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Finally, in the text we speak of aesthetic contact with the work, whereas in order to detect the results presented here, a theoretic, purely cognitive access to the work is indispensable. . I may act in such a way that there will be no concretization of the work ... I try to stick to the text as close as possible, with all its insinuations and potential ities. ”16 35 In his works Ingarden investigates the problem of con cretization in three contexts: (1) in connection with on tological analyses dealing with the structure of different types of works of art; (2) while investigating the process of getting acquainted with a literary work; (3) in connec tion with the aesthetic experience, the situations in ques tion being the apprehension of sets of aesthetically valent qualities and their polyphonic orchestration, the creation of aesthetic objects, and communication with the aesthetic value.
21 It appears that on the m atter at issue Lem’s views do not differ appreciably from Ingarden’s approach. This striking similarity becomes most evident in those parts of Lem’s book where he attempts his own description of a reading of a French novel, showing false interpretative hypotheses emerging in the course of reading as precisely the “wrongly” read and describes the process of transforming and reinter 38 Anita Szczepanska preting earlier parts of the work under the influence of the later.
The part played by the creative and perceptive acts in relation to the work of art is con 26 Anita. ”4 Traditional aesthetics has never worked out a clear dif ferentiation between a physical object and a work of art itself. There are also some post-Ingardenian theories (like that of N. Hartmann) which accept his conception of the work of art’s intentionality and complex structure and yet incorporate into the work of art its material basis as a “low est” stratum, and so construct and object are existentially heterogeneous.
Betrachtungen und Maximen by Vauvenargues