I Aesthetics of the Performing Arts: Different Phenomenological Perspectives.- The Theory of Drama and Theatre: A Continuing Investigation of the Aesthetics of Roman Ingarden.- On the Sign Character of the Representing Stratum in a Film as Work of Art.- II Roman Ingarden: Some new Developments in his Scholarship.- The Temporal Composition of the Literary Work of Art and the Reader's Aesthetic Temporality.- The Mystery of Time in Roman Ingarden's Philosophy.- Thomas de Quincey and Roman Ingarden: The Phenomenology of the "Literature of Power".- On Translations (Tr. by Jolanta Wawrzycka).- III Around the 'Passions of the Soul'.- Grand Passions of Humble Folk: "Woyzeck" and "The Jews' Beech".- The Enigma of Interpretation in Chagall's Disposition of Space.- Erotic Modes of Discourse: The Union of Mythos and Dialectic in Plato's Phaedrus.- The Man of Genius as Artist - Suffering and World Conscience.- The Erotic Phenomenology in Kierkegaard's Mozart.- The Agamemnon: A Drama of the Passions.- Narrative Time as Interpretation of Human Existence: "Valence" in the Present of The Ambassadors.- IV Philosophical Views Reflected in Literature.- Le langage de la création esthétique dans la phenomenology.- Unity in Vedic Aesthetics: The Self-Interacting Dynamics of the Knower, the Known, and the Process of Knowing.- An Approach to the Structure of the Japanese Elegy, in the Case of Yamanouë No Okura, a Representative Poet of Mannyoshu (The First Collection of Japanese Poetry).- Fantastic Phenomenology.- Philosophic Filaments in Literature in English: Wordsworth to Pound.- Index of Names.

Klappentext

In the footsteps of Ingardeniana II, this volume marks the 20th anniver­ sary of Roman Ingarden's death, partly focusing upon his thought, partly bringing his aesthetics into the present-day framework of research. It might have appeared puzzling to the followers of our Analecta Husserliana why within the original horizon encircled by the research work of our International Society of Phenomenology and Literatur- whose research work is devised in a diametrically opposed direction to that of Roman Ingarden - there is steadfastly running through our discussions a line of Ingardenian reflection. The reason, as I have pointed out in the introduction to Ingardeniana II, expertly edited by Hans Rudnik, is clear: Ingarden's analysis of the intentional structures of works of art offers in its distinct and clear-cut forms an 'objective' correlate - as well as a point of reference - to the vast conundrum of issues concerning the creative endeavor of the writer, poet, artist in their struggle to endow life with its specifically human significance; a conundrum that in our research we are trying to disentangl- elucidating its mysterious ramifications, their sources and dynamic virtualities. As a matter of fact, Ingarden's thought, newly interpreted and originally expanded, occupies a legitimate place in the present collec­ tion. We find here, in the first place, an original expansion of Ingarden's aesthetic theory in the monograph of ladwiga Smith followed by the essays of Wadaw Osadnik, Yushiro Takei and Charles Rzepka.