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By Martin Heidegger

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Phenomeno­ logical aesthetics, oriented toward investigating a general, eidetic structure of the object and necessary relationships within it and regarding cultural, social, and historical de­ terminants as superficial and unimportant to the object’s essence, found itself in the position of an outsider. The main objection that scholars of a semiotic orien­ tation formulate against Ingarden’s theory of the work of art is its ontological character, the fact that the primary subject of investigation is the structure and the essential features of the work of art treated as an isolated objectiv­ ity, not as a mere component of communicative acts within the framework of a particular language of artistic conven­ tion.

Janina Makota, O klasyfikacji sztuk pieknych (On the Classification of the Fine Arts), (Cracow 1964), 173. 5. Jadwiga Slawinska, “Uwagi o teorii dziela architektury Romana Ingardena” (Remarks on the Theory of the Architectural Work of Roman Ingarden), Studia Esteiyczne, I (1964). 6. Ingarden, List do Redakcji (Letter to the Editor), Studia Esteiyczne, I (1964). 7. Ingarden [13], “O budowie obrazu” (On the Structure of Painting). 8. Ingarden [21], Studia z estetyki (Studies in Aesthetics), (Warsaw 1966), I, 40.

Its ontological foundations are twofold: the acts that brought it to life and the material objects appropriately shaped by 24 Anita Szczepanska an artist. Despite being subject to psychical arts, the work of art is not a psychical entity and should be identified neither with the psychical experiences of its creator nor with those of observers. In the terminology worked out by Ingarden to denominate different modes of existence by indicating different ontological moments, the work of art is an object ontologically derivative from and at the same time both ontologically independent of the experiences of its maker and observers (being a separate entity) and on­ tologically dependent on its maker, observer, and material substratum.

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