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Filosofie umění Romana Ingardena

Filozofia, 28 (1973), 5, 559-573.
Typ článku: State a diskusie
The aesthetic work of R. Ingarden is motivated by the conviction that a relevant way of aesthetic thinking requires that all basic notions be analyzed in the whole structure at their coherences and preconditions and that the explication elucidate also their fundamental philosophical contexts, It is, first of all, the ontology of the work of art that is the object oi his interest, because, according to his conviction, only in confrontation with a work of art the revelant aesthetic problems can be opened. A clear comprehension of a work ot art demands then a sharp differentiation of the art from the basic poles to which the work relates, i. e. from the author, the looker-on and the reality. That is why the questions must be presented how the work itself by its specific structure reveals the author's presence, how it refers to the locker-on and how it is adapted tor the locker-on to enter a lively contact with it, and how it refers to the reality. It is from here that the basic structure oi the problems, developed in three main directions, opens to lngarden. It is, first of all, the investigation of stratum and hot-erogenous construction of the work of art, further the analysis of the work as an organic and uniform entirety and, finally. an analysis of the suppositions and guarantees of its identity. Although lngarden started from the analysis of the idea of the work of art, he did not succumb to the temptation of a schizophrenic thematization, i. e. a double line of abstract consideration and of lively artistic experience. Even in the most abstract analyses lngarden respected contsequentially the space in which the work is situated and realized that the corrective of a lively artistic experience is inevitable for the scholar it he is to move in the field to be analyzed. The orientation upon the phenomenally granted enabled him to develop a specific method of description and analysis of the work of art, which is in radical opposition to the method of impersonal and scientific objectivitsm. On this foundation also his antirelativist and the aesthetic subjectivism denying conception of aesthetic values is based.
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