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Extr. de: Th. doct.--Philosophie--Paris 12, 1999. Titre de soutenance : Le débat réalisme-idéalisme : Husserl-Ingarden. / Titre de couv. : "Roman Ingarden : Husserl, la controverse idéalisme-réalisme" Réunit : "Phénoménologie et ontologie chez Roman Ingarden" / Patricia Limino-Heulot. "Lettre à Husserl sur la 6e recherche logique et l'idéalisme" ; "Remarques sur le problème idéalisme-réalisme" ; "Des motifs qui ont conduit Husserl à l'idéalisme transcendantal" ; "Qu'y a-t-til de nouveau dans la Krisis de Husserl ?" / Roman Ingarden. Bibliogr. p. 251-259. Index.

Diss. phil-hist. Bern, 1987 (kein Austausch). / Jahr auf Titelblatt 1986.

A partir da constatação de que uma fenomenologia da música não se restringe apenas aos seus momentos sonoros, propõe-se uma investigação fenomenológica da obra musical que também leve em consideração os seus momentos não-sonoros. Para realizar tal investigação propõe-se uma análise de como a questão dos momentos sonoros e não-sonoros é abordada pelo filósofo polonês Roman Ingarden (1893-1970) em seu Ensaio sobre o modo de ser da obra musical. A primeira parte do trabalho, que compreende os capítulos um ao três, faz uma série de considerações preliminares; começando com a elucidação de certos elementos gerais da fenomenologia para, logo em seguida, buscar compreender de que forma a fenomenologia poderia contribuir com investigações musicais e estéticas. Na segunda parte, que é composta pelos capítulos quatro ao seis, são analisados as cinco primeiras seções do Ensaio de Ingarden. A análise proposta destaca a distinção da obra musical em relação à execução, à experiência de consciência e à partitura. Após a descrição dessas distinções elementares, o problema de como uma obra se situa no tempo é analisado (chegando-se à conclusão de que ela é um objeto não-real). Finalmente, os momentos sonoros e não sonoros da obra musical são descritos e analisados. Nas considerações finais, constata-se que o Ensaio de Ingarden percorreu apenas o primeiro estágio de um itinerário que deverá considerar ainda questões relativas à cognição e à teoria dos valores. / From the observation that a phenomenology of music is not restricted only to its sound moments, I proposed a phenomenological investigation of the musical work that also takes into consideration its non-sound moments. In order to carry out this research, I proposed an analysis of how the issue of sound and non-sound moments is approached by the Polish philosopher Roman Ingarden (1893-1970) in his Essay on the mode of being of the musical work. The first part of this dissertation (which comprises chapters one to three) makes a few preliminary considerations; beginning with the elucidation of certain general elements of phenomenology and then seeking to understand how phenomenology could contribute to musical investigations and aesthetics investigations. In the second part (which is composed of chapters four through six) the first five sections of Ingarden\'s Essay are analyzed. The proposed analysis emphasizes the distinction of the musical work in relation to the performance, the experience of the conscience and the score. After describing these elementary distinctions, the problem of how a work situates itself in time is analyzed (arriving at the conclusion that it is a non-real object). Finally, the sound and non-sound moments of the musical work are described and analyzed. In the concluding remarks, it appears that Ingarden\'s Essay covered only the first stage of an itinerary, which should also consider issues related to cognition and value theory.

A partir da constatação de que uma fenomenologia da música não se restringe apenas aos seus momentos sonoros, propõe-se uma investigação fenomenológica da obra musical que também leve em consideração os seus momentos não-sonoros. Para realizar tal investigação propõe-se uma análise de como a questão dos momentos sonoros e não-sonoros é abordada pelo filósofo polonês Roman Ingarden (1893-1970) em seu Ensaio sobre o modo de ser da obra musical. A primeira parte do trabalho, que compreende os capítulos um ao três, faz uma série de considerações preliminares; começando com a elucidação de certos elementos gerais da fenomenologia para, logo em seguida, buscar compreender de que forma a fenomenologia poderia contribuir com investigações musicais e estéticas. Na segunda parte, que é composta pelos capítulos quatro ao seis, são analisados as cinco primeiras seções do Ensaio de Ingarden. A análise proposta destaca a distinção da obra musical em relação à execução, à experiência de consciência e à partitura. Após a descrição dessas distinções elementares, o problema de como uma obra se situa no tempo é analisado (chegando-se à conclusão de que ela é um objeto não-real). Finalmente, os momentos sonoros e não sonoros da obra musical são descritos e analisados. Nas considerações finais, constata-se que o Ensaio de Ingarden percorreu apenas o primeiro estágio de um itinerário que deverá considerar ainda questões relativas à cognição e à teoria dos valores. / From the observation that a phenomenology of music is not restricted only to its sound moments, I proposed a phenomenological investigation of the musical work that also takes into consideration its non-sound moments. In order to carry out this research, I proposed an analysis of how the issue of sound and non-sound moments is approached by the Polish philosopher Roman Ingarden (1893-1970) in his Essay on the mode of being of the musical work. The first part of this dissertation (which comprises chapters one to three) makes a few preliminary considerations; beginning with the elucidation of certain general elements of phenomenology and then seeking to understand how phenomenology could contribute to musical investigations and aesthetics investigations. In the second part (which is composed of chapters four through six) the first five sections of Ingarden\'s Essay are analyzed. The proposed analysis emphasizes the distinction of the musical work in relation to the performance, the experience of the conscience and the score. After describing these elementary distinctions, the problem of how a work situates itself in time is analyzed (arriving at the conclusion that it is a non-real object). Finally, the sound and non-sound moments of the musical work are described and analyzed. In the concluding remarks, it appears that Ingarden\'s Essay covered only the first stage of an itinerary, which should also consider issues related to cognition and value theory.

