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Information Journal Paper

Title

ROMAN INGARDEN’S ONTOLOGY OF MUSIC AND LITERARY WORK OF ART

Pages

  7-22

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.

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    APA: Copy

    ABOLGHASSEMI, MOHAMADREZA. (2017). ROMAN INGARDEN’S ONTOLOGY OF MUSIC AND LITERARY WORK OF ART. HEKMAT VA FALSAFEH (WISDOM AND PHILOSOPHY), 12(4 ), 7-22. SID. https://sid.ir/paper/123544/en

    Vancouver: Copy

    ABOLGHASSEMI MOHAMADREZA. ROMAN INGARDEN’S ONTOLOGY OF MUSIC AND LITERARY WORK OF ART. HEKMAT VA FALSAFEH (WISDOM AND PHILOSOPHY)[Internet]. 2017;12(4 ):7-22. Available from: https://sid.ir/paper/123544/en

    IEEE: Copy

    MOHAMADREZA ABOLGHASSEMI, “ROMAN INGARDEN’S ONTOLOGY OF MUSIC AND LITERARY WORK OF ART,” HEKMAT VA FALSAFEH (WISDOM AND PHILOSOPHY), vol. 12, no. 4 , pp. 7–22, 2017, [Online]. Available: https://sid.ir/paper/123544/en

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