The aim of this article is to survey the Polish translation of The Queen’s Corgie (2019), the animated movie, in terms of the dubbese employed therein. Apart from the standard features such as slang, jargon, rhyming, and intertextual references, we focus on the use inventive language pertaining to the domain of dogs, which could be accounted for by means of the analysability/compositionality parameter as proposed by Langacker in lockstep with the blending theory as developed by Fauconnier and Turner.

The aim of the paper is to present the theory of meaning formulated by Roman Ingarden in the Controversy over the Existence of the World, The Literary Work of Art, and in The Cognition of the Literary Work of Art. When this has been done here, I test Ingarden’s theory by applying it to selected problems of contemporary philosophy of language. These problems include the semantics of empty names, the controversy between Millianism and descriptivism over the nature of proper names, the problem of substitutability in intensional contexts, meaning holism, compositionality, and the boundary between semantics and pragmatics. My analysis of these problems within the framework of Ingarden’s theory and my presentation of their solutions as delivered by G. Frege, K. Ajdukiewicz, W.V. Quine and D. Davidson shed interesting light on this extremely complex and ‘fine‑grained’ theory based on Ingarden’s original ontology. Although Ingarden’s theory does not fall within the dominant current of language philosophy, it offers a solution to the problem of empty names, the relation of proper names to definite descriptions, and substitutability. The theory is not holistic nor does it blur the distinction between semantics and pragmatics. Unfortunately, Ingarden’s theory is not compositional and reifies meanings, which may be seen as a serious objection to it. Therefore, the assessment of this theory cannot be unequivocal.