Historical context, strata and unity of meaning: the hermeneutic mentality of Roman Ingarden.

Abstract

We live in a world in which visiting a museum, listening to music or reading a book has become commonplace. Long gone are the times when only a minority was able to read or attend great concerts. We have become accustomed to move in an environment where contact with artistic creations is easy and accessible. However, if we pause to reflect or question the true meaning of art and its intrinsic nature, many would be surprised to find themselves without a clear or concise answer. It may be that if we were truly aware of art’s role we would dedicate more time to contemplate and enjoy the artistic works available to us. The question of defining, delimiting or framing the notion of the “artistic” is not a trivial one. Engaging with art brings us into contact with the sublime, with that which we most need but fail to recognise or understand. However, rapid technical or technological access to works of art does not necessarily translate into a proportional interest in art. Many look forward to their retirement to begin enjoying the pleasures of art while others frequent artistic or cultural milieux merely in order to project an image of sophistication to others, rather than out of any real personal interest; still others simply believe that art is not for them because they are too busy in their daily lives and have no interest in investing time and money in something that requires quietude and repose. Some regard art in purely decorative terms: books, artwork or records are adornments to make walls and shelves more attractive and appealing. Here art is exclusively ornamental. Within this final group are those who take a real interest in these theoretical and practical questions, themselves creators or not, who look to art simply for that which is lacking or can profoundly nourish their own lives. But what is art? What does it consist of? The question of art is a philosophical and anthropological question. To understand art one must look beyond the merely apparent, the concrete, through a phenomenological approach where what matters is the relation we establish with what confronts us as a subject. To understand the truth of an artistic composition, if it is truly artistic, is to understand ourselves. In this vein, we will analyse the work of the Polish thinker Roman Ingarden and his specific notion of the literary work of art as the foundation of modern aesthetics. We will thus pursue an understanding of artistic creation by exploring its essence, its ontology and epistemology within literary theory.