ON THE PHILOSOPHICAL RESEARCH OF EDITH STEIN (translated by Inna Savynska)The main Polish philosopher Roman Ingarden in his lecture presents a cross-section of Edith Stein writings and demonstrates the shot timeliness of her ideas. Roman Ingarden was a Stein’s friend from the time of her studies in Göttingen;he knew her ideas and conceptions. He wrote that hers was a search for ananswer to the main question: «What is the structure of man?» That is why she proposed a phenomenological (...) analysis by «Empathy». Stein’s theses «On the Problem of Empathy» is the central object in this lecture. In that work, Stein first focuses on such phenomena as the human body, soul, spirit, experience, consciousness. While discussing Stein’s concepts, Ingarden presents also the evolution of her ideas from realistic phenomenology to mystical theology of Saint John of the Cross’ and Saint Theresa of Avila’s. Roman Ingarden did not enter as firmly as Stein into the mystical range, but he opened a path into the transcendence by creating an idea of metaphysical qualities. In her dissertation, Stein first focuses on the phenomenon of the human body and soul. Ingarden considers pairs of phenomenological notions «Leib- Körper», «Seele-Geist». Their relationships form an ontology of a Person. The anthropological questions, which Edith Stein raised in her academic research, bring about a constitutive element of man – Geist. Empathy is an instrument that help to recognize Geist and Personal experience – truth about man. (shrink)

This essay critically assesses Roman Ingarden’s 1915 review of the second edition of Edmund Husserl’s Logical Investigations. I elucidate and critique Ingarden’s analysis of the differences between the 1901 first edition and the 1913 second edition. I specifically examine three tenets of Ingarden’s interpretation. First, I demonstrate that Ingarden correctly denounces Husserl’s claim that he only engages in an eidetic study of consciousness in 1913, as Husserl was already performing eidetic analyses in 1901. Second, I show (...) that Ingarden is misguided, when he asserts that Husserl had fully transformed his philosophy into a transcendental idealism in the second edition. While Husserl does appear to adopt a transcendental phenomenology by asserting–in his programmatic claims–that the intentional content and object are now included in his domain of research, he does not alter his actual descriptions of the intentional relationship in any pertinent manner. Third, I show Ingarden correctly predicts many of the insights Husserl would arrive at about logic in his late philosophy. This analysis augments current readings of the evolution of Ingarden’s philosophy, by more closely examining the development of his largely neglected early thought. I execute this critical assessment by drawing both from Husserl’s later writings and from recent literature on the Investigations. By doing so, I hope to additionally demonstrate how research on the Investigations has matured in the one hundred years since the release of that text, while also presenting my own views concerning these difficult interpretative issues. (shrink)

For Meinong, familiarly, fictional entities are not created, but rather merely discovered (or picked out) from the inexhaustible realm of Aussersein (beyond being and non-being). The phenomenologist Roman Ingarden, in contrast, offers in his Literary Work of Art of 1931 a constructive ontology of fiction, which views fictional objects as entities which are created by the acts of an author (as laws, for example, are created by acts of parliament). We outline the logic of fiction which is implied by (...) Ingarden’s approach, showing how it distinguishes the properties possessed by fictional objects (for instance of having been created by such and such an author in such and such a work) from characteristics (for instance of smoking a pipe, of living in Baker Street) which are merely associated with such objects. (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)

The Controversy over the Existence of the World (henceforth Controversy) is the magnum opus of Polish philosopher Roman Ingarden. Despite the renewed interest for Ingarden’s pioneering ontological work whithin analytic philosophy, little attention has been dedicated to Controversy's main goal, clearly indicated by the very title of the book: finding a solution to the centuries-old philosophical controversy about the ontological status of the external world. -/- There are at least three reasons for this relative indifference. First, even at (...) the time when the book was published, the Controversy was no longer seen as a serious polemical topic, whether it was disqualified as an archaic metaphysical pseudo-problem, or taken to be the last remnant of an antiscientific approach to philosophy culminating in idealism and relativism. Second, Ingarden’s reasoning on the matter is highly complex, at times misleading, and even occasionally faulty. Finally, his analysis is not only incomplete – Controversy being unachieved – but also arguably aporetic. -/- One may wonder, then, why it is still worth excavating this mammoth treatise to study an issue apparently no longer relevant to contemporary philosophy. Aside from historical and exegetical purposes, which are of course very interesting in their own right, Ingarden’s treatment of the Controversy remains one of the most detailed and ambitious ontological undertakings of the twentieth century. Not only does it lay out an incredibly detailed map of possible solutions to the Controversy, but it also tries to show why the latter is a genuine and fundamental problem that owes its hasty disqualification to various oversimplifications over the course of the history of philosophy. -/- In this chapter, I first give an overview of Ingarden’s method, which relies mainly on a combinatorial analysis. Then, I summarize his examination of possible solutions to the Controversy, and determine which ones can be ruled out on ontological grounds. Finally, I explain why this ambitious project ultimately leads to a theoretical impasse, leaving Ingarden unable to come up with a definitive solution to the Controversy – regardless of the fact that the book is unachieved. I argue that his analysis of the problem yields a more modest but nonetheless valuable result. (shrink)

