Ever since their "declaration of independence" from the national literary sciences, about a century ago, comparatists have been desperately groping for a comprehensive theory, broad enough to accommodate not only their investigations into the development and functioning of literary genres, but also their pet subject of the "mutual elucidation of the arts".
These reflections are to be understood as an attempt to examine some ideas and models produced mainly in Germany after the last world war. These will be examined for their usefulness in providing such a comprehensive theory, or at least a base for the construction of such a theory. Two of these models seem to be opposed to each other ("Fundamentalpoetik" and the sociological approach). However, I hope to show that in reality they complement each other. The third model ("Strata Poetics") is still widely unknown, but could, in my view, combine the two others into a unified theory. (In: Acta Humanistica, Humanities S. No. 27, March 2000, 221-242)
Table of Contents
Comparative Literature in Need of a Unifying Theory
Constants are Indispensable for Comparison
Literary Genres Are Such Constants
Comparative Literature Employs Meta-Criticism
The Historical and the Systematical Approach Towards Genre-Studies
The English, French, and German Attitude Towards Genre-Classifications
"Fundamental Poetics"
Criticism of "Fundamental Poetics"
A Proposed Order for Generic Terms
Connection Between "Basic Attitudes" and Linguistic Features
"Fundamental Poetics" and "Strata Poetics"
Analogy Between the Aims of Comparative Literature and Structural Linguistics
Objectives and Core Themes
The primary objective of this work is to establish a comprehensive theoretical foundation for Comparative Literature by re-evaluating and synthesizing traditional German genre-theoretical models—specifically "Fundamental Poetics" and "Strata Poetics"—with sociological approaches to literary study.
- The necessity of constants as measuring sticks for comparative literary analysis.
- The role of genre as a central, semi-abstract constant across language boundaries.
- A critical distinction between intrinsic and metacritical approaches in literary studies.
- The reconciliation of historical and systematic approaches to genre studies.
- The development of a flexible, hierarchical order for generic terms to clarify terminological confusion.
Excerpt from the Book
Constants are Indispensable for Comparison
In any kind of comparison we need constants as "measuring sticks" for the observation of variations. It is obvious that this need of constants applies more to Comparative Literature, a discipline that is built on the principle of comparison, than to any other discipline. These constants can be either concrete works, which serve as "models" (e. g., Dante's Divina Comedia or Goethe's Faust), or literary conventions of various kinds (topics, topoy, themes, styles, etc.). However, a constant can also be something that holds exactly the middle ground between concrete models and general conventions: literary genres.
Summary of Chapters
Comparative Literature in Need of a Unifying Theory: This chapter identifies the historical quest of comparatists for a comprehensive theory and introduces the German models that will be examined as potential foundations.
Constants are Indispensable for Comparison: The text establishes that comparison requires fixed points, positing literary genres as the vital middle ground between concrete works and general conventions.
Literary Genres Are Such Constants: This section argues that genres function as translatable, semi-abstract units that allow scholars to analyze influence across linguistic and cultural boundaries.
Comparative Literature Employs Meta-Criticism: The author differentiates between intrinsic and metacritical orientations, arguing that comparatism is inherently metacritical and requires a rigorous theoretical framework.
The Historical and the Systematical Approach Towards Genre-Studies: This chapter discusses the necessity of combining historical evolution with theoretical classification systems, noting that these two approaches, while distinct, are mutually corrective.
The English, French, and German Attitude Towards Genre-Classifications: A contrast is drawn between the Anglo-Saxon empirical suspicion of systems, the French classical tradition, and the German tendency toward psychological and metaphysical schematization.
"Fundamental Poetics": This chapter introduces Emil Staiger's approach as a synthetic, universalist system that aims to reconcile historical and systematic studies through psychological criteria.
Criticism of "Fundamental Poetics": The author addresses and refutes common objections regarding the subjectivity of psychological criteria, clarifying that they relate to audience sensibility rather than personal whim.
A Proposed Order for Generic Terms: To resolve terminological chaos, the author proposes a hierarchical framework for categorizing concepts ranging from specific types to broad, fundamental modes.
Connection Between "Basic Attitudes" and Linguistic Features: This chapter explores the link between abstract "basic attitudes" and actual linguistic structures, acknowledging previous failures to map these connections and suggesting new directions.
"Fundamental Poetics" and "Strata Poetics": The author integrates the "strata-model" of literature to provide a more comprehensive, holistic basis for generic categories, linking author, work, reader, and language.
Analogy Between the Aims of Comparative Literature and Structural Linguistics: The final chapter proposes that Comparative Literature should model its pursuit of universal structures on structural linguistics to uncover the fundamental patterns of literary manifestation.
Keywords
Comparative Literature, Fundamental Poetics, Strata Poetics, Literary Genres, Genre Theory, Metacriticism, Systematic Approach, Historical Approach, Basic Attitudes, Linguistic Features, Universalism, Structural Linguistics, Audience-Related Genres, Genre Classification, Literary Constants
Frequently Asked Questions
What is the core focus of this work?
The work focuses on providing a theoretical foundation for Comparative Literature by critically analyzing and synthesizing German genre-theoretical traditions.
What are the primary thematic fields covered?
The main themes include genre theory, the methodology of comparative literature, the history of literary classification, and the relationship between literature, author, and audience.
What is the author's primary research goal?
The goal is to develop a unified theory for Comparative Literature by "tidying up" the confusion in generic terminology and reconciling historical and systematic approaches.
Which scientific methods are employed?
The author uses a comparative and meta-critical analysis, drawing upon and synthesizing diverse academic traditions including Fundamental Poetics, Strata-Aesthetics, and sociological perspectives.
What is discussed in the main body of the work?
The main body treats the definition of genres as constants, compares different national attitudes toward classification, and proposes a hierarchical system for generic terms.
Which keywords best characterize this research?
Key terms include Comparative Literature, Fundamental Poetics, Genre Theory, Strata Poetics, and Metacriticism.
How does the author define the relationship between "Fundamental Poetics" and "Strata Poetics"?
The author argues that Fundamental Poetics provides the basis for generic distinctions, while Strata Poetics offers the comprehensive, holistic model that explains the interaction between author, work, and reader.
What is the significance of the "genre-pyramids" mentioned?
The genre-pyramids represent an attempt to categorize literature from broad, universal "basic attitudes" down to specific literary types, facilitating a structured taxonomy of over 40 genres.
- Citar trabajo
- Dr. Wolfgang Ruttkowski (Autor), 2000, On the relationship of comparative literature to 'Strata Poetics' and 'Fundamental Poetics', Múnich, GRIN Verlag, https://www.grin.com/document/81125
