In these studies Roman Ingarden investigates the nature and mode of being of four kinds of art works: the musical work, the picture, the architectural work, and the film. He establishes that the work of art is a purely intentional object but considers also its connections to the real world. By analyzing a work of art in its constitutive heterogeneous strata, Ingarden demonstrates that a work of art will reveal, when examined in the appropriate way, its own inherent structure. Further, he shows that in consequence of the art work's structure, we must distinguish between the work itself and the concretizations of it by the listener or viewer.
Ingarden elaborates upon the conception of concretization which he present in The Literary Work of Art and applies it to music and visual art. He also employs the concept of aspect to clarify the ontic structure of these art works and the distinction between the concretization of the work and the work itself. The distinction between the work's concretization -- effectuated in the mental experiences of the listener or viewer -- and the work itself serves to help Ingarden confirm and account for the work's intersubjective identity.
The problem of aesthetic value, Ingarden maintains, can be fruitfully treated only after the ontic structure of art work has been clarified. His primary concern in Ontology of the Work of Art is to ascertain and describe that structure and the mode of existence of works of art. In addition, he offers several discussions of aesthetic value, showing in the m the connections between questions of aesthetic value and the structure of the work of art.

When originally published in 1960, this was the first complete English translation since 1799 of Kant's early work on aesthetics. More literary than philosophical, "Observations "shows Kant as a man of feeling rather than the dry thinker he often seemed to readers of the three "Critiques.

Answering the simplest questions satisfactorily often poses the greatest challenge and difficulty to philosophers. Since these questions concern principles underlying our everyday conduct, the inability to provide convincing answers can be exceedingly frustrating. When, during a career of teaching, John T Goldthwait was asked by his students "Why is that good?" - in regard to art and to conduct - he realised he had no answer that would satisfy his students and himself. And so, his effort to answer his students became a journey through the concept of value judgements, resulting in his book, "Value, Language, and Life". What is value? What makes things good? "Value, Language, and Life" presents a new answer to these age-old questions through Goldthwait's adaptation of linguistic analysis and phenomenological methodology. By examining our everyday experience and use of language, he arrives at a knowledge of value that can be applied in solving problems and reconciling disputes about value. This unique approach enables us to place ethics, aesthetics, and other fields in which value is prominent on a single foundation.