A number of logicians and philosophers have turned their attention in recent years to the problem of developing a logic of interrogatives. Their work has thrown a great deal of light on the formal properties of questions and question-sentences and has led also to interesting innovations in our understanding of the structures of performatives in general and, for example, in the theory of presuppositions. When, however, we examine the attempts of logicians such as Belnap or Åqvist to specify what, precisely, (...) a question is, or what it is to ask or raise a question, then what we are offered is somewhat less illuminating. Two alternative reductionist accounts seem in particular to have gained most favor: questions are identified either as special sorts of statements, or as special sorts of requests. As we hope will become clear in what follows, neither of these accounts is even nearly adequate; and matters are not improved if questions are identified, by force majeure, as combinations of statements and requests. (shrink)

The article addresses the popular reading of Ingarden that his aesthetic theory is determined by ontology. This reading seems to suggest that, firstly, aesthetics lacks its autonomy, and, secondly, the subject of aesthetic experience is reproductive, and passive. The author focuses on Ingarden’s aesthetics formulated by him in the period of 1925–1944. Moreover, the study presents selected elements of Ingarden’s phenomenology of aesthetic experience, and by doing so, the author aims at showing how Ingarden’s aesthetics was reconsidered by Blaustein, a (...) student of Ingarden, whose theory seems to lead one beyond the scope of ontology. Blaustein, namely, reconsiders Ingarden’s theory of purely intentional objects by interpreting it in a descriptive-psychological, or phenomenological fashion. The article is divided into four parts. In section 1, the author highlights historical interconnections between Ingarden, and Blaustein. Section 2.1. is devoted to Ingarden’s phenomenological approach towards aesthetic experience as a phasic structure. At this basis, in section 2.2., Ingarden’s early theory of intentional objects is to be discussed. Section 3 concerns Blaustein’s contribution to phenomenology of aesthetic experience. Given that Blaustein formulates his theory in discussion with Ingarden, section 3.1. is devoted to Blaustein’s critical assessment of Ingarden’s method, and aesthetics. Next, in section 3.2., the author presents Blaustein’s original theory of presentations, and its use in aesthetics. Finally, in section 4, the author lists similarities, and differences between Blaustein’s and Ingarden’s aesthetic theories. (shrink)

1. Phenomenology is first and foremost about intentionality. As Husserl puts it, “Intentionality is the name of the problem encompassed by the whole of phenomenology”.1 Broadly understood, the phen...

In this paper I present the Ingardenian distinction between inseparability and dependence. My considerations are both historical and systematic. The historical part of the paper accomplishes two goals. First, I show that in the Brentanian tradition the problem of existential conditioning was entangled into parts—whole theories. The best examples of such an approach are Kazimierz Twardowski’s theory of the object and Edmund Husserl’s theory of parts and wholes. Second, I exhibit the context within which Ingarden distinguished inseparability and dependence. Moreover, (...) Ingarden’s motivations are presented: the problem of understanding the Husserlian concept of “immanent transcendence,” the issue of the existence of purely intentional objects, and finally the problem of the relationship between individual objects and ideas. The systematic part deals with the ambiguity of Ingarden’s definition of inseparability. I seek to improve this definition by reference to the distinction between absolute and summative wholes. I also present some divisions of inseparability and dependence and investigate whether these types of existential conditioning are reflexive, symmetric, or transitive. (shrink)

In this article, I explore the problems of ficta ‘generation’ and ‘properties’ in light of the philosophies of Alexius Meinong and Roman Ingarden. Comparing Ingarden and the historical Meinong is not a novel idea. By contrast, comparing Ingarden and a phenomenological Meinong has not, to my knowledge, yet been explored. Here, I rely on Alberto Voltolini’s ‘phenomenological conception of außerseiende entities’. I devise Ingarden’s phenomenological ontology to account for the problems of ascription and generation that cripple Meinong’s account. In short, (...) I argue that Ingarden’s account is better suited to accommodate ficta’s generation and properties in a way that does not complicate our approach to fiction. (shrink)

