The Problematic Status of the Literary Work of Art in Contemporary Aesthetics

2017 ◽  
Vol 13 (2) ◽  
pp. 119-144
Author(s):  
Ioana-Eliza Deac
Keyword(s):  
Literary Work ◽  
Work Of Art ◽  
Dual Nature ◽  
Shared Set ◽  
The Arts ◽  
Similarities And Differences ◽  
Literary Work Of Art ◽  
The Aesthetic ◽  
Physical Manifestation ◽  
Different Levels

Developing a system that would reunite all the arts and account for their similarities and differences on the basis of a shared set of criteria was one of the main objectives of the aesthetic discipline, whose roots run deep into romantic philosophy. The diversity of modernist experiments poses a number of challenges to such systematisation and invites theoreticians to start anew. To illustrate some of the main difficulties arising from this situation, particularly in the case of the literary work of art, this article will focus on Gérard Genette’s two volume work L’œuvre de l’art (1994, 1997). Genette’s main purpose is to offer a conceptual framework for the description of the work of art that would find a place in the system for its material mode of existence. His objective is achieved at the expense of the coherence of the model since the structure of what he terms allographic and autographic works proves to be asymmetrical. Thus, the autographic works are presented as having a dual nature: transcendental and immanent (that is, physical), while the allographic works comprise three different levels: transcendence – immanence (understood as ideal) – and (physical) manifestation. After confronting Genette’s premises with the conclusions of several disciplines which study the same object of immanence from a different perspective, this paper will propose a revised and more coherent version of his system.

scholarly journals EMPATHY AND THE EMOTIONAL COEXPERIENCING IN THE AESTHETIC EXPERIENCE

2020 ◽  
Vol 9 (2) ◽  
pp. 495-512
Author(s):  
JEFF MITSCHERLING ◽  
Keyword(s):  
Aesthetic Experience ◽  
Literary Work ◽  
Work Of Art ◽  
Philosophy Of Psychology ◽  
Psychological Literature ◽  
Literary Work Of Art ◽  
The Aesthetic

After briefly remarking on previous treatments of empathy in the philosophical and psychological literature, I outline Stein’s treatment of this concept in On the Problem of Empathy and Philosophy of Psychology and the Humanities, illustrating the problematic breadth of her application of the term ‘empathy,’ a breadth that Stein herself calls to our attention. After a brief discussion of Stein’s treatment of empathy and the experience of value, I turn to certain features of Roman Ingarden’s analyses of aesthetic experience found in The Literary Work of Art and The Cognition of the Work of Art that deal with what he refers to as the reader’s ‘emotional coexperience’ of situations and events represented in the work of art. I conclude by comparing Stein’s account of empathy with Ingarden’s account of aesthetic experience, both of which deal at length with the subjective activities of “feeling with” and emotional coexperience.

scholarly journals Literary Discourse as a Cognitive Dialogue About «Language as the House of Spirit»

2021 ◽  
Vol 3 (2) ◽  
pp. 33-42
Author(s):  
Yu. V. Mironova ◽  
T. I. Sokolskaya
Keyword(s):  
Literary Work ◽  
Modern Human ◽  
Literary Discourse ◽  
Human Beings ◽  
Textual Space ◽  
Level 3 ◽  
Spiritual Energy ◽  
Literary Work Of Art ◽  
Level 2 ◽  
Different Levels

The article is focused on the diversity of literary discourse which is viewed through the prism of “the internal life of the text” and is considered as a dialogue within “the life and power” of the language. As an object of interdisciplinary scientific research literary discourse is perceived as a complex metalinguistic phenomenon, which is inherently dialogic in its character and able to generate certain reality in which modern human beings live and act. In the triad “discourse – language – language personality” the median marker is viewed as “the house of being” (M. Heidegger), “the spirit of the nation” (W. Humboldt), which allows for the understanding of flickering ideas standing behind the creativity of a modern poet.This paper provides the interpretation of the linguistic dynamics of textual space as one of the possible methods of understanding “the life and power” of the text, which helps to objectively represent the notion of “language as the house of spirit” and the spirituality of modern poetry.The purpose of the article is to study the discourse of a literary work of art as a cognitive dialogue about “language as the house of spirit” and reveal the dynamics of “the spirit” within “the soul of the text”. It should be underlined that the multidimensional character of literary discourse provides for several levels in studying a literary text:Level 1: “the text and the reality”;Level 2: “the text and the language”;Level 3: “the author and the text”;Level 4: “the reader and the text”.The research is based on the analysis of the poetic essays by Tamara Sokolskaya – “The Honesuckle” and “Poetic Ariozo. G#HF#E”.The methods employed in the paper include modeling and interpretation of the linguistic dynamics of the textual space, contrastive and synergetic analysis of the “life and power” of the text and the method of conceptual analysis.The findings of the research comprise the following the results:1. Literary discourse is specific in its multidimensional character and the variety of expressed ideas, which sets it apart from other types of discourse;2. This multidimensional character of literary discourse reveals the complexity of the spiritual life of the author of the text.3. The synergy in the dynamics of textual units demonstrates spiritual content of modern poetry which exists at different levels of consciousness.4. Literary discourse serves as the material realization of the spiritual energy of a person.5. Literary discourse should be viewed as a cognitive dialogue about “language as the house of spirit” which reveals “the dialectic of the spirit” of the author and the dynamics of “the life and power” of the text as a multicultural language code representing the spiritual energy of the nation.

