Titlebook: Ingardeniana III; Roman Ingarden’s Aes Anna-Teresa Tymieniecka Book 1991 Springer Science+Business Media Dordrecht 1991 Plato.Roman Ingarde

Banquet

William S. Haney IIafür sind so mannigfaltig, daß sie sich einer einheitlichen Erklärung entziehen. übereinstimmend ist allein das Streben und die Bereitschaft, die Hilfen und Vorzüge rationaler Problemanalyse und darauf basierender Entscheidungsyorbereitung, die OR bei sachgerechter Inanspruchnahme erwarten läßt, fol

显赫的人

N斯巴达人

On the Sign Character of the Representing Stratum in a Film as Work of Art between the . and . strata differs considerably from the relation between the . and . strata. The first relation is directly based on a certain semantic relation, whereas the “semantization” of the second one is possible only in an indirect way.

天气

shrill

Thomas de Quincey and Roman Ingarden: The Phenomenology of the “Literature of Power”ded a systematic categorization and analysis of literary types and effects. He wrote his pieces hastily, under the pressure of deadlines, and seldom with the relevant texts at hand. John Jordan has demonstrated at considerable length that De Quincey’s best criticism was occasional and affective: wha

GUEER

一骂死割除

Grand Passions of Humble Folk: Woyzeck and the Jews’ Beech 1842). However, the end of both heroes, or anti-heroes, has effects on the reader traditionally reserved for great tragedy. Or, to put it more precisely, the authors Georg Büchner and Annette von Droste-Hülshoff probably intended their works to have effects of this sort, but their intentions have g

GEON

遗传

Erotic Modes of Discourse: The Union of Mythos and Dialectic in Plato’s , oral and written expression. Unwilling to give up any curricular part of the soul’s instruction, Plato would teach them all. He does so in the ., for example. The . contains a variety of themes — love, the soul, the beautiful, dialectic, poetic inspiration, virtue and knowledge — yet Plato finds un

Hectic

The Man of Genius as Artist — Suffering and World Consciencee . and as such there should be no need to consider the “reverse” problem, to wonder if they could also be wrong, unjust (when looked upon from the existential, human, and even the aesthetic standpoint). Despite this it is Hegel himself who stirs up the reader’s mind by subsequently mentioning the “