Abstract
Ingarden’s conception of the aesthetic object is unique. It involves a relation between a perceiving subject and an object, normally an art object, where the object itself remains primary. Although it is ultimately Kantian in its conception,1 Husserl’s influence on it is more pronounced. For Kant the aesthetic sentiment is a sensation which derives from the relation between a representation and the subject, as the result of the contemplation of art works. For Ingarden the aesthetic sentiment is more complicated than a pleasant sensation, and it is much more than the free-play of the imagination and the understanding which leads to a harmony of these faculties in an abstract fashion, although the notion of harmony remains central to Ingarden’s aesthetics. In the Husserlian sense, an object is constructed by various stages of perception and understanding, successive perceptions rendering the object more complete in its specific qualities. By analogy, the aesthetic object, according to Ingarden, is formed by successive encounters with the art object, be it literary, plastic or musical, in a process known as concretization. This process involves the formation of an aesthetic object. In this sense the aesthetic object is the product of analysis and intellectual effort. What Kant refers to as the sensation of pleasure caused by an encounter with a beautiful object is only one of the initial stages of the concretization process in the work of Roman Ingarden.
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Kocay, V. (2002). Roman Ingarden’s Unique Conception of Aesthetic Objects. In: Tymieniecka, AT. (eds) Phenomenology World-Wide. Analecta Husserliana, vol 80. Springer, Dordrecht. https://doi.org/10.1007/978-94-007-0473-2_19
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