scholarly journals Los cuatro estratos de Roman Ingarden como fundamento teórico para el análisis de las traducciones literarias

Hikma ◽  
2016 ◽  
Vol 1 (15) ◽  
Author(s):  
Alfredo Hermosillo López
Keyword(s):  
Theoretical Foundation ◽  
Literary Work ◽  
Reception Studies ◽  
Work Of Art ◽  
Active Reading ◽  
Starting Point ◽  
Literary Work Of Art ◽  
Wolfgang Iser ◽  
Literary Reception

<p>Resumen:</p><p>Este artículo analiza la teoría de los cuatro estratos del filósofo polaco Roman Ingarden. Tiene el propósito de mostrar que sus conceptos sobre la lectura activa y la obra de arte literaria, además de ser el punto de partida de los estudios de recepción desarrollados más ampliamente por Hans-Robert Jauss y Wolfgang Iser, pueden utilizarse como fundamento teórico para el análisis de traducciones literarias.</p><p> </p><p><em>A</em><em>bstract:</em></p><p>This article analyses the theory of the four strata proposed by the Polish philosopher Roman Ingarden. Its main purpose is to show that Ingarden’s concepts regarding the active reading and the literary work of art, besides from being the starting point of the literary reception studies, developed more widely by Hans-Robert Jauss and Wolfgang Iser, can also be used as a theoretical foundation for the analysis of literary translations.</p>

Philosophical Aspects of Literary Objectiveness

1998 ◽  
pp. 77-84
Author(s):  
Endre Kiss
Keyword(s):  
Literary Work ◽  
Philosophy Of Art ◽  
Crucial Importance ◽  
Work Of Art ◽  
Artistic Experience ◽  
Scientific Analysis ◽  
The Status ◽  
The Aesthetic ◽  
Definition Of ◽  
General Fact

Gadamer’s hermeneutic philosophy avoids the problem of literary objectiveness altogether. His approach witnesses the general fact that an indifference towards literary objectiveness in particular, leads to a peculiar neglect of par excellence literariness as such. It seems obvious, however, that the constitutive aspects of the crisis of literary objectiveness cannot be shown to contain the underlying intention of bringing about this situation. At this point, one can identify what could probably be the most important element in a definition of literary objectiveness. In contrast to ‘natural’ objectiveness and objectiveness based on various societal conventions, the legitimacy of a literary work is solely guaranteed by its elements being organized in accordance with the rules of literary objectiveness. Thus when the crisis of literary objectiveness intensifies, literariness will also find itself in a crisis. This crisis detaches new, quasi-literary formations from various definitions of literariness. When literary objectiveness ceases, however, to be understood as a system constituted by various objective formations aiming to correspond in one way or another to the ‘world’, scientific analysis of literary objectiveness will be rendered impossible. The crisis of literary objectiveness thus brings about the crisis of the theory of literature and the philosophy of art. Gadamer explicitly argues that the scientific approach proves to be inadequate in the analysis of artistic experience. This attitude results in the categorical rejection of a scientific orientation (and so in a complete indifference towards literary objectiveness), but he seems to overemphasize an otherwise correct thesis on the non-reflexive character of artistic experience. It is the anti-mimetic and Platonic character of Gadamer’s aesthetic hermeneutics that determines the status of literary (artistic) objectiveness in his system of thought. What is of crucial importance, however, is to point out that this aesthetics entails a fundamental reduction of the significance of literary objectiveness. As soon as the essence of aesthetic object-constitution is taken to be re-cognition (plus the emanating aesthetic possibilities), the absolutely natural interest in the original object represented by a work of art.Undoubtedly, Gadamer’s conception answers a number of questions that tend to be ignored by other theories. It is just as obvious, however, that Gadamer completes here the aesthetic devaluation of the objective domain. It is not the characteristics of the ‘original’ that constitute the image, but in effect the image turns the original into an original. Paraphrasing this claim one arrives at a near paradox: not objectiveness makes a work of art possible, but a work of art lends objects their objectiveness.

scholarly journals PECULIARITIES OF INTERTEXT AND INTERCULTURE PARADIGM OF JOSEPH ROT PROSE

2019 ◽  
pp. 283-291
Author(s):  
T. P. Monolatii
Keyword(s):  
Theoretical Approach ◽  
Literary Work ◽  
Human Existence ◽  
Narrative Strategy ◽  
Additional Dimension ◽  
Good Representative ◽  
The Arts ◽  
New Meanings ◽  
The Aesthetic ◽  
Joseph Roth

The article analyses interpretation of Joseph Roth prose in the context of intertextuality as a literary means. It is determined by the author’s strategy and studied the aesthetic issues that are fundamental to his work. Intertextuality proves a postmodern phenomenon of reinterpretation of classic and new texts, giving them new meanings and establishing parallels with modern literature, which is reflected in an adequate interpretation of their genre and stylistic forms, the interpretation of philosophical concepts, iconic fictional and aesthetic phenomena. So in fiction there is an additional dimension – intercultural component of the artistic world of the text. This theoretical approach is extremely productive, especially in the study of works of those authors; the arts are rooted in different spheres of human existence, formed on the border of their own cultures, languages, historical and national traditions. A good representative of “intercultural” narrative strategy is Joseph Roth. Thus, under conditions of intertextual interaction, the literary work becomes part of a broad intertextual space that covers not only literary, but also outside of literature forms of expression, and any text is in various “dialogical” relations with other texts that fill this space with different language codes that are represented in this space.

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