罗曼·英加登
实在世界独立于意识而存在;而艺术作品则有空隙,需要读者、听者或观者自己去填补,只有这样它才完整地存在。
定位
波兰现象学家、胡塞尔的学生,他拒绝老师转向先验唯心论,捍卫世界的独立存在,并把文学艺术作品分析为一种分层结构,其中的“未定点”由读者填补。
核心思想
- 文学作品的层次
- 未定点
- 反对胡塞尔唯心论的实在论
- 艺术作品的本体论
老师: 埃德蒙德·胡塞尔, 卡齐米日·特瓦尔多夫斯基
影响
受影响于 1
卡齐米日·特瓦尔多夫斯基 师从
师从
Ingarden began studying philosophy, mathematics and physics in Lwów, where Twardowski taught, and with Twardowski’s support went to Göttingen in 1912 to study with Husserl; a brief start rather than a sustained teaching relation. SEP “Roman Ingarden”
依据: AI 草稿
卡齐米日·特瓦尔多夫斯基 › 1866–1938
批评
批评了 1
埃德蒙德·胡塞尔 师从
师从
With Twardowski’s support Ingarden went to Göttingen in 1912 to study with Husserl, followed him to Freiburg and took his doctorate there in 1918, with Husserl as director, on intuition and intellect in Bergson. SEP “Roman Ingarden”
依据: AI 草稿
批评了
Ingarden rejected the transcendental idealism of Husserl’s Ideas I (1913) and defended the independent existence of the real world (Der Streit um die Existenz der Welt, 1947–48). R. Ingarden, Spór o istnienie świata (1947–48; German: Der Streit um die Existenz der Welt, 1964–65); SEP “Roman Ingarden”
依据: AI 草稿
埃德蒙德·胡塞尔 › 1859–1938
作品
立场
Ingarden adopted Husserl’s method of describing essences but not the turn to transcendental idealism that Husserl had taken from the “Ideas” (1913) onwards. His answer was a large ontology: “The Controversy over the Existence of the World” (1947–48) distinguishes existential, formal and material ontology and several modes of being – absolute, ideal, real and purely intentional – in order to show that the real world cannot be reduced to a correlate of consciousness. To sharpen the contrast he studied purely intentional objects, above all works of art. “The Literary Work of Art” (1931) describes four strata and “places of indeterminacy” that readers fill in their concretisations; later studies extended the analysis to music, painting, architecture and film and to aesthetic values. From the Lwów–Warsaw side, Ajdukiewicz gave the problem of idealism a semantic formulation (1937). Wolfgang Iser and Hans Robert Jauss built reception aesthetics in part on Ingarden’s concepts, though Iser’s “blanks” give readers more freedom than Ingarden, who distinguished adequate from inadequate concretisations, allowed. Critics have found his ontology elaborate and his realism defended more by distinctions than by a decisive argument.
生平与背景
Roman Witold Ingarden was born on 5 February 1893 in Kraków. In 1911 he began studying mathematics and philosophy in Lwów with Kazimierz Twardowski, and in 1912 went to Göttingen to study with Edmund Husserl, whom he followed to Freiburg in 1916; in Göttingen he also befriended Edith Stein, with whom he kept up a long correspondence. In Freiburg he received his doctorate in 1918 with a thesis on intuition and intellect in Henri Bergson. Back in Poland he taught at secondary schools in Lublin, Warsaw and Toruń, habilitated in Lwów in 1924 and became professor there in 1933. “Das literarische Kunstwerk” appeared in Halle in 1931. During the war he remained in Lwów and worked on his ontology of the existence of the world. In 1945 he moved to the Jagiellonian University in Kraków. From 1950 he was barred from teaching because his philosophy was considered idealist; in these years he translated Kant’s “Critique of Pure Reason” into Polish (1957). He was reinstated in 1957, retired in 1963 and lectured widely abroad. He died in Kraków on 14 June 1970.
其他主要作品
- Intuition and Intellect in Henri Bergson (Intuition und Intellekt bei Henri Bergson, 1921)
- Essential Questions (Essentiale Fragen, 1925)
- The Literary Work of Art (Das literarische Kunstwerk, 1931)
- The Cognition of the Literary Work of Art (O poznawaniu dzieła literackiego, 1937)
- The Controversy over the Existence of the World (Spór o istnienie świata, 1947–48)
- Ontology of the Work of Art (Untersuchungen zur Ontologie der Kunst, 1962)
截至 2026年11月 · 来源 · 改进本页 · Agora 是如何制作的