76 nussins FORMALIN To Fut sTRUEURALIS ‘Roman Ingarden: ‘Some Epistemological the Cognition of the Aesthetic Concretization of the Literary Work of Art’ In dhe cognition ofthe aesthetic conereiation af fiterary work of art we ate concerned in the first place. with dacoveriny what Beuhetc value is constituted and spear in it Dut that in 80 the tain concern of thir cognition, itis basicaly only an empeal [reparation forthe real isk which we must ptform, This consists An understanding bared on dices cxpesence of We Rate {fe loner aig see ale guaor SDPEATN Wr the coneratsaions whether dey only happen 1 Spear together in the conctetiation, whether they ate perape Interconnected and blended in 4 peculiar way without seccicng thie specie. dititeiness, or" whether hey” appear together recestarly. Im the second place, we. are concerned wi Understanding the mode of ont conection betwsen the 2t of esthetally valuable qualities andthe individual qualitatively Aetermined acsede valve which may appear. This wierstanding teaches us about the structure of the leray seth jee = and by structure” we mean dhe kid of onte connection among the bovesmentionedvalue-bearing factors of the objet. We exnnot Sehieve ths understanding wichout alo having the qualtave [Betore whieh enter into the connection. ‘Thur ti not = purely formal insight, but «formal sight which founded in the materi ofthe abject Nori ts purely satutive net bt rather decidedly Sntlleta one, Te exhibits the necessity of the inner structure of the aesthetic abject under consideration oF ele the lack of sich a cess, hence ite greater or lester contingency. Ts partes it am consist in the understanding thet the wal does appea but ‘ot Sficently founded inthe sethetialy valuable qualities which must furtier explain to what extent the aesthetically valle | rege tote cogsin of an asic cotezaton we | ‘gualiies mavifested inthe object ate Tounded in the artiste valee Repeinted font The Gin of te Ltr Wk of trans, Rh Aon CGroey aod Kennet Olson (Evanston iy 198) pte. Phaonecogial Citic 77 , az | alee oie ee nacornaen ee | Ttarmony with the woth tn this way we gain Tesight into the feteisary or contingent sructire ofthe literary aesthetic objec fonder investigations even into ie foundationr ia dhe work of 3H Ise, The demonstration of the necesary one interconnections mong al the elements wader consideration here reveals a sew pie value factor inthe sethebe object the valuable natore ofthe formal unity founded in the indsidual character of the Iatera factors, And this the opti that cane achieved in the area ef sestbete objects Bt note that this unity Ys nly the Formal culmination of the mately determined values which | ppear inthe serhetic object fe object Is shen 3 ization’ oft content of particular idea whieh the artist must omehow have had in mind. Bat be aso ad to avent the means ‘he reaion ths conten tat Ne had o cent the taponing work of ar. Fornote thatthe idea in question Is not ‘en of the work of a7 But only the idea of dhe pela ote |Blccomecon bciran the recan ale ait n h t o htc valuable qualities which coeists wih is Harmooions vi. Pees tre ey ree girl ee a a Sern en er a ‘Sate ofthe reader himself Thy independent af the work ofa Bel Tictre are quite vara, ar ead \" umttances under whieh the reading i performed, a4 wll a 0m a fone ate, a {eam be peice im ther conctins Ths theirs “Srvmg Snel conrtiatios a the same work are gue fon oh say. Goethe's Waker ord78 nussiay FORMALISM Yo wRENeH FERUCTURALE | mnulifarious and, in general, unpredictable. Tt will happen only ‘ery rarely that {wo coneretzatone ofthe same work, ormed by “liecent readers, wile completly sien all atures which are ‘erucal fo the formation ofthe aesthetic vale Wy despite several altcmpiy we are arab togves peculiar quaity which, aceording to nother person's report appears the oncrtieation he has consitated, hen all we ca do is take ‘eogntanee af dhe fet that there i worething in theater person's oncretistion af Une work of are which sgt four reach ‘Phew we nn ty to experience and to concretize the work oat acathetialy fn new ways Perhaps then we wil copnize that quality which we ‘not recognise af fart o¢'8 harmony which Could hen mae ‘wih the other reader posible. But here we ate iit of what we can invesgte fn commen with fers, Widwout all hese attempts at veining Ue. cognon of Tteraty aaheticabjects and overcoming the Hepsi dial, however, ne are not used in destaring prio as fen done, that sciente mastery ofthis field is impossible. The fact