Husserl’s allegiance to realism came under attack following his Ideas. Ingarden was a fierce critic of his teacher’s turn to transcendental idealism and provided compelling arguments both for his idealist reading of Husserl and for his rejection of idealism. One of the main arguments Ingarden devised against Husserl’s turn was based on his aesthetics. Against Husserl, Ingarden established literary works and fictional objects as purely intentional objects that are (1) doubly structured, vis-à-vis their formal ontology, and (2) endowed with spots (...) of indeterminacy. These facts, Ingarden argues, necessitate the transcendence of the purely intentional object. In this paper, I explore his argument, while establishing the ontological foundation on which it rests. (shrink)

The present paper explores anew the question of Husserl’s metaphysics by contrasting H. Philipse and D. Zahavi’s respective position on the matter. I argue that these positions fall victim to opposing exegetical pitfalls. On the one hand, while I concur with Philipse’s general characterisation of Husserl as an ontological phenomenalist, I disagree that this implies Husserl was a subjective idealist similar to Berkeley. On the other hand, while Zahavi’s correlationist interpretation of Husserl avoids this subjective idealist interpretation, I argue that (...) it inadvertently succumbs to the realist alternative that construes the world as existing independently from subjectivity. The way out of this dilemma is to interpret Husserl as an experiential monist, where the phenomenal stream (Erlebnisstrom) is taken to be ontologically primary, by virtue of its antecedence over the subject-object or mind-world dichotomy. (shrink)

In this paper, I attempt to formulate an Ingardenian conception of the literary work’s aesthetic value. Following Mitscherling’s lead, I attempt to place Ingarden’s aesthetics within his overall phenomenological-ontological project. That is, I argue that Ingarden’s aesthetics can only be properly fathomed in the context of his ontological deliberations, since, as he himself often enunciated, all his philosophical investigations constitute a realist rejoinder to Husserl’s turn toward transcendental idealism. To this end, I bring together insights from his aesthetics and ontology (...) to establish a coherent account of values, where artistic and aesthetic values are analyzed as they manifest themselves in the literary work of art. By attending to the ontology of its aesthetic (and artistic) values, I argue, the literary work’s stratified formation becomes more explicit. Keywords: Roman Ingarden, aesthetic value, artistic value, the literary work of art, ontology, aesthetics. (shrink)

European Journal of Philosophy, Volume 30, Issue 1, Page 182-204, March 2022.

ABSTRACTThe guiding question of this comparative study is the relation between transcendental theory and common-sense realism: how to understand their compatibility, but also possible tensions between the two. This question concerns, in a broader sense, the relation between philosophy and natural life, or more precisely, what philosophy possibly can and cannot do for natural life. In the following discussion, I first introduce the idealism-realism controversy in Husserl’s transcendental phenomenology. I then move on to McDowell’s theory and look into a significant (...) convergence between the two philosophies, namely, their insistence on the “unboundedness” of subjectivity, and I clarify how this shared viewpoint makes their proposals compatible with common-sense realism. In a third section, I elaborate the relation between a transcendental and a natural stance by turning to Husserl’s method of phenomenological reduction. In the end, by attending to the anti-naturalism of Husserl and McDowell, I wish to shed s... (shrink)