Roman Ingarden’s Objectivity vs. Subjectivity as a problem of Translatability

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Pareyon , G 2010 , Roman Ingarden’s Objectivity vs. Subjectivity as a problem of Translatability . in E Tarasti (ed.) , Abstracts of the International Summer School for Semiotic and Structural Studies : 25 Years Semiotics in Imatra . International Summer School for Semiotic and Structural Studies , pp. 34-35 , 25 Years Semiotics in Imatra , Imatra , Finland , 11/06/2010 .

Title: Roman Ingarden’s Objectivity vs. Subjectivity as a problem of Translatability
Author: Pareyon, Gabriel
Editor: Tarasti, Eero
Contributor: University of Helsinki, Department of Philosophy, History, Culture and Art Studies 2010-2017
Publisher: International Summer School for Semiotic and Structural Studies
Date: 2010-06-07
Language: eng
Number of pages: 2
Belongs to series: Abstracts of the International Summer School for Semiotic and Structural Studies 25 Years Semiotics in Imatra
URI: http://hdl.handle.net/10138/24790
Abstract: Ingarden (1962, 1964) postulates that artworks exist in an “Objective purely intentional” way. According to this view, objectivity and subjectivity are opposed forms of existence, parallel to the opposition between realism and idealism. Using arguments of cognitive science, experimental psychology, and semiotics, this lecture proposes that, particularly in the aesthetic phenomena, realism and idealism are not pure oppositions; rather they are aspects of a single process of cognition in different strata. Furthermore, the concept of realism can be conceived as an empirical extreme of idealism, and the concept of idealism can be conceived as a pre-operative extreme of realism. Both kind of systems of knowledge are mutually associated by a synecdoche, performing major tasks of mental order and categorisation. This contribution suggests that the supposed opposition between objectivity and subjectivity, raises, first of all, a problem of translatability, more than a problem of existential categories. Synecdoche seems to be a very basic transaction of the mind, establishing ontologies (in the more Ingardean way of the term). Wegrzecki (1994, 220) defines ontology as “the central domain of philosophy to which other its parts directly or indirectly refer”. Thus, ontology operates within philosophy as the synecdoche does within language, pointing the sense of the general into the particular and/or viceversa. The many affinities and similarities between different sign systems, like those found across the interrelationships of the arts, are embedded into a transversal, synecdochic intersemiosis. An important question, from this view, is whether Ingardean’s pure objectivities lie basically on the impossibility of translation, therefore being absolute self-referential constructions. In such a case, it would be impossible to translate pure intentionality into something else, like acts or products.
Subject: 613 Arts
intentionality
objectivity
subjectivity
intersemiosis
Ingardean philosophy
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