal ontology. It is exactly this priority of ontological investigation that represents one of the most original contributions of the Polish philosopher on practical topics. The aim of this paper is to illustrate the way in which such a particular phenomenologicalontological metaethics takes shape through the theses expressed in Ingarden’s articles on human nature and responsibility.

Irena Krońska: A Student and a Critic of Roman Ingarden’s Philosophy

In this article on Irena Krońska (1915–1973) I attempt to present three stages in her approach towards the philosophy of Roman Ingarden. The first one may be associated with her review in Revue philosophique de France et de l’étranger of 1949, printed following the publication of the Controversy over the Existence of the World, Volume 1. The second one encompasses the period up to 1968 when Krońska was cooperating with Ingarden. The third one covers the period after Ingarden’s death in 1970 and provides an assessment of his work, largely in the framework of correspondence between Krońska and Patočka. I maintain that Krońska was consistent in her criticism, voiced from the perspective of Phenomenology, inasmuch as she disapproved of Ingarden’s ontologicism and sense of “positivism” that was in his removedness and lack of ethic-existential content which for Krońska constituted the essence of philosophy.

Substantiation of the difference between the real and intentional being in the ontology of Roman Ingarden

Substantiation of the difference between the real and intentional being in the ontology of Roman Ingarden

A obra literária como artefato e ação segundo Roman Ingarden

O presente artigo intenta compreender o conceito de obra literária nos textos de Roman Ingarden a partir das noções de artefato e performance, isto é, a obra de arte como uma artificialização e virtualização do real, segundo uma intencionalidade que configura o sentido como um modo de agir ou uma instrução para ação. Para tal, torna-se necessário localizar a filosofia da arte de Ingarden, distanciada de uma filosofia estética e em consonância, a partir dos anos 1960, com a filosofia da arte anglófona, sobretudo no que concerne ao seu foco ontológico e contextualista.

Konkretyzacja estetyczna w Zwierzętach nocy (2016) Toma Forda

Rojek Patrycja, Konkretyzacja estetyczna w Zwierzętach nocy (2016) Toma Forda [Aesthetic Concretization in Tom Ford’s Nocturnal Animals (2016)]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 401–416. ISSN 1644-6763. DOI 10.14746/pt.2019.32.22.
 The subject of Austin Wright’s novel Tony and Susan (published in 1993) is the reader’s experience. The peculiar relationship that forms between the main female character - a reader of literary fiction – and the novel itself as well as its author, inspired in 2016 Tom Ford to capture the specifics of the same relationships using the language of moving images. This article presents the effects of studying the complex system of communication situations occurring in the novel and its film adaptation: each of them contains an additional story around which further author-reader relationships are formed. The analysis shows that a significant part of the film’s plot is not a direct insight into the novel, but its concretization projected by a female protagonist. Tom Ford’s film is therefore considered in relation to Roman Ingarden’s theory on aesthetic concretization.

Lingvistika, poetika, kazalište i drama

The article analyzes the work of four authors who dealt wit h the application of Jakobson's model, presented in the text Linguistics and Poetics (1966), to theatrical art. Jakobson's division and processing of the six functions of language (emotive, referential, poetic, phatic, metalingual, conative) undergoes the necessary changes and modifications once when instead to poetry, it tries to be applied to reading the theater. Roman Ingarden, Anne Ubersfeld, Vladan Švacov and Manfred Pfister have tried to apply Jakobson's model in various ways and in different directions, often by incorrectly applying his analysis exclusively to the drama component of the theater, thus completely neglecting the performance. At the same time, a more detailed analysis of their models shows the plethora of possible applications of Jakobson to the language of the theater, as well as the perspective of the further elaboration. The article concludes with the identification of potential, more adequate loci for the application of Jakobson's theories, focusing primarily on the poetic function.

Dotyk fortepianu. Wybrane zagadnienia fenomenologii wykonania i percepcji utworu muzycznego

The main purpose of the article is to reflect on performer’s aesthetic concretization of a musical work. The virtuoso’s concretization blurs the boundaries of the subject and the object of experience: the musician becomes a screen for music, embodies it. The artist’s perception is sharpened, which is shown in the article based on the experience of a pianist performing Claude Debussy’s music. Especially important – apart from hearing – is the sense of touch in this experience. The analysis of the experience of the perceptive performer presented here is in a significant way inspired by the pedagogical practice of the French pianist, Alfred Cortot – his statements, recordings and testimonies of his pupils. On the theoretical side, it is founded on the phenomenology of Maurice Merleau-Ponty and Michel Henry, and indirectly also refers to the comments of Roman Ingarden about aesthetic concretization.

Geneza Instytutu Niskich Temperatur i Badań Strukturalnych PAN we Wrocławiu

Institute of Low Temperature and Structure Research of Polish Academy of Sciences celebrated its 50th anniversary in November 2016. The paper presents the history of the Institute going backward to the history of other ten scientific institutions from which the Institute was finally founded in 1966. It shows the efforts of Prof. Roman Ingarden and Prof. Włodzimierz Trzebiatowski to establish a powerful center of physics and physico-chemistry of solid state in Wrocław.

Rozliczać? Tak, ale…

To answer the following question, one has to give some general reasons for the compensation. On the other hand, one has to examine them on the basis of some relevant variables modifying their use. Jacek Filek’s axiological theory of “demanding by values (a given response)” rooted in thinking of Roman Ingarden, Max Scheler and Nicolai Hartmann contains the best suggestion of such reasons. It has to be referred to important moments such as: who?, whom?, for what?, when?, how long?, etc. It is necessary to avoid a change of this concept into revenge.

Z przemówień u trumny Kazimierza Twardowskiego

The article presents the course of the funeral ceremonies commemorating the death of Professor Kazimierz Twardowski in Lviv, Vilnius, and Warsaw. It includes the text of speeches by Tadeusz Czeżowski, Roman Ingarden, and Stanisław Łempicki.

Performing Shakespeare’s Words: Textual Authority in Light of the Theory of Indeterminacy

On the basis of Roman Ingarden’s conceptions of indeterminacy and concretization and the notion of spoken action, Jacek Mydla constructs the idea of textual authority in Shakespeare’s drama. The text is regarded as the primary source of meaning which determines theatrical representation. When reading a play actively, the reader fills out areas of indeterminacy in an attempt to build a faithful imaginary representation of the action. The thus reconstructed social mimesis can then be transferred onto the stage. Mydla argues for the precedence of textual over theatrical concretizations of Shakespeare.