Since I have always been interested in “eccentric” topics, my essays may be still of interest and relevant. For example, I wrote the first study of the four main types of the literary chanson, representing an expansion of Emil Staiger’s ‘basic concepts of poetics’ thus including the audience centered stance where all genres excluded by Staiger’s categories can be subsumed that are; presented a systematic comparison and synthesis of Ingarden’s and Hartmann’s literary strata and its usefulness in the psychology of art; provided analysis and integration of literary concepts such as ‘stratum,’ ‘structure,’ and ‘genre;’ wrote an extensive comparative study of literary terminology expanding its scope beyond the European realm; undertook a stratum analysis of musical art forms, and attempted a description of the degree of abstraction in Asian painting and non - representational art.
Most of my articles written in German are being published simultaneously by the same publisher, except for those concerning the teaching of literature and cultural studies. My tri - lingual (German/English/Japanese) homepage composed by my students includes a list of my publications. It can be found under http://www.cc.kyoto-su.ac.jp/~wolf.
Weil ich mich immer für „ausgefallene“ Themen interessiert habe, finden meine Aufsätze vielleicht noch Interesse und sind nicht veraltet. (Sie befassen sich erstmalig mit: Einer Untersuchung und Beschreibung des lit. Chansons als Gattung sowie der Abgrenzung seiner vier Haupttypen; einer Erweiterung der Staigerschen „Grundbegriffe“ auf die „publikumsbezogene Grundhaltung“, in der sich alle Gattungen unterbringen lassen, die in seinem System keinen Platz fanden; einem systematischer Vergleich und der Synthese von Ingardens und Hartmanns Schichtensystemen und deren Anwendung auf die Kunstpsychologie; der Analyse und Integration von Literaturbegriffen wie „Schicht“, „Struktur“ und „Gattung“; einem umfassenden Vergleich von Literaturterminologien über die europäischen hinaus; der schichtentheoretischen Analyse des Musikkunstwerks sowie der Beschreibung der Abstraktionsgrade in asiatischer Malerei und ungegenständlicher Kunst). Im gleichen Verlag erscheint gleichzeitig ein Sammelband meiner in deutscher Sprache geschriebenen Artikel (außer denen zur Literaturdidaktik und Kulturkunde).
Meine von meinen Studenten angefertigte dreisprachige (dt.,engl.,jp.) Homepage (http://www.cc.kyoto-su.ac.jp/~wolf) enthält eine Publikationsliste.
Table of Contents
1) “Stratum, Structure, and Genre”
2) “The Strata - Model in Poetics”
3) “The Main Differences Between Roman Ingarden's and Nicolai Hartmann's Strata - Systems”
4) “On Beardsley's View of the Artistic Process”
5) “Our Concept of Art in Light of the Strata Theory”
6) “Interactive Fiction: What Does it Want to Be, What Can it Be?”
7) “Central Concepts of Aesthetics: A Proposal For Their Application”
8) „On the Relationship of Comparative Literature to ‚Strata Poetics’, and ‚Fundamental Poetics’“
9) “Cabaret Songs”
10) “East And West And The Concept of Literature”
Research Objectives and Themes
The collection explores the application of "strata" theory—a philosophical and analytical framework for distinguishing levels of structure in works of art—to various literary and artistic phenomena. The primary goal is to determine whether a unified strata model can provide an objective basis for comparing different art forms, genres, and cultural concepts of literature.
- The synthesis of Nicolai Hartmann’s and Roman Ingarden’s ontological strata models.
- The structural analysis of literary genres and their independence from historical circumstances.
- Comparative aesthetics and the challenges of applying Western theories to non-Western literature.
- The definition of "interactive fiction" and its validity as a modern literary form.
Excerpt from the Book
Stratum, Structure, and Genre; Interrelation of the Terms
The concept of genre can be satisfactorily explained only in comparison with the concepts of stratum and structure. Proceeding from this conviction we shall try here to establish a demarcation of these often used terms and at the same time prove their interdependence.
