While the 1931 original and 1973 translation are often under copyright, many philosophy departments host study guides and summarized excerpts that cover the core arguments.
A central concept in Ingarden's work is that no text can describe every detail of its world; it is inherently "schematic". These gaps are called . Go to product viewer dialog for this item.
While digital versions like a are often sought by scholars, the physical text remains a staple of academic collections through publishers like Northwestern University Press . 1. The Multi-Stratal Structure of the Work roman ingarden the literary work of art pdf
Before Ingarden, literary theorists struggled to define the exact mode of existence of a novel or a poem.
Exploring how historical audiences receive and judge texts over time. While the 1931 original and 1973 translation are
Ultimately, this analysis leads to a key ontological question: what kind of being does a literary work have? Ingarden concludes it is a . It is not a physical object (the book you hold is just a vehicle for the work) nor a purely ideal object (like the number 7). Its existence is dependent on the acts of consciousness of its author, its readers, and the intersubjective community that sustains it. In this sense, the literary work’s full existence is always in a state of becoming, realized anew each time it is concretized by a reader. The book's own epilogue captures this: literature "broadens it, raises it above the flatness of everyday existence, and gives it a lovely radiance. It is a 'nothing' and yet a wonderful world itself – even though it comes into being and exists only by our grace".
The belief that the artwork is merely a collection of mental experiences belonging to the writer or the reader. Go to product viewer dialog for this item
develops a phenomenological ontology to define what exactly a literary work is. He argues that a literary work is a that exists between the physical text and the reader's mental experience. The Four Strata of a Literary Work