Zugl.: München, Univ., Habil.-Schr., 2008

<p>In this essay results are developed on two different levels. First, it is shown in demonstration that a phenomenological analysis on the lines of Roman’s Ingarden’s study of works in literature can be applied to Virtual Reality works, such as professional-simulators and video-games. In particular it can then be pointed out that: i) sound is separable from the scene, but using sound VR becomes enriched; ii) the main role in literature is left for the imagination, while in VR we find richness in concretization.</p><p>Second, it is argued in discussion that works in VR can be qualified as works of art. These electronic works may have all the aesthetical qualities (based on the phenomenology of Roman Ingarden) of the works of art in the traditional sense. So, that paper has two objectives: an analysis of VR and the search for the status of VR in art.</p>

<p> </p><p>The image of the poet Gustaf Fröding is the main theme of this essay. It opens with an analysis of the chamber opera <em>Flickan i ögat.</em> This opera has never been translated but a direct translation would be <em>The Girl in the Eye</em>. It refers to a story that when a man looks into the mirror and sees a picture of a girl in his eye, she will be his future love.  Fröding has written a poem "Flickan i ögat" where the person in the poem only observes himself. Based on this motif the libretto paints a period of Gustaf Fröding's life. Fröding proposes to Vivi, a waitress on a restaurant frequented by Fröding. His proposal has been turned downed. The drama then shows a picture of a miserable and unhappy poet in vain looking for love. But the cause is also the poet's narcissistic character and his morbid erotic fantasies.</p><p>This view is compared with the different images of Fröding that have been put forward during the years, from the beginning of 1900 until today. It has changed from the popular, the unhappy, the modernistic and lately the playful Fröding. The Fröding reception has been discussed based on Bourdieu's theory of cultural fields. In the discussed subfield the actors with highest hegemony are shown to be the theorists and critics of literature as well as psychiatrists.</p><p> </p><p> </p>

The image of the poet Gustaf Fröding is the main theme of this essay. It opens with an analysis of the chamber opera Flickan i ögat. This opera has never been translated but a direct translation would be The Girl in the Eye. It refers to a story that when a man looks into the mirror and sees a picture of a girl in his eye, she will be his future love.  Fröding has written a poem "Flickan i ögat" where the person in the poem only observes himself. Based on this motif the libretto paints a period of Gustaf Fröding's life. Fröding proposes to Vivi, a waitress on a restaurant frequented by Fröding. His proposal has been turned downed. The drama then shows a picture of a miserable and unhappy poet in vain looking for love. But the cause is also the poet's narcissistic character and his morbid erotic fantasies. This view is compared with the different images of Fröding that have been put forward during the years, from the beginning of 1900 until today. It has changed from the popular, the unhappy, the modernistic and lately the playful Fröding. The Fröding reception has been discussed based on Bourdieu's theory of cultural fields. In the discussed subfield the actors with highest hegemony are shown to be the theorists and critics of literature as well as psychiatrists.

In this essay results are developed on two different levels. First, it is shown in demonstration that a phenomenological analysis on the lines of Roman’s Ingarden’s study of works in literature can be applied to Virtual Reality works, such as professional-simulators and video-games. In particular it can then be pointed out that: i) sound is separable from the scene, but using sound VR becomes enriched; ii) the main role in literature is left for the imagination, while in VR we find richness in concretization. Second, it is argued in discussion that works in VR can be qualified as works of art. These electronic works may have all the aesthetical qualities (based on the phenomenology of Roman Ingarden) of the works of art in the traditional sense. So, that paper has two objectives: an analysis of VR and the search for the status of VR in art.