《文学的艺术品》(选译) - 文库 - 中国现象学网(The literary art (Translated) - Library - China Phenomenology)
《文学的艺术品》(选译) - 文库 - 中国现象学网(The literary art
(Translated) - Library - China Phenomenology)
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The "literary art" (Translated) submit: admin date: 2007-08-10 reading: 68
Author: Ingaden
Abstract: the main topic of the research here is the basic structure and the existing style of literary works, especially the works of literature. The original intention is to explore the unique structure of the work, so that the views of the works from the fog of research has escaped from the fog. These mists, on the one hand, are born from the momentum of the still strong tendency of psychology, on the other hand, arising from the various forms of art and art. I will discuss in detail in the first part of the book, so I just need it. But as far as the latter is concerned, since the time of Lessing, people have been swinging between two opposing concepts. People either think of literary works especially literary art and the "visual art" (the first is the relationship between the drawing and painting) too close, or follow the initial practice of Lessing (such as Meyer [T.A.Meyer] do), too much emphasis on the factors of pure
language of literary works, and thus denied the intuitive factors of literature art. In my opinion, the two extreme due to the fact that literature is always regarded as a single component, but in fact it contains several different levels; thus, people in every kind of different theories, have certain elements of work as the most important structural elements. Because of my study try to multi-level structure and polyphonic harmony corresponding as literary essence, and the effects of all factors appeared in the works, so I was in between the two opposing camps take the middle ground. In order to avoid undue expansion of this already thick book, and to make the reader's attitude towards the subject simpler, I will not outline the extensive connection with the existing theory. Such a connection usually puts the reader in the existing conceptual framework, thus essentially hindering the mere consideration of the facts at hand. (Poland) translated by Zhang Xushu Roman Ingaden
Literary works of Art
Study on the boundary of existence theory, logic, literature theory "
Catalog
The first edition of the German order
Preface to German two edition
Preface to German three Edition
The first part is the preliminary problem
Section 1 Introduction
Chapter one: the original puzzle
A temporary definition of the scope of the second section
The existing style of third pieces of literary works
The same problem in section fourth the concept of literary works and works of psychologism
The fifth section of literary works is a kind of "object of image"
The second chapter exclude factors unrelated to the structure of literary works
Further definition of the sixth section thesis
The seventh section, what does not belong to literary works?
The second part is the structure of literary works
The third chapter is the basic structure of literary works
Section 8 of literary works is a kind of hierarchical structure
The fourth chapter is the phonetic structure layer
Ninth sections of single character and phonetic type
Voice type and function of various types of section tenth
The eleventh section more advanced speech structure and its characteristics
The voice of literary works of the twelfth section structure
The thirteenth section of speech in the structure of literary works in the role
The fifth chapter is the unit of meaning
The fourteenth section is an introduction
Fifteenth elements of word meaning
The meaning of 1 names
The difference between 2 names and functional words
3 the meaning of finite verbs
The real meaning of the day was sixteenth and the potential implication
Change of section seventeenth as sentence elements and its meaning
The eighteenth section, as well as the main activities of the
meaning of the sentence product compound sentence
The general features of nineteenth sentences
The twentieth section of the intentional acts of pure intent object
The twenty-first section of the derived meaning unit of pure intention related items
The twenty-second day sentence purely intentional related items
The twenty-third section compound sentence, meaning the more advanced unit
The pure intention relevance of the higher sense unit made up of twenty-fourth compound sentences
The twenty-fifth section in literature statements intended to determine characteristics
The twenty-fifth section a literary art does not intend to judge?
The twenty-sixth section is similar to variation of other types of sentences
The significance of the sixth chapter literature unit layer effect. On the relevance of pure intentional sentences
Present function
The twenty-seventh section respectively sentences and complex sentences with various functions
The projection function of twenty-eighth sentences, the state of affairs and its relation with the object of being reproduced
The twenty-ninth festival events show reproduction and display function
Other ways of representation of the thirtieth state of affairs
The function of the meaning unit of the thirty-first section as the special material of the structure of literary works
The object layer reproduced in the seventh chapter
Summary and introduction of the thirty-second section
It features thirty-third section is reproduced object
Section thirty-fourth is the reproduction of space and imagination ""
The thirty-fifth section is reproduced by the object of spatial orientation
Section thirty-sixth is the reproduction time and time perspective
The thirty-seventh section is reproduced and reproduction function object reconstruction
Section thirty-eighth is the object of undetermined domain representation
The eighth chapter is the schematic phase
Introduction to thirty-ninth sections
The fortieth section sensates and specific phase of perception
The forty-first section is the schematic view
The forty-second section of the schema view of literary works
The forty-third section as the phase self psychological process and Vipassana character literature elements ""
The ninth chapter of literary works of the schema view layer function
The forty-fourth section of literary works of the schema view of basic function of phase discrimination
The function of the forty-fifth phases and the influence of the view on the overall characteristics of the work
The forty-sixth section view decoration and other aesthetic properties
The tenth chapter is the representation of the object of art of literature and the concept of the so-called works
The forty-seventh section literary art object layer what function?