The paper seeks to apply the work of the Polish phenomenologist Roman Ingarden to certain problems in literary theory; contrasts the notions of ontological and epistemological incompleteness of the represented objects of a literary work and considers the question of the nature of such objects. The paper concludes by analyzing some of the degrees of freedom possessed by the readings of literary work in relation to the work itself.

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)

This article presents Roman Ingarden’s theory of causation, as developed in volume III of The Controversy about the Existence of the World, and defends analternative which uses some important insights of Ingarden. It rejects Ingarden’s claim that a cause is simultaneous with its effect and that a cause necessitates its effect. It uses Ingarden’s notion of ‘inclinations’ and accepts Ingarden’s claim that an event cannot necessitate a later event.

: For Meinong, familiarly, fictional entities are not created, but rather merely discovered (or picked out) from the inexhaustible realm of Aussersein (beyond being and non-being). The phenomenologist Roman Ingarden, in contrast, offers in his Literary Work of Art of 1931 a constructive ontology of fiction, which views fictional objects as entities which are created by the acts of an author (as laws, for example, are created by acts of parliament). We outline the logic of fiction which is implied (...) by Ingarden’s approach, showing how it distinguishes the properties possessed by fictional objects (for instance of having been created by such and such an author in such and such a work) from characteristics (for instance of smoking a pipe, of living in Baker Street) which are merely associated with such objects. (shrink)

Translated by Bernard Linsky This is the first English translation of Roman Ingarden’s paper presented at the 8th World Congress of Philosophy held in Prague in 1934: “Der Logistische Versuch einer Neugestaltung der Philosophie: Eine Kritische Bemerkung”, translated here as “The Logical Attempt at a New Formulation of Philosophy: A Critical Remark”. Also translated here are brief discussions by Rudolf Carnap and Otto Neurath. These essays were published in the original German in the Proceedings of the Congress in 1936. (...) This statement of Ingarden’s criticisms of the doctrines of the Vienna Circle has been mentioned in print, but his views have not been discussed, or indeed accurately reported to date. (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)

This text is a kind of sketch and presents some simple ideas. The aim of this article is to carry out a critical and reflexive analysis of Roman Ingarden's philosophy of responsibility. Being a member of the phenomenological current, Ingarden mainly studied the ontological bases or conditions of responsibility by identifying different situations of responsibility. In this paper situations of responsibility have been analysed in the semantic contexts in which the word "responsibility" appears. Legally, the prescriptive contexts of (...) using the word "responsibility" are particularly important since they are usually either ignored or inadequately separated from descriptive contexts. Roman Ingarden's views were supplemented by Alf Ross's aspects of responsibility. As a result, the elementary ways of understanding responsibility have been reconstructed; they are the basis for reflections on moral responsibility as well as legal responsibility. (shrink)

An account of Roman Ingarden's ontology of literature.

