scholarly journals Los cuatro estratos de Roman Ingarden como fundamento teórico para el análisis de las traducciones literarias

Hikma ◽  
2016 ◽  
Vol 1 (15) ◽  
Author(s):  
Alfredo Hermosillo López
Keyword(s):  
Theoretical Foundation ◽  
Literary Work ◽  
Reception Studies ◽  
Work Of Art ◽  
Active Reading ◽  
Starting Point ◽  
Literary Work Of Art ◽  
Wolfgang Iser ◽  
Literary Reception

<p>Resumen:</p><p>Este artículo analiza la teoría de los cuatro estratos del filósofo polaco Roman Ingarden. Tiene el propósito de mostrar que sus conceptos sobre la lectura activa y la obra de arte literaria, además de ser el punto de partida de los estudios de recepción desarrollados más ampliamente por Hans-Robert Jauss y Wolfgang Iser, pueden utilizarse como fundamento teórico para el análisis de traducciones literarias.</p><p> </p><p><em>A</em><em>bstract:</em></p><p>This article analyses the theory of the four strata proposed by the Polish philosopher Roman Ingarden. Its main purpose is to show that Ingarden’s concepts regarding the active reading and the literary work of art, besides from being the starting point of the literary reception studies, developed more widely by Hans-Robert Jauss and Wolfgang Iser, can also be used as a theoretical foundation for the analysis of literary translations.</p>

Phenomenology

2019 ◽  
Author(s):  
Horst Ruthrof
Keyword(s):  
United States ◽  
Literary Criticism ◽  
Literary Theory ◽  
Literary Work ◽  
The United States ◽  
Work Of Art ◽  
Jean Paul ◽  
Literary Work Of Art ◽  
Wolfgang Iser ◽  
Reception Aesthetics

Phenomenological literary theory has its roots in Edmund Husserl’s studies of the directional acts of consciousness in the first half of the 20th century and Roman Ingarden’s The Literary Work of Art and The Cognition of the Literary Work of Art, arguing that literary works can come into existence only in the act of reading. Under the influence of Martin Heidegger, phenomenology absorbed hermeneutic insights from Dilthey, Gadamer, and Ricoeur, as well as existentialist features, foremost from Jean-Paul Sartre, with Merleau-Ponty contributing a corporeal accent by reiterating Husserl’s distinction between the biophysical body (Körper) and the animate body (Leib). George Poulet of the Geneva school and the early Yale critics added an author-oriented form of literary criticism, while Ingarden’s work was taken up by the Konstanz school theorists Wolfgang Iser and Hans Robert Jauss, the latter challenging ontological approaches by a historically anchored form of reception aesthetics. In the United States, the idea of phenomenology in literature has been prominently pursued by Maurice Natanson. At the same time, phenomenological literary theory is undergoing a revival in the wake of the neo-phenomenology of Hermann Schmitz, notably in such writings as Rita Felski’s Uses of Literature.

scholarly journals The Concretization of the Literary Work of Art: Elements for a Comparison between Roman Ingarden and Wolfgang Iser

2021 ◽  
Vol 44 (1) ◽  
Author(s):  
Sazan Kryeziu
Keyword(s):  
Literary Work ◽  
Work Of Art ◽  
Life World ◽  
Aesthetic Object ◽  
Memory Traces ◽  
The World ◽  
Literary Work Of Art ◽  
The One ◽  
Art Elements ◽  
Wolfgang Iser

