On The Aesthetics Of Roman Ingarden

Roman Ingarden's very extensive philosophical work in metaphysics, ontology, epistemology, and aesthetics con tinues to attract increasing attention both in Poland and in North America. Further work left uncompleted at his death is appearing. Major bibliographies of his work as well as of studies about his work are now in print. Ingar den's scattered articles on various questions in philosophy are being collected. And conferences devoted to his work are now held regularly. These diverse activities might suggest a similar diver sity in Ingarden's philosophical legacy. But such a sugges tion would be misleading. For interest in Ingarden's work has continued to centre on the one area which is arguably at the core of his achievement, namely the complex prob lems of aesthetics. In this field Ingarden seemed to pull together his various interests in ontology and epistemology especially. Here he brought those interests to focus on a set of issues that would occupy him creatively throughout the vicissitudes of his long and difficult scholarly life. More over, aesthetics is also the field where Ingarden perhaps most succeeded in orchestrating the many themes he owed to his phenomenological training while finally transposing the central issues into something original, something dis tinctively his own that philosophers can no longer identify as merely phenomenological. Ingarden's aesthetics not surprisingly has captured the interest today of many scholars in different fields.

A leading Polish philosopher of the 20th century, Roman Ingarden is principally renowned in Western culture for his work in aesthetics and the theory of literature. Jeff Mitscherling demonstrates, in this extensive work, how Ingarden's thought constitutes a major contribution to the more fundamental fields of ontology and metaphysics. Unparalleled in existing literature, Mitscherling's comprehensive survey of Ingarden's philosophy will give the reader an informed introduction to this major work of phenomenological analysis.

This volume explores the work of Polish phenomenologist Roman Ingarden (1893-1970) with respect to his ontology, epistemology and aesthetics. An outstanding student of Edmund Husserl, it offers a unique tribute to one of the most important figures in contemporary philosophy. Leszek Sosnowski and Natalia Anna Michna introduce a team of renowned scholars to present new and timely readings of Ingarden's thought, placing his philosophy in a broader historical and cultural context. In doing so, they offer a cutting edge reflection on the relevance, refinement and depth of Ingarden's theory. Chapters are not only retrospective, but also set out the present and future development of philosophy inspired by his works. Reinvigorating the debate about Ingarden's phenomenological legacy and its relevance for contemporary thought, this collection of essays guides us through his place in the history of philosophy and presents new perspectives on selected aspects of his theory.

Historically, phenomenology began in Edmund Husserl’s theory of mathematics and logic, went on to focus for him on transcendental rst philosophy and for others on metaphysics, philosophical anthropology, and theory of interpretation. The c- tinuing focus has thus been on knowledge and being. But if one began without those interests and with an understanding of the phenomenological style of approach, one might well see that art and aesthetics make up the most natural eld to be approached phenomenologically. Contributions to this eld have continually been made in the phenomenological tradition from very early on, but, so to speak, along the side. (The situation has been similar with phenomenological ethics. ) A great deal of thought about art and aesthetics has nevertheless accumulated during a century and a handbook like the present one is long overdue. The project of this handbook began in conversations over dinner in Sepp’s apa- ment in Baden-Baden at one evening of the hot European summer in the year 2003. As things worked out, he knew more about whom to ask and how much space to allocate to each entry and Embree knew more about how to conduct the inviting, preliminary editing, and prodding of contributors who were late returning their criticized drafts and copyedited entries and was able to invest the time and other resources from his endowed chair. That process took longer than anticipated and there were additional unfortunate delays due to factors beyond the editors’s control.

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 literary work, its structure and mode of existence. The Literary Work of Art establishes the groundwork for a philosophy of literature, i.e., an ontology in terms of which the basic general structure of all literary works can be determined. This "essential anatomy" makes basic tools and concepts available for rigorous and subtle aesthetic analysis.