This project begins with the selective sensory experience suggested by lngarden followed by an insensitivity he insinuates to digestive processes. This is juxtaposed with an oenological explanation of phenomenal sedimentation offered by Jean-Luc Marion. It compares the dynamics of time in the former with the those of wine in the latter. Emphasis is given to lngarden's insinuation of time as fluid, liquid, or aquatic. It revisits Ingarden's physiological explanations of partially-open systems by way of the bilateral excretion and absorption (...) of semi-permeable cellular membranes. The importance he eventually grants to inner secretion is considered alongside perspiration and salivation collateral to skin and membranes. It suggests that Ingarden's interest in thermoregulation, partial permeation, and secretion invites alternative conceptions of temporal consciousness in physiological experiences, beyond sequential and linear clock-time and/or Kantian intuition. Temporality experienced as temperance becomes discernible at a permeable point in which the sedimentation of Husserl, the maturation of Marion, and the fluidity and secretion of Ingarden mix and mingle into the taste of time. (shrink)

Ingarden distinguishes four strata making up the structure of the literary work of art: the stratum of word sounds and sound-complexes; the stratum of meaning units; the stratum of represented objectivities (characters, actions, settings, and so forth); and the stratum of schematized aspects (perspectives under which the represented objectivities are given to the reader). It is not only works of literature which manifest this four-fold structure but also certain borderline cases such as newspaper articles, scientific works, biographies, and so (...) forth. Ingarden specifies what is characteristic of a work of literature by asserting that all declarative sentences appearing in the stratum of meaning units of such work possess what he calls a quasi-judgmental character. We discuss here Ingarden’s theory of quasi-judgments and draw out its implication that all works of literature are works of fiction through and through. (shrink)

Ingarden’s puzzle is: how can we come to know what is essentially involved in an act of knowing? As starting point he takes what he holds to be a particular good candidate example of such an act, namely an act of perceiving an apple. Here we have act and object standing in a certain first-level relation to each other. We now in a second level act of reflection, make this first-level relation into an object, and strive to apprehend this (...) object as an instantiation of the essence knowledge. But how, on this basis, could we ever establish that we had indeed grasped this essence, and that this is indeed the appropriate essence? Surely, through some third-level act of reflection on this second-level act. We expound from an ontological point of view Ingarden's idea as to how this regress can be avoided. (shrink)

Ingarden’s puzzle is: how can we come to know what is essentially involved in an act of knowing? As starting point he takes what he holds to be a particular good candidate example of such an act, namely an act of perceiving an apple. Here we have act and object standing in a certain first-level relation to each other. We now in a second level act of reflection, make this first-level relation into an object, and strive to apprehend this (...) object as an instantiation of the essence knowledge. But how, on this basis, could we ever establish that we had indeed grasped this essence, and that this is indeed the appropriate essence? Surely, through some third-level act of reflection on this second-level act. We expound from an ontological point of view Ingarden's idea as to how this regress can be avoided. (shrink)

Roman Ingarden has exerted an immense influence on the development of aesthetics, and his texts in this field continue to inspire in-depth studies on art, despite the passage of several decades since the publication of his major works. At the same time, however, phenomenology – especially in France – brought about crucial changes during the second half of the twentieth century with regard to thinking about art, undermining its own methodological principles and tenets, as well as redefining fundamental phenomenological (...) concepts. In this article, I address the question of the continued relevance of Roman Ingarden’s approach to the musical work within the context of current phenomenological research, in particular that which concerns the subject of aesthetic concretisation. (shrink)

In this article, I analyze Charles Crittenden’s account of fictional objects in his Unreality: The Metaphysics of Fictional Objects (1991). I argue that Crittenden’s sketchy ontology of fictional objects does not support his weak eliminativism. Going along the lines of Amie Thomasson (1999), I stress that the problem of fictional objects is a strictly ontological problem, which requires an ontological solution. A solution to the problem of fictional objects (or ficta) that accommodates “practice” (ordinary language and literary practices) is of (...) course to be praised, but not when it is foregrounded at the expense of “ontology.” I argue for Roman Ingarden as a champion of ontology and practice, whose way of dealing with ficta fares better than Crittenden’s on both the ontological and practical sides. In short, ficta should be approached as something over and above mere grammaticalia (grammatical objects) namely as “purely intentional” objects that are formally incomplete, and which readers complete by resorting to practices of language and literary criticism. (shrink)

