: A text described with these four strata is not a static object. The literary work is always filled with "spots of indeterminacy" or "places of indeterminacy" (sometimes called "gaps"). In any given description—of a character's appearance, for instance—Ingarden argued that certain aspects are necessarily left unfilled. The reader's active role is to "concretize" the work by imaginatively filling in these indeterminacies, a crucial act that brings the text to life in the aesthetic experience. The writer and reader are thus involved in a cooperative, creative act.

Ingarden argues that a literary work is not merely the ink on paper (the physical object) nor the emotions felt by the reader (the psychological experience). Instead, he defines it as an —a structure created by the author that resides in the consciousness of the reader, possessing its own unique "anatomy". Key Concepts in the Text

The Concretization of the Literary Work of Art - Semantic Scholar

Searching for “Roman Ingarden the literary work of art pdf” is not just a historical curiosity. His ideas are alive in current debates:

Thus, two readers reading the same Hamlet are encountering the same schematic work but creating different aesthetic objects. Ingarden solves the problem of literary identity: the work is one (the invariant structure), but its concretizations are many.

As described in the Stanford Encyclopedia of Philosophy , Ingarden focuses on the "a priori" nature of the work—what it must be in order to exist.

Ingarden’s project was to apply Edmund Husserl’s phenomenological method to literature. He sought to answer: What kind of object is a novel or poem? Where does it exist?

It acts as a bridge between abstract text and visual imagination.

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