The notion of concretization introduced by Roman Ingarden in his seminal work The Literary Work of Art makes the reader the one responsible for the creation of the literary work of art as an aesthetic object. Prior to the act of reading, “the work itself,” in Ingarden’s analysis, is a structure of various strata: the stratum of verbal sounds, the stratum of meaning units, the stratum of schematized aspects, and the stratum of represented objectivities. The reader concretizes the work, turning the schematic formation into an accomplished aesthetic object. Concretization is accomplished by adding determinations to the schemata of the text on all strata. By way of their psychic operations readers fill in places of indeterminacy and establish the world of the literary work of art. Wolfgang Iser takes up Ingarden’s concept of places of indeterminacy to develop his own position. Iser recasts the concept of indeterminacy in the form of gaps or “blanks” which allow for more functions and forms than those stated in Ingarden’s analysis. For Ingarden, the process of reading moves in one direction: from the real world to the imaginary (intentional) world. For Iser the process of reading is two-directional: the reader fills in the blanks of the imaginary world using the memory traces collected in his or her mind that derive from the life-world. An attempt to clarify the main points of Ingarden’s phenomenology of reading, may, therefore, elucidate Iser’s contribution. In addition, the notion of concretization has seen many criticisms (R. Wellek, G. Poulet, S. Fish, D. Barnouw among others), and the topic deserves renewed attention.

scholarly journals “The Tragedy of Verbal Metaphysics” by Leon Chwistek

2017 ◽  
Vol 5 (1) ◽  
Author(s):  
Adam Trybus ◽  
Bernard Linsky
Keyword(s):  
English Translation ◽  
Literary Work ◽  
Work Of Art ◽  
Literary Work Of Art ◽  
The University

This is the first English translation of Leon Chwistek’s “Tragedia werbalnej metafizyki (Z powodu książki Dra Ingardena: Das literarische Kunstwerk),” Kwartalnik Filozoficzny, Vol. X, 1932, 46–76. Chwistek offers a scathing critique of Roman Ingarden’s Das literarische Kunstwerk (translated into English as The Literary Work of Art) 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.

The Jungle Books

2008 ◽  
Author(s):  
Rudyard Kipling
Keyword(s):  
Literary Work ◽  
Work Of Art ◽  
Philosophy Of Life ◽  
The Law ◽  
Self Discovery ◽  
Literary Work Of Art ◽  
Black Panther

The Jungle Books can be regarded as classic stories told by an adult to children. But they also constitute a complex literary work of art in which the whole of Kipling’s philosophy of life is expressed in miniature. They are best known for the ‘Mowgli’ stories; the tale of a baby abandoned and brought up by wolves, educated in the ways and secrets of the jungle by Kaa the python, Baloo the bear, and Bagheera the black panther. The stories, a mixture of fantasy, myth, and magic, are underpinned by Kipling's abiding preoccupation with the theme of self-discovery, and the nature of the ‘Law’.

The Problematic Status of the Literary Work of Art in Contemporary Aesthetics

2017 ◽  
Vol 13 (2) ◽  
pp. 119-144
Author(s):  
Ioana-Eliza Deac
Keyword(s):  
Literary Work ◽  
Work Of Art ◽  
Dual Nature ◽  
Shared Set ◽  
The Arts ◽  
Similarities And Differences ◽  
Literary Work Of Art ◽  
The Aesthetic ◽  
Physical Manifestation ◽  
Different Levels

Developing a system that would reunite all the arts and account for their similarities and differences on the basis of a shared set of criteria was one of the main objectives of the aesthetic discipline, whose roots run deep into romantic philosophy. The diversity of modernist experiments poses a number of challenges to such systematisation and invites theoreticians to start anew. To illustrate some of the main difficulties arising from this situation, particularly in the case of the literary work of art, this article will focus on Gérard Genette’s two volume work L’œuvre de l’art (1994, 1997). Genette’s main purpose is to offer a conceptual framework for the description of the work of art that would find a place in the system for its material mode of existence. His objective is achieved at the expense of the coherence of the model since the structure of what he terms allographic and autographic works proves to be asymmetrical. Thus, the autographic works are presented as having a dual nature: transcendental and immanent (that is, physical), while the allographic works comprise three different levels: transcendence – immanence (understood as ideal) – and (physical) manifestation. After confronting Genette’s premises with the conclusions of several disciplines which study the same object of immanence from a different perspective, this paper will propose a revised and more coherent version of his system.

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