At the beginning of the present century, a series of paradoxes were discovered within mathematics which suggested a fundamental unclarity in traditional mathemati­cal methods. These methods rested on the assumption of a realm of mathematical idealities existing independently of our thinking activity, and in order to arrive at a firmly grounded mathematics different attempts were made to formulate a conception of mathematical objects as purely human constructions. It was, however, realised that such formulations necessarily result in a mathematics which lacks (...) the richness and power of the old ‘platonistic’ methods, and the latter are still defended, in various modified forms, as embodying truths about self-existent mathematical entities. Thus there is an idealism-realism dispute in the philosophy of mathematics in some respects parallel to the controversy over the existence of the experiential world to the settle­ment of which lngarden devoted his life. The present paper is an attempt to apply Ingarden’s methods to the sphere of mathematical existence. This exercise will reveal new modes of being applicable to non-real objects, and we shall put forward arguments to suggest that these modes of being have an importance outside mathematics, especially in the areas of value theory and the ontology of art. (shrink)

In my paper, I establish an Ingardenian phenomenological ontology of "virtualized ficta", i.e., fictional entities introduced to virtual gaming. The first Section of my paper provides an ontology of virtualized ficta, focusing primarily on their ‘‘existential moments’’. But in order to have a firm grasp of the ontological aspects grounding the virtual work, it’s important to engage its strata. This is what I attempt to do in Section 1.2. Virtualized ficta’s intentional dependencies are strongly manifest in what I call the (...) ‘‘strata of the virtual work’’. That is, I repurpose Ingarden’s strata of the literary work, the picture, and the film to showcase that virtualized ficta, from the bottom up (i.e., from their pure ontology to aesthetics) are purely intentional entities. In short, I argue for a purely intentional account of virtualized ficta as ficta-made-virtualia, whose ontological status is determined by the creative acts of game developers and gamers. (shrink)

Formal ontology as it is presented in Husserl`s Third Logical Investigation can be interpreted as a fundamental tool to describe objects in a formal sense. It is presented one of the main sources: chapter five of Carl Stumpf`s Ûber den psycholoogischen Ursprung der Raumovorstellung (1873), and then it is described how Husserlian Formal Ontology is applied in Fifth Logical Investigation. Finally, it is applied to dramatic structures, in the spirit of Roman Ingarden.

Mathematical objects are divided into (1) those which are autonomous, i.e., not dependent for their existence upon mathematicians’ conscious acts, and (2) intentional objects, which are so dependent. Platonist philosophy of mathematics argues that all objects belong to group (1), Brouwer’s intuitionism argues that all belong to group (2). Here we attempt to develop a dualist ontology of mathematics (implicit in the work of, e.g., Hilbert), exploiting the theories of Meinong, Husserl and Ingarden on the relations between autonomous and (...) intentional objects. In particular we develop a phenomenology of mathematical works, which has the stratified intentional structure discovered by Ingarden in his study of the literary work. (shrink)

Thema der Arbeit ist der ontologische Status von Werken sowie die Beziehung zwischen Werken einerseits und Aufführungen, Manuskripten, Partituren, Schallplatten, Gemälden, Gebäuden, Drucken etc. andererseits. Es wird angeknüpft an den phänomenologischen Ansatz von Roman Ingarden (aber auch an den von Alexius Meinung). Diese Ansätze werden unter Verwendung moderner logischer Hilfsmittel weiterentwickelt und, wo notwendig, revidiert. Im ersten Kapitel wird ausführlich begründet, warum Werke (und zwar Werke aller Gattungen) abstrakte, typenartige Gegenstände sein müssen, die in konkreten Einzeldingen (z. B. Aufführungen) (...) realisiert sein können, jedoch von diesen Realisierungen in ihrer Existenz nicht abhängig sind. Diese These ist im weiteren Verlauf der Arbeit eine nicht mehr hinterfragte Grundvoraussetzung. Im zweiten Kapitel werden die formalen Grundlagen einer Typenontologie des Werks entwickelt. Zwei Hauptfragen stehen dabei im Vordergrund: (a) Wie kann ein Werk (also ein abstrakter Gegenstand) sinnliche Eigenschaften (z. B. Klangeigenschaften, Farbeigenschaften) haben? (b) Was macht einen Gegenstand zu einer Realisierung eines Werks? Welche Bedingungen müssen erfüllt sein, damit etwas eine Realisierung eines gegebenen Werks ist? Neben dem Begriff des Werks beruht die in dieser Arbeit entwickelte Theorie auf drei weiteren Grundbegriffen: Realisierungen, Konkretisierungen und Aktualisierungen. Realisierungen sind jene Gegenstände, in denen Werke realisiert sind. Konkretisierungen sind abstrakte Gegenstände, die durch "Vervollständigung" aus Werken hervorgehen. Sie sind immer noch unvollständig bestimmt, aber vollständiger bestimmt als die Werke, deren Konkretisierungen sie sind. Beispiele für Konkretisierungen sind Inszenierungen im Theater oder musikalische Interpretationen. Aktualisierungen sind die intentionalen Korrelate von Rezeptionsvorgängen. Sie entstehen im Verlauf der Rezeption eines Werks und werden von den Rezipienten erzeugt. Ein und dasselbe Werk kann auf verschiedene Weisen aktualisiert werden (z. B.: ein Musikstück kann auf verschiedene Weisen "gehört" werden). In eigenen Kapiteln werden Probleme der Mereologie, der Identität, des Darstellens und der Beziehung zwischen dem darstellenden Werk und dem Dargestellten erörtert. (shrink)

