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.
Inhaltsverzeichnis (Table of Contents)
- OUR CONCEPT OF ART IN LIGHT OF THE STRATA THEORY
- Comparisons of literature with other kinds of art, particularly music, are nothing new.
- Of course, one can hardly say anything fundamental about “the arts” (and their reciprocal elucidation) without entering into the difficult question of what “art as such” is.
- In order to clarify and illustrate the character of and relationship amongst strata, let us first turn to a concrete example (see scheme) and briefly compare a commodity, e.g. a chair, with an art object in the broadest sense of “applied arts”, e.g. a vase.
- This “ontological” comparison of four objects so different in their modes of existence should exemplify some insights on which most strata-philosophers and strata-psychologists (11) seem to agree, - but also some which I would like to add on my own:
Zielsetzung und Themenschwerpunkte (Objectives and Key Themes)
This essay explores the application of Nicolai Hartmann and Roman Ingarden's stratological concepts of art to different objects, including everyday items, crafts, literary works, and music. By comparing these objects, the author aims to analyze the unique ontological structure of art and reveal surprising insights into the limitations of modern art forms.
- The ontological structure of art
- Comparison of different art forms (literature, music, visual arts, crafts)
- The limitations of modern art forms
- The theory of stratification (Schichtentheorie)
- The historical development of aesthetics
Zusammenfassung der Kapitel (Chapter Summaries)
- The essay begins by acknowledging the long-standing practice of comparing different art forms, particularly literature and music. It highlights the lack of a comprehensive philosophical framework to support these comparisons and introduces the concept of strata theory as a potential solution.
- The author emphasizes the importance of understanding the essence of art, particularly its traditional definitions, before analyzing contemporary developments. It explores the shift in aesthetics from historical definitions to phenomenological and ontological analysis of the artwork and its relationship to humanity.
- The essay then presents a concrete example to illustrate the concept of strata by comparing a chair, a vase, a novel, and a sonata. It analyzes each object through seven distinct strata: material, order, object, movement, expression, development and progression of experience, and exemplary quality.
Schlüsselwörter (Keywords)
This essay delves into the realm of aesthetics and art theory, focusing on the theory of stratification (Schichtentheorie) developed by Nicolai Hartmann and Roman Ingarden. It examines the ontological structure of art, comparing different art forms, including literature, music, and visual arts. Key concepts explored include the limitations of modern art, the historical development of aesthetics, and the role of material, order, object, movement, expression, development, and exemplary quality in defining art. The essay aims to provide a nuanced understanding of the distinct characteristics of various art forms and their relationships within a comprehensive strata model.
- 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
