Titlebook: Ingardeniana II; New Studies in the P Hans H. Rudnick Book 1990 Kluwer Academic Publishers 1990 Edmund Husserl.Roman Ingarden.aesthetics.ph

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Roman Ingarden’s Philosophical Legacy and My Departure from it: The Creative Freedom of the Possible by the absolute faithfulness to the demands of reality but who has also maintained for decades our faithful allegiance to this task, is no longer among us. This volume is to commemorate the 20th anniversary of his death. The scrupulous and indefatigable work, which he has accomplished and left behi

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A New Phenomenology: A-T. Tymieniecka’s Departure from Husserl and Ingarden-Teresa Tymieniecka, devoted much of her scholarly effort to the studies of her master. She has also succeeded in introducing Ingarden to the Western world.. Nevertheless, she did not remain an orthodox disciple of Roman Ingarden; rather, her profound probing into his philosophical assumptions led h

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Husserl, Ingarden and Tymienieckausly differentiated concepts that form a complicated whole for us to examine. Ingarden is far more conscientious than Husserl, and more patient. Where Husserl leaps ahead, Ingarden proceeds slowly and with caution. Typical of his method is a remark like: “This problem seems to be very difficult. I’l

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Reduction Phenomenologique Et Intuitionte d’entrée de la philosophie en général. Sa variété terminologique en témoigne. A prime abord, nous en avions dénombré plus d’une vingtaine d’espèces et d’appellations, tout en laissant aux philosophes informaticiens le soin d’en établir le nombre et la fréquence exacts. Mais très souvent il s’agir

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Roman Ingarden’s Contribution to the Reading and Analysis of the Literary Text polyphonic harmony, an interpenetration of at least four layers or strata that, taken together, make up the literary work of art.. Both the question and the answer make the same presupposition: even though I see ink spots on paper, what I perceive is something different. What I perceive is not enti

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The Debate Over Stratification within Aesthetic Objectsnown of his “investigations on the borderline between ontology, logic, and the theory of literature,” .,. had to be supplemented with a second, primarily epistemological, text on how literary works of art are cognized — either preaesthetically, aesthetically, or postaesthetically.. The preaesthetic

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