In 'The Work of Music and the Problem of Its Identity' by Roman Ingarden we are presented with a philosophical theory of the structure of the musical work. The author includes melody, rhythm and harmony among the primary elements of the musical work while dynamics, tempo and colouration (sonoristics) are classified as its secondary elements. The elements designated by the score constitute a schematic prescription for creating a particular work. Still, the scheme also includes numerous gaps and indeterminacies which (...) can be filled in only through performance which makes the work an individualized concretum. However, it is puzzling why the list of the elements of the musical work does not include articulation. In this article I claim that the absence of articulation in the theory of the structure of the musical work indicates its omnipresence, thus the broader we understand the term articulation, the better it penetrates into the remaining elements of the musical work, preserving its distinctiveness at the same time. (shrink)

A work of music as an artefact is a particular acoustic material. However, the sounds are not identical with music since they only constitute the external appearance of a musical work and its most explicit layer, while aesthetic perception is certainly not limited to the superficial perception of sounds. Contemporary research in the field of fine arts by Gottfried Boehm and Georges Didi-Huberman showed new possibilities of revealing the hidden inner phenomenality of a work of art. Yet, is it possible (...) to apply the methodology of research on the invisible visuality of a painting to the field of non-acoustic sound of a musical work? What kind of additional research problems does a work of music cause, taking into account the fact that it is not only created by its author-composer, but it also requires a re-creational performance to phenomenally exist? The article provides the critical analysis of Roman Ingarden’s views on the subject of a musical work and indicates the need to expand the research horizon as regards the issue of nonsounding elements of music. The article aims mainly at bringing new research perspectives on a work of music in the light of contemporary phenomenology. (shrink)

Summary: In this paper author maintains that the term “ideal border” used by Roman Ingarden several times in his writing on music perception has more to offer than its face value suggests. The term is ambiguous and in its first reading seems to imply that Ingarden's take on musical work is all but coherent. Yet author tries to show that the term itself if taken seriously in its various possible interpretations makes Ingarden's aesthetics of music more interesting (...) and inspiring then ever. The musical work seen as wobbly yet somehow graspable ideal [border] which is at the same time the point of departure and the point of destination for composers, artists and listeners in their respective experiences, makes Ingarden's music aesthetics more accessible and more telling in its attempt to discover the true nature of our aesthetic perception of music. (shrink)

In English: The aim of the article is to analyze the basic assumptions of Roman Ingarden’s ethics. His views are discussed from the perspective of questions about the source of moral oughtness. Therefore, the main analysis is focused on the relationship between moral values and the oughtness needed to realize them. Ingarden’s position is placed in a broader ethical context; the important question is whether it is in the idea of the particular value or in the experience of (...) the particular value in the past. The answer to this question reveals the nature of Ingarden’s ethical thought, in which there is no room for blind obedience to norms or principles. That is why, in order to properly understand Roman Ingarden’s ethics, it is so important to define what constitutes the source of moral duty and the oughtness to act. -/- Po polsku: Celem artykułu jest analiza podstawowych założeń etyki Romana Ingardena. Jego poglądy omawiane są z perspektywy pytań o źródło moralnej powinności. Dlatego też główne analizy skupiają się na relacji między wartościami moralnymi a powinnością potrzebną do ich realizacji. Stanowisko Ingardena zostaje umieszczone w szerszym kontekście etycznym. Istotne jest pytanie, czy tkwi ono w idei danej wartości, czy w doświadczeniu danej wartości w przeszłości. Odpowiedź na to pytanie ujawnia specyfikę myśli etycznej Ingardena, w której nie ma miejsca na ślepe posłuszeństwo wobec norm czy zasad. Dlatego dla dobrego zrozumienia etyki Romana Ingardena tak ważna jest odpowiedź na pytanie, co stanowi źródło powinności moralnej i powinności działania. (shrink)