that tht ‘hore work At the limite of the sphere af vestigation are the “Sndividuat features of the individual aesthetic concreatons, ‘etmight he asked wether these do not go beyond there mis and Should net perhaps be tamed over to terry eritism, Mut the Salution ofthis problem would require a general discussion about ihe objec, the fash, and the meshods f hterary scholarship and ‘ler forms af knowledge about iterate, whe nlude pilsop hy ef iterture elem, and poetics Suck a iseusson gors beyond the scope ofthis book “This result seems, however, to be threatened by 2 danger we Tina question ofa Caled value judgments or evaluations, To the extent that thi reflects a shoitcoming of the individual investigator or arises from fan acidental defect inthe eesllsachicved ts something which ‘ccna im all sciences even the esac? riences and which rahe to eeaton for despsing the science in whieh it occurs Inthe ‘hee of literary scholarship, Howeveh, this fct Is enploted at | beeween's bterary wore ofa and res onan ttl eee judgments (ane verdicts) as if | (with no conidertion af what ‘he term might mean). He seems to me thay afer the inkodaction of burdistinctons, the theoreiealifiealies dirappear Nether enti for contradiction occurs when two judgmenta about two dierent Coneretiztions of the sume work zay something diferent bout ‘orresponding factor ofthe two eoncretvaions. The concretivations| nay very well ifr on shis point. "The fact that such judgments do, tot agree docs not constitute & shortcoming in literary staly. OF furs, that is tue oly when the point of ierence betwect the Jdgments consists in & factor or fiibute of the consretietion ‘etek doesnot belong to the work lf at to suppementtions of the work by the new factors or element of the enneretzations Hy howeve imi divergence amongtrvejudgmentssbout dierent concrete talions of the Sime work ef sr nor a delet nthe say of Tteratue- Our conception of the Htsrary work of art acount its Pestiiy. TCs diferent situation, however, when (wo value judgments saabarltineereetstrenlees OUD aa geet ‘Then we mst suspet that atleast one of them se ad results from an inexact analysis of te work of art and the posaiiaes of fa aesthetic concretions. But then ove do have the ors of80 Russian FoRDAUBM to FRENCH srAUETURALSA ‘removing the confit between the judgments by means of a new 8nd more exact analysis ofthe work of at and teats exes, 0-that this case presents no. theoretical danger for lterary eholarship, although i ean sometimes be very dealt to find the Bas fhe cr a mace edit concerning the rine, “And he reson evaluations of te mek oe “apse ae ics ener ges nd ad wale of the work arcin 7. omy yoene of the ha hss and racquence ofthe rel (rary aclar, whe is alien unable to tee hejand 0 1. One concerned with the enence or bing f eter geen ‘ithe trary work ine thee sn apt) intent Senne it by shaman conuowoney (te sone mater a tans tra on the page ea conep oe Georges Poulet: ‘The Self and Other in Critical Consciousness’ CCiteal consciousness eles, by definition, om the! hihi “another i tnds it nourahment and ite substance only therein» "Each Wterary wore, of no matter what hind, implies, fo & water, an act of self-discovery. Waiting dace not mean simpy to Allow ‘an unstemmed rash of thoughts to: flow onto the papery Reprinted rom Dis, 2 (1972), pA. soe Teannot say exsely when Fcame othe conviction that it aga whole depends om this bind of act T read the pilosophers; Above all thore who had. thoaght-more than thes. about the fignicance ofthe ip, Nesey all f moder philosophy, Fors | ‘Mantsigne to Hassety seemed to me t0 begin with » rellection Which fad ts root im the funtion of consciousness. Each Terary text, whether essy, novel, oF poem, ad point of luc; eich organized language grew out of a original moment > ptewarenesr, sere tal them according tothe successive points {i subsequently touched upon. Ia this tealm there was 0 basic Siterence berween literary and philosophical texts. ll fieraure ‘vas plilosopy far me, each phlosply was Kteratuee. No matter tba pet of text Uren atthe instant {began to rense the eet of ‘concep in i ound the same origi in almost each fine ad the thts sores ced it Te was a ki rwarenes the ert would | ‘ind possible with this prceure te daw number sfconcasons | from this point of departre. The vgto would reves sl nt oa 4a primary experince but alioy ie an iavolted form, a2 a | Drincple of paliple developments which arranged theres ‘hina timeline. The erite woul only have to flow thi ine. It