The forty-eighth section quality of Metaphysics (essence)
The forty-ninth section of the literary quality of metaphysics of Art
The fiftieth section quality is really show the metaphysical object layer function?
The symbolic function of the fifty-first object layer
The fifty-second section of the literary art of "truth" and "idea" problem
The conclusion of the fifty-third level analytic hierarchy process
The eleventh chapter is the continuous sequence of literary works
The fifty-fourth section is an introduction to the distortion or disintegration of the works caused by the displacement of each part of the work
The fifty-fifth section of each part of the meaning of the sequence of literary works
The third part is appendix and conclusion
The twelfth chapter boundary theory
Introduction to fifty-sixth sections
Fifty-seventh stage plays
The fifty-eighth film script (film)
The fifty-ninth mime
Sixtieth scientific works, simple reports
The thirteenth chapter, "life" of literary works"
Introduction to sixty-first sections
The sixty-second section of literary works specific and comprehend the work experience
Sixty-third literary works and their materialization
The changes of the works caused by the "life" and the concrete changes of the literary works in the sixty-fourth section
The fourteenth chapter is the existence of literary works
Introduction to sixty-fifth sections
The main section of the sixty-sixth sentence between identity and existence basis of existence
The same day of the sixty-seventh literary works speech layer
The conclusion of the fifteenth chapter of literature art thinking.
The sixty-eighth section of the polyphonic harmony literary art and the aesthetic value of quality
The function of language in Appendix drama
The first edition of the German order
The main topic of the research here is the basic structure and the existing style of the literary works, especially the works of literature. The original intention is to find out the unique structure of the work,
Let the ideas of the works escape from the fog of all kinds of research so far. These mists, on the one hand, are born from the momentum of the still strong tendency of psychology, on the other hand, arising from the various forms of art and art. I will discuss in detail in the first part of the book, so I just need it. But as far as the latter is concerned, Lessing has been swinging between two opposing concepts since that time. People either think of literary works especially literary art and the "visual art" (the first is the relationship between the drawing and painting) too close, or follow the initial practice of Lessing (such as Meyer [T.A.Meyer] do), too much emphasis on
the factors of pure language of literary works, and thus denied the intuitive factors of literature art. [3] in my opinion, the two extreme due to the fact that literature is always regarded as a single component, but in fact it contains several different levels; thus, people in every kind of different theories, have certain elements of work as the compact structural elements. Because of my study try to multi-level structure and polyphonic harmony corresponding as literary essence, and the effects of all factors appeared in the works, so I was in between the two opposing camps take the middle ground. In order to avoid undue expansion of this already thick book, and to make the reader's attitude towards the subject simpler, I will not outline the extensive connection with the existing theory. Such a connection usually puts the reader in the existing conceptual framework, thus essentially hindering the mere consideration of the facts at hand.
Although the main topic of my research is literary works, or literary works of art, the ultimate motive of my work on this subject contains much more than the general philosophical nature of this particular object. They are closely related to the concept of realism that I have been paying attention to for years. [4] I like in "the concept of realism problem that" [a] the attempt to show that the concept of the so-called entanglement realism covered the wound several groups of different problems together, before people can get close to the main problem of metaphysics, must distinguish these problems one by one. Pick out to clarify. Therefore, there are many paths to prepare for this. One of them is closely related to Husserl's so-called transcendental idealism. This theory holds that the real world and its elements are purely intentional objects, and
the ontological and decisive foundations of their existence lie in the depth of their pure consciousness. To take a particular stance on the carefully crafted by Husserl theory, and take into account the various situation is very important and difficult to ignore the essential structure it is necessary first to specify pure intent object and existence style, so that the next examination, the object of it, according to its nature, whether it has the same structure and deposit style. For this purpose, I find an object of pure intention. On this basis, allow all doubt, people can study the essence of pure intent object and existential style without being tied in from the view of the object of the study is to get in. For me, literary works are the objects of study that are particularly appropriate for this purpose. But when I look at it carefully, special literary theories emerge in front of me, and the disposal of them, together with the basic purpose of the above, gives birth to this book. In this book, because I am driven by such a different motivation, dealing with problems requires more precise than the work of a philosophical basis for the theory of literature alone. On the other hand, the diversity of literary structure forms a series of unavoidable problems for this special problem, and it is also of great importance to various branches of philosophy. Therefore, the study of the fifth chapter is a contribution to logic and its new direction,
The investigation of the objects of the situation and the literary works tries to launch some form of ontological problems. The study of the existential patterns of the objects being reproduced is also helpful to the general existential ontology. In order to destroy the unity of the book, I avoid talking about those found by these caused very important
consequences, they are not only concerned with the problem of the concept of realism, but also related to other philosophical problems.