Here the concept of the human being as a “relatively isolated system” developed in Ingarden’s later phenomenology is adapted into an “aesthetics of isolation” that complements conventional environmental aesthetics. Such an aesthetics of isolation is especially relevant, given the growing “aesthetic overload” brought about by ubiquitous computing and new forms of art and aesthetic experience such as those involving virtual reality, interactive online performance art, and artificial creativity.

Drawing on Husserl, Ingarden and Levinas’ works, this article explores Ibsen’s Rosmersholm from a phenomenological perspective, aiming to shed light both on this play and on the phenomenology of hunger and theatre, as well as on the larger meaning of alimentary enjoyment.

According to Roman Ingarden, transcendental idealism prevented Kant from "even undertaking an attempt" at elucidating freedom "in terms of the causal structure of the world." I show that this claim requires qualification. In a remarkable series of Critical-period Reflexionen (5611-4, 5616-9), Kant sketches a defense of the possibility of freedom that differs radically from his published ones by incorporating an indeterministic account of the phenomena. Anticipating Łukasiewicz, he argues that universal causal determination is consistent with an open future: if (...) an action is contingent, there is an infinite regress of determining causes, yet there is a prior time at which this infinite series of causes has not yet commenced. However, he concedes that on this account the unity of experience "cannot fully obtain in the case of free beings." The fact that Kant even contemplated the indeterministic theory may carry implications for interpreting the argument of the Second Analogy. (shrink)

As conceived by analytic philosophers ontology consists in the application of the methods of mathematical logic to the analysis of ontological discourse. As conceived by realist philosophers such as Meinong and the early Husserl, Reinach and Ingarden, it consists in the investigation of the forms of entities of various types. The suggestion is that formal methods be employed by phenomenological ontologists, and that phenomenological insights may contribute to the construction of adequate formal-ontological languages. The paper sketches an account of (...) what might be involved in this new discipline, an account which is illustrated in application to the formal-ontological problems raised by negative states of affairs. (shrink)

This paper investigates the strange case of an argument that was directed against a positivist verification principle. We find an early occurrence of the argument in a talk by the phenomenologist Roman Ingarden at the 1934 International Congress of Philosophy in Prague, where Carnap and Neurath were present and contributed short rejoinders. We discuss the underlying presuppositons of the argument, and we evaluate whether the attempts by Carnap (especially) actually succeed in answering this argument. We think they don’t, and (...) offer instead a few sociological thoughts about why the argument seems to have disappeared from the profession’s evaluaton of the positivist criterion of verifiability. (shrink)

Der vorliegende Aufsatz behandelt zwei Bereiche, deren Zusammenhang in der aktuellen Husserlforschung zu Unrecht in Vergessenheit geraten zu sein scheint: Zum einen konturiere ich den Habitusbegriff und das damit verbundene Problem der Habituskonstitution im Spätwerk E. Husserls. Zum anderen dient das Ergebnis dieser ersten Untersuchung dann als Grundlage für die Frage nach dem Wesen des Ich in der genetischen Phänomenologie. Die Untersuchung besteht aus drei Teilen: Zuerst stelle ich, um die Bedeutung des Begriffs „Habitus“ zu klären, Ingardens Interpretationsalternativen der Habituskonstitution (...) vor. Im Anschluss daran werde ich mich mit dem sogenannten „transzendentalen Okkasionalismus“ befassen, der eine der zuvor vorgestellten Alternativen Ingardens aufgreift und weiterführt. Der „transzendentale Okkasionalismus“ vertritt die These, dass die habituellen Eigenschaften des Ich durch den einfachen Vollzug der Akte entstünden. Weil diese These als Interpretation des Habitusbegriffs bei Husserl weit verbreitet ist, muss sie als Lösungsansatz in Erwägung gezogen werden. Jedoch zeigt eine genaue Lektüre der Forschungsmanuskripte Husserls, dass dieser scheinbare Lösungsansatz einen dort wichtigen Begriff außer Acht lässt: die „Geschichte des Ich“. Diese wird im dritten und letzten Teil dieses Aufsatzes näher betrachtet und erläutert. Husserl selbst hob nämlich einen wesenhaften Zusammenhang zwischen den mannigfaltigen Erfahrungen des Ich hervor, durch den die Bezeichnung der Habituskonstitution als „Okkasionalismus“ nicht zutreffend sein kann. Aus diesem Grund geht dieser Beitrag über die reine Wiedergabe der Habitusproblematik in Husserls Phänomenologie hinaus und beschreibt eine Auffassung der transzendentalen Subjektivität, die aus dem Spätwerk Husserls stammt. (shrink)