The strata - model has been fully and consistently developed only in Nicolai Hartmann's ontology, which also represents a synthesis of all prior strata - conceptions. Since we do not attempt a historical survey a summary of his main ideas may suffice here:
The world is stratified. The strata, however, should not be confused with the classes of animals. "The higher forms, out of which the world consists, plant, animal, man and nation, are stratified also; the strata that constitute the world can also be shown in them. In this respect man is a material an organic, an emotional and an intellectual being: he consists of four levels. The community of humans, e. g. the Greek polis, also has in its geographical situation a material structure. It has its organic life, its drives and needs, from which its economical sphere arises, and also an emotional and intellectual life. Higher animals and the spiritless prehistoric consciousness of man have three levels; lower animals and plants have only two. In its extension the material stratum is the largest. The higher the level the less far spread it is. Only on a small part of inorganic existence is the organic built, and only in the most highly developed of these organic forms do we find emotions. Only one kind of creature has mind."
Summary of Chapters
“Stratum, Structure, and Genre”: This chapter introduces the theoretical foundation of strata theory, exploring how the interaction of different levels in a work of art creates its aesthetic structure.
“The Strata - Model in Poetics”: This section discusses the pragmatic application of strata models as a tool for cognition and systematization in literary analysis.
“The Main Differences Between Roman Ingarden's and Nicolai Hartmann's Strata - Systems”: A comparative analysis highlighting the distinct approaches of the two major theorists in the field of strata ontology.
“On Beardsley's View of the Artistic Process”: An essay evaluating Monroe Beardsley's views on creativity in contrast with German typological perspectives.
“Our Concept of Art in Light of the Strata Theory”: This chapter uses the strata model to define the ontological uniqueness of art in comparison to practical objects.
“Interactive Fiction: What Does it Want to Be, What Can it Be?”: An exploration of the structural implications and limitations of interactive, computer-based literature.
“Central Concepts of Aesthetics: A Proposal For Their Application”: This chapter proposes a structured nomenclature for aesthetic qualities and experiences.
„On the Relationship of Comparative Literature to ‚Strata Poetics’, and ‚Fundamental Poetics’“: An analysis of how strata and fundamental poetics can be utilized to unify comparative literary studies.
“Cabaret Songs”: An investigation into the "camp" style, performance techniques, and subgenres of the cabaret song.
“East And West And The Concept of Literature”: This final chapter compares Eastern and Western literary traditions to question the existence of universal aesthetic values.
Keywords
Strata theory, Poetics, Literary genre, Ontology, Aesthetics, Roman Ingarden, Nicolai Hartmann, Structural analysis, Cabaret song, Comparative literature, Interactive fiction, Artistic value, Aesthetic experience, Canon formation, Cross-cultural aesthetics.
Frequently Asked Questions
What is the core focus of this collection?
The work primarily focuses on "Strata Poetics," a theoretical framework that analyzes literature and art by breaking them down into interconnected levels or strata to better understand their aesthetic order.
What are the central themes covered in the essays?
Key themes include the ontological structure of the literary work of art, the comparative study of genres, the relationship between aesthetics and cultural norms, and the nature of artistic creativity and reception.
What is the primary objective of the author?
The author aims to provide a systematic, unified theoretical framework (based on the work of Hartmann and Ingarden) that allows for the objective comparison of literary works across genres and cultural boundaries.
What scientific methodology is utilized?
The work employs an ontologico-phenomenological approach, projecting systems of categories onto literary phenomena to reveal their underlying structure and categorical dependencies.
How does the work address the main body of literary theory?
The main body of the work provides detailed analyses of how strata interact to form an aesthetic order, demonstrating that this structure is what distinguishes art from non-artistic objects.
Which keywords best describe this research?
Relevant keywords include Strata theory, Poetics, Literary genre, Ontology, Comparative literature, and Aesthetic experience.
How does the author define the "camp" style in cabaret songs?
The author defines "camp" as the exaggerated and ironic use of stylistic elements that were once taken seriously, serving the purpose of sophisticated entertainment.
Why does the author argue that universal aesthetic values are problematic?
The author argues that aesthetic values are culturally determined and historically situated, and that attempting to impose Western aesthetic standards on non-Western traditions leads to fundamental misunderstandings of their unique artistic structures.
- Quote paper
- Dr. Wolfgang Ruttkowski (Author), 2007, Essays on aesthetics, poetics and terminology of literary studies, Munich, GRIN Verlag, https://www.hausarbeiten.de/document/83254
