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3. Aug. 2023 · Ingarden, Roman. Ingarden, Roman Witold (1893–1970). Ingarden was born in Krakow on February 5, 1893. He was educated in schools in Krakow, but in 1911 he moved to Lvov (Lwów, Lviv) and became a student of the Faculty of Philosophy at the University of Lvov, where he studied philosophy, mathematics, and physics for a year in 1911/1912.
Roman Witold Ingarden (February 5, 1893 - June 14, 1970), a Polish philosopher and one of the most important philosophers for phenomenological aesthetics. During World War II , Ingarden switched from writing in German to writing in Polish, as a gesture of solidarity, with the result that until recently his major works went largely unnoticed by the wider philosophical community.
Roman Witold Ingarden. Roman Witold Ingarden in Karlsruhe, 20th may 1916. ©. Archiwum K. Ingardena. Roman Witold Ingarden, the greatest Polish phenomenologist, can be placed in the ranks of classic philosophers. His Opus Magnum “Controversy on the Existence of the World” can be compared with Aristophanes’ bible of philosophy ...
Roman Witold Ingarden (n. 5 februarie 1893 , Cracovia - d. 14 iunie 1970 , Cracovia ) a fost un filozof și estetician polonez, unul dintre cei mai renumiți reprezentanți ai fenomenologiei , membru al Academiei Poloneze de Științe .
6. Apr. 2020 · Roman Ingarden’s phenomenology is relatively well known to English speaking scholars. His main works have been translated into English or were written originally in German, which enabled their wider reception. The theories he is famous for are a subject of many extensive studies and smaller articles as well. He was initially known for his work in aesthetics but now his ontology and ...
Roman Witold Ingarden. Roman Witold Ingarden w Karlsruhe, 20 maja 1916 r. Roman Witold Ingarden, największy polski fenomenolog, stawiany jest w tym samym rzędzie, co klasycy filozofii. Jego opus magnum „Spór o istnienie świata” porównywany jest z „Metafizyką” Arystotelesa, 'biblią filozofii'. Urodził się w Krakowie 5 lutego 1893 r.
Roman Ingarden admits that the intentional reception of the work of art is not spontaneous and naive but a cultural reaction, that it needs both sensibility and training. can determine the intentional activity in different ways. So there are different "aesthetic. concretions" of the same material object or activity.
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