The aim of this article is to introduce the work of Leopold Blaustein — philosopher and psychologist, who studied under Kazimierz Twardowski in Lvov and under Husserl in Freiburg im Breisgau. In his short academic career Blaustein developed an original philosophy that drew upon both phenomenology and Twardowski’s analytical approach. One of his main publications concerns Husserl’s early theory of intentional act and object, introduced in Logische Untersuchungen. In the first part of the article I briefly present Blaustein’s biography and (...) some general features of his philosophy. The second part provides an overview of Blaustein’s dissertation concerning Husserl’s early phenomenology. In the third and final part I summarize Blaustein’s research, including the critical remarks of Roman Ingarden. (shrink)

Maria Gołaszewska (1926–2015) was a Polish philosopher associated throughout her life with Poland’s oldest academic institution, the Jagiellonian University in Cracow. She was a student of the phenomenologist Roman Ingarden, himself a student of Edmund Husserl. During the post-war and communist years in Poland, Gołaszewska conducted research focusing on issues related to art and aesthetics. She created her own conception of empirically and anthropologically oriented aesthetics, which I believe is a prime example of a theory that accounts for the (...) perspective of gender, and which in this sense should be acknowledged as having anticipated the main postulates of contemporary feminist philosophy. In the article I present Gołaszewska’s philosophy as a cognitively valuable response to the search of feminist aesthetics for a suitable description of women’s experiences related to art and aesthetic perception. In accordance with this aim, I discuss Gołaszewska’s theory of the aesthetic situation, a framework within which she proposed solutions similar to feminist standpoint theories. These theories were developed chiefly on the basis of the feminist philosophy and feminist epistemology (Elizabeth Anderson, Donna Haraway, Sandra Harding, Elizabeth Potter). In recent years they have also found creative applications in feminist aesthetics (Anne Eaton). (shrink)

part, whole, ideal quality, foundation, unity, space, topoontology, topophilosophy, formal ontology, topology, mathematical philosophy, topology, topology of the person, topology of mind, mathematics in philosophy, mereology, mereotopology, phenomenology, Benedict Bornstein, Edmund Husserl, Roman Ingarden, Kurt Lewin, René Thom.

The tradition of realist phenomenology was founded in around 1902 by a group of students in Munich interested in the newly published Logical Investigations of Edmund Husserl. Initial members of the group included Johannes Daubert, Alexander Pfänder, Adolf Reinach and Max Scheler. With Reinach’s move to Göttingen the group acquired two new prominent members – Edith Stein and Roman Ingarden. The group’s method turned on Husserl’s idea that we are in possession a priori (which is to say: non-inductive) knowledge (...) of entities (for example, colors, tones, values, shapes) of a range of different sorts. Pfänder applied this method in his descriptive psychology of willing and motivation, Reinach (anticipating the later speech act theory) to what he called ‘social acts’, Stein to the ontology of communities, and Ingarden to works of art and aesthetic phenomena. The movement latter, through Ingarden, lived on in Poland, where it influenced the young Karol Wojtyła. (shrink)

Author begins with setting up a problematics of relations between values and evaluation in art and aesthetics experience. Following Bohdan Dziemidok work on American Axiology and Aesthetics (2014) author offers her remarks on the subject and joins the discussion on values and qualities and the possibility of assessing and evaluating the work of art with or without grounding it in aesthetic experience. Following Ingarden’s aesthetic phenomenology and turning to Władysław Stróżewski, author suggests that the values are a necessary part (...) of any aesthetic theory yet the understanding of the work of art and its proper evaluation should also place the values in the proper if changing cultural and historical context. (shrink)

