Dieser Aufsatz ist eine Fortsetzung der schichtenästhetischen Arbeiten des Autors, die in deutscher Sprache erschienen sind.
Es wird versucht, ein "synthetisches Modell" der stratologischen Kunstkonzepte von Nicolai Hartmann und Roman Ingarden für einen ontologischen Vergleich von vier ganz verschiedenen Gegenständen zu nutzen: einen Gebrauchsgegenstand, ein kunstgewerbliches Objekt, sowie für je ein Kunstwerk der Literatur und der Musik.
Die dabei gewonnenen Einsichten über die besondere Daseinsstruktur von Kunst lassen überraschende und in ihrer philosophischen Begründung neue Aufschlüsse über Grenzen der Wirkungsmöglichkeit "moderner" Kunstarten zu.
Der Aufsatz beginnt und endet mit Reflexionen über die zeitliche Begrenztheit und eingeschränkte Gültigkeit unserer Kunstkonzepte überhaupt.
Table of Contents
1. Material
2. Order
3. Object
4. Movement
5. Expression
6. Developments and Progressions of Experience
7. Exemplary Quality
8. Philosophy, Ideology, "Weltanschauung"
Research Objectives and Themes
The primary objective of this text is to utilize a synthetic model derived from the strata theories of Nicolai Hartmann and Roman Ingarden to conduct an ontological comparison of diverse objects, ranging from utilitarian items to complex works of art like literature and music. The study aims to define the specific character of art and investigate the limits of modern artistic expressions by analyzing their structural layers.
- Ontological analysis of different types of objects and art forms.
- Application of the strata theory (Schichtentheorie) to aesthetic evaluation.
- Investigation of the structural hierarchy in literature, music, and painting.
- Critical assessment of contemporary art movements like "Concrete Poetry" and "Abstract Expressionism."
- Exploration of how strata-categories function as metaphors for artistic complexity.
Excerpt from the Book
1. All four are dependent on MATERIAL, by which they are, so to speak, "anchored to the concrete world", enabling them to "appear" in it - in contrast to abstract concepts, for instance scientific ones. The material of the first two imagined objects, wood and clay, is given in a simple manner, and the same applies to the tones (sounds) of music. The material of the novel, however, is not paper and ink, but rather words with their meanings. Language itself is, as Scheler(7) would say, "objectified intellect", that is multistratified. Thus the relationship of strata in the literary work of art is more complex than in all other kinds of art.
2. But we encounter material only in a particular ORDER, especially in objects designed by human beings. Material is shaped(8) toward the appearance of the next stratum. Its shape depends on both neighboring strata, the potential of the material - e.g. with iron one cannot achieve the effect of transparency - and the intention of the third stratum. Since the latter can appear only in a particular order of the material, we must view order as a stratum (the second) of its own - and not just as a quality of the first stratum (of the material).(9)
Summary of Chapters
1. Material: This section defines material as the fundamental layer that anchors artistic and utilitarian objects to the concrete world.
2. Order: This chapter establishes order as a distinct structural layer necessary for shaping material into a specific appearance.
3. Object: This part examines the role of objects and forms, noting how different art types represent them—or omit them, as is often the case with music.
4. Movement: This chapter discusses movement as a sign of life, contrasting the temporal progression in music and dance with the static nature of painting and sculpture.
5. Expression: This section identifies the fifth stratum, where human moods and emotions are projected and expressed, particularly through the human face.
6. Developments and Progressions of Experience: This part explores how individual moments of experience are synthesized into broader psychological developments, plots, and destinies.
7. Exemplary Quality: This chapter addresses the ability of works to portray universal human experiences, allowing the audience to feel personally reflected in the art.
8. Philosophy, Ideology, "Weltanschauung": This final section critiques the capacity of art to convey high-level content, arguing that such concepts must be rooted in concrete strata to be effective.
Keywords
Strata theory, ontology, aesthetics, Nicolai Hartmann, Roman Ingarden, artistic material, phenomenology, modern art, concrete poetry, abstract expressionism, structural analysis, philosophy of art, multilayered structures, aesthetic experience, objectification.
Frequently Asked Questions
What is the fundamental purpose of this work?
The work aims to apply a philosophical strata theory to provide an ontological comparison between utilitarian objects and various forms of art, clarifying what distinguishes art from other human creations.
What are the primary thematic fields covered?
The text focuses on ontological categories, the hierarchical structure of artistic works, the relationship between different art media, and the evaluation of contemporary art trends.
What is the central research question?
The author questions whether a philosophically sound theory exists to allow for a productive comparison of the arts and what this theory reveals about the limitations of contemporary artistic manifestations.
Which scientific method is employed?
The study uses a structural-analytical method based on the strata theory (Schichtentheorie) established by Nicolai Hartmann and Roman Ingarden.
What is the focus of the main content?
The main part analyzes the various layers (strata) of art—ranging from material and order to movement and expression—and demonstrates how these layers differ across disciplines like literature, music, and painting.
Which keywords best characterize the work?
Key terms include Strata theory, ontology, phenomenology, aesthetic structure, and the comparative analysis of art forms.
How does the author view the "abstract" nature of music compared to literature?
The author highlights that music is unique because its material—sounds—can act as a direct carrier of expression, whereas literature, as "objectified intellect," is more complex and cannot be arranged polyphonically without losing meaning.
Why does the author argue that "Concrete Poetry" and "Abstract Expressionism" struggle to convey content?
The author suggests these forms often attempt to bypass the necessary middle strata (like objects or meaning), which are required to ground "Weltanschauung" or spiritual content effectively in art.
- Quote paper
- Dr. Wolfgang Ruttkowski (Author), 1996, Our concept of art in light of the strata theory, Munich, GRIN Verlag, https://www.grin.com/document/82652
