Strata models are systems of categories that we project upon phenomena in order to make sense of them. They correspond to a synthetic mode of thinking, which attempts to strike a balance between the observation of universal laws and the description of individual characteristics. Like most concepts in the humanities, they do not limit, but rather serve to accentuate observed phenomena. They group together certain aspects of literature into unified strata of systems which can be said to stand in a relation to one another comparable to that of psychological strata within the human personality.
The application of a strata model to the analysis of literature is mainly pragmatically motivated. The literary scholar or the interpreter of literature is less concerned with philosophical insights than with an objective comprehension of the literary work. Beyond that, s/he wishes to understand other, mainly psychological, phenomena observable within a literary context. Thus strata poetics is justified as a tool of cognition and systematization only insofar as it yields insights , which could not have been gained otherwise. The philosophical dispute as to the justification of strata models as such will be of no concern in this paper.
(In: Kyoto Sangyo Daigaku Ronshuu, Humanities s. No. 30, march 2003, 1-20)
Table of Contents
I. The Strata Model
II. Hartmann and Ingarden
III. Synthesis of Hartmann’s and Ingarden’s Strata Models
IV. Advantages of Strata Models
V. The Question: What is Art?
VI. The Comparison (“mutual illumination”) of the Arts
VII. Marxist Theory and the Strata Model
VIII. Structure
IX. Genre
X. The “Three Unities”
XI. Artistic and Aesthetic Value:
XII. “Strata Poetics” and the Question of Literary Value
Objectives and Topics
This work aims to introduce and systematize the "strata model" in poetics, reconciling the theories of Nicolai Hartmann and Roman Ingarden to provide a framework for analyzing literary works and comparing them with other art forms. It seeks to explore ontological and psychological dimensions of art, addressing how structure, genre, and artistic values are understood within this stratified system.
- Ontological and psychological foundations of the strata model in literature.
- Comparative analysis of Nicolai Hartmann’s and Roman Ingarden’s aesthetic theories.
- Synthesis of a comprehensive strata model applicable across different art forms.
- Application of the model to literary structures, genres, and the Marxist theory of art.
- Clarification of the distinction between artistic and aesthetic values.
Excerpt from the Book
V. The Question: What is Art?
In comparison to other kinds of objects (e.g., a practical object or commodity like a chair, or a pragmatic literary genre with mainly informative functions, e.g., a scientific treatise), the work of art can be now defined in its ontological uniqueness. It differs, at least potentially, from all other objects in the richness of its stratification. Our special relationship to art can be explained by the fact that only art has as many strata as our own personality structure. Our aesthetic experience consists in penetrating several strata, from the texture of the foreground to the last strata of meaning. In contrast, the contemplation of a chair carries us, at best, through three strata: (1) the material, (2) its order, and (3) the function, purpose or usefulness of the object. A scholarly tract might present us with something that resembles eight of our strata, however in a different relationship. In art (e.g., a novel) one stratum appears behind another, as in real life (e.g., meaning behind the mimic expression of an agitated face), whereas in pragmatic language, the contents of other strata are merely “talked about” or “referred to”, one at a time. The strata are not “built” on one another.
Summary of Chapters
I. The Strata Model: This chapter introduces the concept of the strata model, tracing its historical roots from Plato to Freud and its foundational role in the philosophies of Max Scheler and Nicolai Hartmann.
II. Hartmann and Ingarden: This section explores the two primary thinkers who applied strata models to aesthetics, highlighting their common ground in realism and their shared phenomenological influences.
III. Synthesis of Hartmann’s and Ingarden’s Strata Models: This chapter provides a detailed sketch of a combined model, categorizing nine distinct strata ranging from material and order to symbolic and supra-personal aspects.
IV. Advantages of Strata Models: This chapter emphasizes that the primary value of these models lies in their utility for clarifying abstract relationships and categorizing complex characteristics within the humanities.
V. The Question: What is Art?: This chapter defines the ontological uniqueness of art by comparing its stratified nature to practical objects and pragmatic language.
VI. The Comparison (“mutual illumination”) of the Arts: This section utilizes the strata concept to analyze the unique position of music as an abstract art form, demonstrating how it conveys emotional experiences without explicit representation.
VII. Marxist Theory and the Strata Model: This chapter explores how the strata model can illuminate sociological aspects of literature, particularly the relationship between the socioeconomic base and cultural superstructure.
VIII. Structure: This chapter argues that "structure" in literature is essentially the interaction of its strata, asserting that form and content are inherently stratified.
IX. Genre: This section defines genres as groupings of literature that share structural resemblances in their strata, qualifying them to express specific human attitudes and experiences.
X. The “Three Unities”: This chapter reinterprets the Aristotelian "three unities" of tragedy through the lens of the strata model, focusing on the unity of linguistic material, character, and world view.
XI. Artistic and Aesthetic Value:: This chapter differentiates between artistic and aesthetic values, introducing Ingarden's concept of "spots of indeterminacy" that the recipient must fill during reception.
XII. “Strata Poetics” and the Question of Literary Value: The final chapter concludes that literary value is a culturally determined projection rather than an inherent quality, emphasizing that poetics is more suited to description than to evaluation.
Keywords
Poetics, Aesthetics, Strata Model, Schichtenmodell, Nicolai Hartmann, Roman Ingarden, Ontology, Literary Theory, Phenomenology, Structure, Genre, Artistic Value, Aesthetic Value, Concretization, Marxism.
Frequently Asked Questions
What is the core focus of this work?
The work focuses on the "strata model," a theoretical framework used to understand and analyze the complex structure of works of art and literature by dividing them into qualitative layers or levels.
What are the central themes of the research?
The central themes include the ontological uniqueness of art, the comparison of different art forms, the structure of literary genres, and the integration of psychological and sociological perspectives into aesthetic theory.
What is the primary goal of the author?
The primary goal is to synthesize the strata theories of Nicolai Hartmann and Roman Ingarden, making the model more robust and applicable for literary scholars and aesthetic theorists.
Which methodology is employed?
The author employs a comparative and synthetic phenomenological approach, analyzing ontological layers of literature and reconciling them with existing psychological and social theories.
What does the main body address?
The main body examines the specific strata of literature, discusses the comparison of arts like music and poetry, analyzes genre and structure, and evaluates the relationship between artistic objects and the audience's perception.
Which key terms characterize the study?
Key terms include "strata," "ontological layers," "concretization," "intentional object," "spots of indeterminacy," and "mutual illumination of the arts."
How does the strata model distinguish music from other arts?
The model explains that while music may lack the representational third stratum (depicted reality), it creates emotional impact through its second stratum, where coordinated motion in time allows for the direct projection of emotional qualities.
Why is the distinction between "artistic" and "aesthetic" value significant?
This distinction is crucial because artistic values are potential attributes within an artifact, while aesthetic values are realized by the recipient during the act of "concretization," reflecting their unique personality structure and horizon of expectations.
- Quote paper
- Dr. Wolfgang Ruttkowski (Author), 1989, The Strata-Model in Poetics (Schichtenpoetik), Munich, GRIN Verlag, https://www.grin.com/document/9654