Maria Gołaszewska (1926–2015), a Polish philosopher, was associated throughout her life with Poland’s oldest academic institution, the Jagiellonian University in Cracow. She was a student of the phenomenologist Roman Ingarden, himself a student of Edmund Husserl. During the postwar and communist years in Poland, Gołaszewska conducted research focusing on issues related to art and aesthetics. She created her own conception of empirically and anthropologically oriented aesthetics, which I believe is a prime example of a theory that accounts for the (...) perspective of gender, and in this sense should be acknowledged as an important contribution to contemporary gender-sensitive/feminist philosophy. In the article, I present Gołaszewska’s life, academic career, and philosophy as a cognitively valuable response to feminist philosophy’s search for a suitable description of women’s experiences related to art and aesthetic perception. (shrink)

Starting out from the ontology of human work set out by Marx in Das Kapital, the paper seeks to analyse the relations between the artist and his actions and aims, the work of art he produces, and the audience for this work. The paper concludes with a discussion of the problem of creativity in the arts, drawing on ideas of Roman Ingarden and other phenomenologists.

This paper applies the ontological framework developed by Roman Ingarden in his Controversy over the Existence of the World to the domain of mathematics, concluding with some remarks on parallels between the mode of existence of mathematical entities on the one hand and of values on the other.

Attempts to trace a unifying thread of ontological realism extending through 1. my early writings on Frege, Brentano, Husserl, Wittgenstein, Ingarden and (with Kevin Mulligan and Peter Simons) on truthmakers; 2. work on formal theories of the common-sense world, and on mereotopology, fiat objects, geographical categories, and environments (with David Mark, Roberto Casati, Achille Varzi), to 3. current work on applied ontology in biology and medicine, and on the theory of document acts and on the ontology of information artifacts.

The article discusses the problem of musical time presented in Edmund Husserl’s 'The Phenomenology of Internal Time-Consciousness'. The author of this article aims to describe the basic properties of immanent time on the basis of an analysis of the musical, resp. sound examples given by Husserl. Husserl’s reflections on inner time-consciousness – preceding Roman Ingarden’s examination of musical time included in 'The Work of Music and the Problem of Its Identity' – constitute an important stage in the reflections on (...) immanent time in a musical work. The article, as a study belonging to the phenomenology of music, is a critical analysis of the basic terms of phenomenology of time, such as original impressions, retention, protention, consciousness, perception, and intentionality. (shrink)

A Norwegian translation is here offered of Eugenie Ginsberg’s paper «Zur Husserlschen Lehre von den Ganzen und den Teilen» (in Archiv für systematische Philosophie und Soziologie 32, 1929, 108–120). The paper discusses Husserl’s six theorems from Logical Investigations III, §14. Ginsberg provides new proofs for theorems 1 and 3, and also endorses theorem 5. In contrast, a counter example is given to theorems 2, 4, and 6: However, proofs are supplied for a modified version of these theorems. Furthermore, an additional (...) three theorems are defended based upon Ginsberg’s modified theorems. Also, a brief introduction is given discussing Ginsberg’s pioneering role as part of the Lvov-Warsaw school—in spite of her being murdered by the Nazis in 1942—especially her role as the first commentator on Husserl’s third logical investigations, which is a pioneering work on mereology and ontology; but also her later publication from 1931 where she developed several notions of ontological dependence (for instance foreshadowing the work of Roman Ingarden as well as Kit Fine). (shrink)

This is the first English translation of Leon Chwistek’s “Tragedia werbalnej metafizyki,” Kwartalnik Filozoficzny, Vol. X, 1932, 46–76. Chwistek offers a scathing critique of Roman Ingarden’s Das literarische Kunstwerk and of the entire Phenomenology movement. The text also contains many hints at Chwistek’s own philosophical and formal ideas. The book that Chwistek reviews attracted wide attention and was instrumental in winning Ingarden a position as Professor of Philosophy at the University of Lwów in 1933. Chwistek’s alienation from his (...) fellow logicians of the Lvov-Warsaw school is clear from his ridicule of Leśniewski’s project. (shrink)

Autobiographical survey of interactions between the author and Barry Smith, especially as concerns the background and influence of the Seminar for Austro-German Philosophy and work on the relevance of Adolf Reinach, Roman Ingarden and other Central-European thinkers to contemporary analytic philosophy.