The book was written in the winter vacation 192728 sabbath. Preparations for other pressing publications and hard working conditions brought the book two years later. The result of this is that some of my findings have been found in other authors' works. Some of the conclusions of the fifth chapter of this book and Edmund? Husserl "form and transcendental logic" (1929) some conclusions in the case. The close connection between some of my analyses and the conclusions drawn by my respected teacher made me particularly happy when I read his new work. But at the same time, there's a big difference between these two books, in addition to some of the points of view, which may be more important to me in some places. I want to use only from showy reference way on this book is not possible. I let my work did not change to press, but this is to indicate the relationship between their points and differences, in order to not write a special book to my teacher this novel and meaningful work.
Husserl and I found in the form of "and transcendental logic" described in the book of the same point of view, the meaning of a word, sentence and more advanced unit of meaning is derived from the subject consciousness of activity components, so that the object of their meaning is not Husserl in the "Logical Investigations" in the definition of the concept. Although in the "Logical Investigations", a book to most of the places Husserl retained the word "idea", only occasionally "non real" words in the brackets, and I completely abandon it, and try to clear the composition and the strict sense of the concept of
the object of study the opposite. This is the first fundamental difference: as all previous ideas (in the old sense) object, are Husserl as a special form of intentionality, so he reached a common dimension object of transcendental idealism; and now I still advocate a variety of concepts (the concept of concept the idea of individual objects, concepts and essence of the concept of strict), and indeed in the concept of the concept of saw has makes the words between the main identity and existence of independent existence style ontological foundation. At the same time, for Husserl, the new logic composition concept originates from the phenomenological research and general transcendental idealism and motivation; and my research refers to the ontology, and tries to logic itself appeared in a series of events (these things make the idea of the state in the strict sense the existence cannot appear in them), and identifies the situation in the subject consciousness in ontological origin. Then I try to outline some of the relevant phenomenology outline. In this book, when I do the above work, I do not make any comments on any point of view of transcendental idealism, especially the realism of the real world. However, my work does have some unique findings against this view (if they are correct). For example, it talks about the unique dual structure of pure intentionality, the domain of its content, and the autonomy of their existence.
As for Husserl and the "Logical Investigations" details of the relationship, as long as pointed out the following opinions related to Husserl that my ties is enough: (1) the difference between the activities of the view on the subject of sentence and pure proposition and judgment; (2) the confrontation between the elements of a complete syntactic meaning and the
meaning of the title of isolated words the material content and form content and the difference of sentence isolated word meaning of the act; (3) the analysis of several interrelated sentences purely intentional object structure. Last,
Some because Husserl does not fully cover and slightly highlighted the views and issues, I will for their own purposes made extensive analysis of the. For example, I think about the object of the literary representation of the existence of the way, Husserl this only two times said, "even fiction has its way of existence."". Then he put forward the "annoying problem" [6]:
How can subjectivity produce components purely from their own spontaneity, and these structures can be legitimately regarded as objects in the "world of ideas". And (at a higher level) such a problem, namely how these concepts can present cultural world (of course it must be regarded as real in the universe, time and space) of the limits of time and space of existence, the reality of existence as a scientific theory and has a short history of the same. [7]
These "annoying questions", especially the second, constitute the starting point for me to examine literary works. The conclusion is that this composition should be cleared not only from the conceptual realm of the strict sense, but also from the real world. Whether or not I succeeded in proving this point remains to be judged by my book.
These comments are in order to help readers understand the relationship between my work and Husserl's "form and
transcendental logic". Do I have to point out that if the difference between the view and the teacher, I have not forgotten how he was grateful. Now, after 12 years of work independently, I ever see, Edmund? Husserl insight and broad vision is how to transcend all of us. If we succeeded in finding something that he hadn't noticed before, we mainly attributed it to the fact that Husserl's tireless exploration made our work easier. [8]
And finally, I want to express my deepest gratitude to those who wrote this book for me to help. First of all, J. and Z.. My Professor Kleiner gave me valuable advice and criticism. I and Dr. W. Auerbach (he also helped me to see the proofs) and Dr M. Ke Ke kinska a few chapters of the book made the discussion, I appreciate their accurate vision. Dr. E. at the generous take text editing work. The question of philosophy that originated in the Greek philosophical writings of Ingaden * 2007 Ingaden album "category overview
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