英伽登的艺术存在论  

The Ontology of Art of Ingarden

作　　者：黄华侨[1] 

机构地区：[1]首都师范大学政法学院,北京100089

出　　处：《同济大学学报（社会科学版）》2010年第1期19-30,共12页Journal of Tongji University:Social Science Edition

摘　　要：英伽登的艺术理论建立在他对范畴体系的详尽讨论的基础上。在他看来,传统的范畴体系过于贫乏,无法应对实在论-观念论之争。为此,他提供了一个更加丰富的存在论框架。基于这一框架,艺术作品既非实在对象,也非观念对象,而是纯粹意向性对象。同时,艺术作品具有一种分层结构。本文试图通过对英伽登的存在论和范畴理论的梳理,重新理解他在艺术理论和文学理论方面的主要工作。Ingarden’s theory of art and literature is based on his detailed discussion of the system of categories. He believes that the traditional ontological categories are too poor to deal with the realism/idealism controversy. To approach these problems he provides a richer ontological framework. Based on this framework, the work of art is neither a real object nor an ideal object, but a purely intentional object. And it may turn out to have a stratified structure. This paper attempts to re-understand Ingarden’s theory of art and literature by discussing his theory of ontology and categories.

关 键 词：存在论 存在样式 意向性对象 分层结构 

分 类 号：B505[哲学宗教—外国哲学]