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Patricia Limido est Professeure des universit\u00e9s et enseigne \u00e0 l\u2019UFR Lettres, Arts et Cin\u00e9ma. Elle co-dirige l\u2019axe \u00ab\u00a0Architecture et Arts\u00a0\u00bb au sein du laboratoire CERILAC dont elle est membre.<\/p>\n<\/div>\n<\/div>\n<\/div>\n
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\u00a9 DR<\/p>\n<\/div>\n<\/div>\n<\/div>\n
[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00a0\u00bb2_3″][et_pb_text admin_label=\u00a0\u00bbPr\u00e9sentation\u00a0\u00bb _builder_version=\u00a0\u00bb3.22.1″ module_id=\u00a0\u00bbcontenu\u00a0\u00bb text_text_shadow_horizontal_length=\u00a0\u00bbtext_text_shadow_style,%91object Object%93″ text_text_shadow_vertical_length=\u00a0\u00bbtext_text_shadow_style,%91object Object%93″ text_text_shadow_blur_strength=\u00a0\u00bbtext_text_shadow_style,%91object Object%93″ link_text_shadow_horizontal_length=\u00a0\u00bblink_text_shadow_style,%91object Object%93″ link_text_shadow_vertical_length=\u00a0\u00bblink_text_shadow_style,%91object Object%93″ link_text_shadow_blur_strength=\u00a0\u00bblink_text_shadow_style,%91object Object%93″ ul_text_shadow_horizontal_length=\u00a0\u00bbul_text_shadow_style,%91object Object%93″ ul_text_shadow_vertical_length=\u00a0\u00bbul_text_shadow_style,%91object Object%93″ ul_text_shadow_blur_strength=\u00a0\u00bbul_text_shadow_style,%91object Object%93″ ol_text_shadow_horizontal_length=\u00a0\u00bbol_text_shadow_style,%91object Object%93″ ol_text_shadow_vertical_length=\u00a0\u00bbol_text_shadow_style,%91object Object%93″ ol_text_shadow_blur_strength=\u00a0\u00bbol_text_shadow_style,%91object Object%93″ quote_text_shadow_horizontal_length=\u00a0\u00bbquote_text_shadow_style,%91object Object%93″ quote_text_shadow_vertical_length=\u00a0\u00bbquote_text_shadow_style,%91object Object%93″ quote_text_shadow_blur_strength=\u00a0\u00bbquote_text_shadow_style,%91object Object%93″ header_text_shadow_horizontal_length=\u00a0\u00bbheader_text_shadow_style,%91object Object%93″ header_text_shadow_vertical_length=\u00a0\u00bbheader_text_shadow_style,%91object Object%93″ header_text_shadow_blur_strength=\u00a0\u00bbheader_text_shadow_style,%91object Object%93″ header_2_text_shadow_horizontal_length=\u00a0\u00bbheader_2_text_shadow_style,%91object Object%93″ header_2_text_shadow_vertical_length=\u00a0\u00bbheader_2_text_shadow_style,%91object Object%93″ header_2_text_shadow_blur_strength=\u00a0\u00bbheader_2_text_shadow_style,%91object Object%93″ header_3_text_shadow_horizontal_length=\u00a0\u00bbheader_3_text_shadow_style,%91object Object%93″ header_3_text_shadow_vertical_length=\u00a0\u00bbheader_3_text_shadow_style,%91object Object%93″ header_3_text_shadow_blur_strength=\u00a0\u00bbheader_3_text_shadow_style,%91object Object%93″ header_4_text_shadow_horizontal_length=\u00a0\u00bbheader_4_text_shadow_style,%91object Object%93″ header_4_text_shadow_vertical_length=\u00a0\u00bbheader_4_text_shadow_style,%91object Object%93″ header_4_text_shadow_blur_strength=\u00a0\u00bbheader_4_text_shadow_style,%91object Object%93″ header_5_text_shadow_horizontal_length=\u00a0\u00bbheader_5_text_shadow_style,%91object Object%93″ header_5_text_shadow_vertical_length=\u00a0\u00bbheader_5_text_shadow_style,%91object Object%93″ header_5_text_shadow_blur_strength=\u00a0\u00bbheader_5_text_shadow_style,%91object Object%93″ header_6_text_shadow_horizontal_length=\u00a0\u00bbheader_6_text_shadow_style,%91object Object%93″ header_6_text_shadow_vertical_length=\u00a0\u00bbheader_6_text_shadow_style,%91object Object%93″ header_6_text_shadow_blur_strength=\u00a0\u00bbheader_6_text_shadow_style,%91object Object%93″ z_index_tablet=\u00a0\u00bb500″ custom_margin=\u00a0\u00bb-15px|||\u00a0\u00bb]<\/p>\n
Roman Ingarden est d’abord connu pour sa discussion critique de l’id\u00e9alisme transcendantal de Husserl. Mais il est aussi l’auteur d’une riche r\u00e9flexion en esth\u00e9tique et en philosophie de l’art, ouverte sur tous les arts, de l’architecture \u00e0 la musique en passant par la peinture et le cin\u00e9ma. Il inaugure ses recherches en 1929 par une \u00e9tude approfondie de la structure ontologique du texte litt\u00e9raire dans L’oeuvre d’art litt\u00e9raire. En 1937, il se tourne du c\u00f4t\u00e9 de l’accueil et de la r\u00e9ception des lecteurs afin d’analyser les diff\u00e9rents actes intellectuels et imaginatifs qui, en s’entrela\u00e7ant dans la lecture, permettent de prendre connaissance d’une oeuvre litt\u00e9raire. Il d\u00e9voile ainsi gr\u00e2ce \u00e0 l’exploration ph\u00e9nom\u00e9nologique de ces actes la complexit\u00e9 insoup\u00e7onn\u00e9e du r\u00f4le du lecteur. Ce texte d\u00e9cisif a largement inspir\u00e9 l’\u00e9cole de Constance. Il s’adresse tout \u00e0 la fois aux philosophes soucieux de clarifier les modalit\u00e9s de l’exp\u00e9rience esth\u00e9tique appliqu\u00e9e \u00e0 la litt\u00e9rature tout autant qu’aux chercheurs en litt\u00e9rature d\u00e9sireux de fonder une th\u00e9orie du texte, d’affronter les probl\u00e8mes de l’adaptation du texte \u00e0 la sc\u00e8ne, ou encore d’envisager la possibilit\u00e9 d’une \u00e9valuation \u00ab objective \u00bb des oeuvres.<\/p>\n<\/div>\n<\/div>\n<\/div>\n
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Patricia Limido est Professeure des universit\u00e9s et enseigne \u00e0 l\u2019UFR Lettres, Arts et Cin\u00e9ma. Elle co-dirige l\u2019axe \u00ab\u00a0Architecture et Arts\u00a0\u00bb au sein du laboratoire CERILAC dont elle est membre. <\/p>\n