| | Focus | Key Pages (1973 ed.) | | --- | --- | --- | | 1 | Read the Editor’s Introduction (by Grabowicz) | xi–lxiii | | 2 | Skim Chapter 1 (Word Sounds) – important but dense | 13–35 | | 3 | Read Chapter 6 (Meaning Units) – the core of semantics | 94–129 | | 4 | Read Chapter 7 (Represented Objects) – essential | 130–174 | | 5 | Read Chapter 8 (Indeterminacy) – most cited | 175–215 | | 6 | Read Chapter 9 (Concretization) | 216–250 | | 7 | Read Conclusion (Metaphysical Qualities) | 349–375 |
Ingarden, Roman. The Literary Work of Art: An Investigation on the Borderlines of Ontology, Logic, and Theory of Literature . Translated by George G. Grabowicz. Evanston: Northwestern University Press, 1973. roman ingarden the literary work of art pdf
Here is where semantics dominates. Words carry meanings, and sentences assert propositions. However, Ingarden famously noted that sentences in literature do not function like sentences in logic. In a scientific paper, a sentence is a judgment (claiming truth). In a literary novel, sentences are quasi-judgments —they present a fictional world without asserting its real existence. This layer builds the of the work. | | Focus | Key Pages (1973 ed
