The investigation of literary and music from the ontology perspective in according to the ingarden's view
| Autor | Ali Ashrafi |
| Páginas | 24-30 |
Periódico do Núcleo de Estudos e Pesquisas sobre Gênero e Direito
Centro de Ciências Jurídicas - Universidade Federal da Paraíba
V. 8 - Nº 02 - Ano 2019 – Special Edition
ISSN | 2179-7137 | http://periodicos.ufpb.br/ojs2/index.php/ged/index
24
THE INVESTIGATION OF LITERARY AND MUSIC FROM THE
ONTOLOGY PERSPECTIVE IN ACCORDING TO THE
INGARDEN’S VIEW
Ali Ashrafi1
Abstract: The classical music works
have a single ontology. On the one hand,
the musical work is the one that the
composer has composed, and on the
other hand, this work gets a different
existence every time. The existence of
literary work is also a layer of layer, and
the effect is realized in varying degrees
in each of these layers. Roman Ingannd
is the founder of the ontology of art.
According to Ingardin,s view, every
work of art has unconventional spaces
that the audience completes during their
aesthetic experience. Therefore,
understanding the work of art requires
the active participation of the audience
and the work is calibrated in an
interdisciplinary approach.
Keywords: Ontology, phenomenology,
music, literary work, Ingarden.
Introduction
1 Department of English language, University of Applied Science and Technology, Tehran, Iran.
Email: Ali.Ashrafi.Sarvak11@gmail.com
Roman Innard is the father of
phenomenological aesthetics. His works
included the ontology, logic, and the
theory of literature, the recognition of the
work of literary art and ontology of the
work of art, musical work, image,
architecture and film. Inghardin have
considered the works of art and believed
that these works belong to the realm of
reality, and they are not ideally suited to
his belief that artworks are objects that
are not completely self-contained and are
dependent on the intentional intentional
actions of their creators and their
audience, and subsequently they are
considered a tangible object.Therefore,
in his numerous works, he shows that the
art works is not proportional to realism
or ideality, and the subject of aesthetic
research is in fact an interstitial of artistic
objects. These actions are embodied in
artistic or other material manifestations
and re-live in the audience's awareness.
In particular, the literary works are a
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