Roman Ingarden’s Ontology of Music and Literary Work of Art

Abolghassemi, Mohammad Reza

doi:10.22054/wph.2017.7505

Document Type : Research Paper

Author

Mohammad reza Abolghassemi

assistant professor of art sciences at university of tehran, tehran, iran

https://doi.org/10.22054/wph.2017.7505

Abstract

Roman Ingarden (1893-1970) is considered as the founder of ontology of art. Having been influenced by Husserl phenomenological doctrines, Ingarden argues that work of art and aesthetic object are ontologically two different entities. The work of art is ontically similar to other real objects while the aesthetic object has an intentional nature which is constituted by intentional acts in the consciousness of the audience. Classical music ontology is twofold: on the one hand, the musical work is identical with the score and, on the other, it finds its concretization during the performance. The ontology of literary work of art is layered and manifests plurality of its structure. According to Ingarden, every work of art has spaces of indeterminacy which are fulfilled by the audiences through their aesthetic experiences. The audience completes these spaces through the concretization. Thus, the perception of the work of art necessitates the active participation of the audience in an intersubjective manner.

Keywords

References

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Wisdom And Philosophy

Roman Ingarden’s Ontology of Music and Literary Work of Art

References

References

Volume 12, Issue 48
January 2017
Pages 7-22

Roman Ingarden’s Ontology of Music and Literary Work of Art

References

References

Volume 12, Issue 48January 2017Pages 7-22

Volume 12, Issue 48
January 2017
Pages 7-22