From his earliest published writings to his last, Roman Ingarden displayed an interest in theoretical biology and its efforts to clarify what distinguishes living organisms from other types of entities. However, many of his explorations of such issues are easily overlooked, because they don’t appear in works that are primarily ontological, metaphysical, or anthropological in nature but are “hidden” within his works on literary aesthetics, where Ingarden sought to define the nature of living organisms in order to compare literary works (...) to such entities. This article undertakes a historical textual analysis that traces the evolution of Ingarden’s thought regarding the nature of the literary work of art as an organism-like entity and uncovers its links with the simultaneous development of his systems theory and its central concept of the “relatively isolated system”: for Ingarden, a literary work and an organism are each a systematically transforming, “living,” functional-structural whole that comprises a system of hierarchically arranged and partially isolated elements whose harmonious interaction allows the literary work or organism to fulfill its chief function. Having completed that historical analysis, we test Ingarden’s assessment of works of art as organism-like entities in a novel context by investigating the organism-like qualities of the contemporary computer game; insofar as their AI-driven behavior displays a form of agency, such games might appear to be even more “alive” than traditional works of art. We show that Ingarden’s conceptual framework provides a useful tool for understanding the “organicity” of such games as works of art, despite the fact that they differ qualitatively from those art forms with which Ingarden was directly familiar. (shrink)

In the third chapter of his major work, the Controversy over the Existence of the World, Roman Ingarden discusses four varieties of dependence entities might exhibit. The aim of this essay is to explore these varieties and to put the claims Ingarden makes concerning them on a rigorous footing.

As is well known, Roman Ingarden and Edith Stein had a deep intellectual relationship and friendship, which began during their stay in Göttingen and Freiburg. The time spent together during this period and the correspondence that they maintained over the following years allowed them to be in close contact with their respective philosophies and to influence each other. This article aims at illustrating the affinities between Ingarden’s description of soul in § 78 of Controversy over the Existence of the World (...) and the analysis of soul and psyche developed by Stein between 1916 and 1922. Furthermore, it aims at presenting the hypothesis that this analysis influenced the formal anthropology elaborated by the Polish philosopher many years later. Both the depiction of the soul as a personal nucleus that manifests itself in human lived experiences and the description of this manifestation through the notion of “force” are theoretical elements that are essential in Ingarden’s mature ontology of man and that already played a crucial role in Stein’s early writings. Both thinkers, within several years of one another, elaborated an anthropological view that does not have the life of consciousness as a primary guideline, but that brings to light the ontological relevance of the unitary psychic source of human dispositions, of human character, and of consciousness itself. (shrink)

In recent years phenomenology has attracted the interest of science, acquiring a role far beyond philosophy. Despite Husserl's clear denial of a possible naturalization of phenomenology, scientists from different fields have proposed its naturalization. To achieve this goal, different methodologies have been proposed. Most scientists seem to agree on the claim that phenomenology cannot be a science itself because it fails to respect one of the prerequisites of science, that is, the capacity to explain its phenomena. Phenomenology, thus, is forced (...) to remain a purely descriptive effort, preliminary to authentic scientific practice. I argue, instead, that the experimental development of phenomenology explains phenomena (that is, appearances and/or subjective experiences in first person account) and uses rigorous methods, conducts valid measurements, and can validate its results. The paper provides a variety of examples of how experimental phenomenology works. (shrink)

The book provides a historical and systematic exposition of the semantic theory of truth formulated by Alfred Tarski in the 1930s. This theory became famous very soon and inspired logicians and philosophers. It has two different, but interconnected aspects: formal-logical and philosophical. The book deals with both, but it is intended mostly as a philosophical monograph. It explains Tarski’s motivation and presents discussions about his ideas as well as points out various applications of the semantic theory of truth to philosophical (...) problems. (shrink)

Discusses Armstrong's and Roman Ingarden's ontology, criticises substance ontology, and defends tropes and a field ontology.

This paper proposes a formal framework for the cognitive relation understood as an ordered pair with the cognitive subject and object of cognition as its members. The cognitive subject is represented as consisting of a language, conequence relation and a stock of accepted theories, and the object as a model of those theories. This language allows a simple formulation of the realism/anti-realism controversy. In particular, Tarski’s undefinability theorem gives a philosophical argument for realism in epistemology.