The Research On Roman Ingarden’s Stratified Structure Theory Of The Art Works

Roman Ingarden’s philosophical aesthetics is an important part of the western phenomenology in the 20th century. He expanded his analyses of the ontology of art from literature, to also discuss music, painting, and architecture. The research on the stratified structure of the work of art is essential in a series of his research.The first chapter in this paper introduces Ingarden’s the stratified structure theory of the literary work. First of this chapter quotes Ingarden’s question which was put forward in the best-known and most influential work The Literary Work of Art to determine the nature of the literary work. Based on this, every literary work is composed of four heterogeneous strata:Word sounds and phonetic formations of higher order; Meaning units; Represented entities; Schematized aspects.The second chapter discusses Ingarden’s the stratified structure theory of the musical work. The musical work, Ingarden argues, is distinct from experiences of its composer and listeners, and cannot be identified with any individual sound event, performance or copy of the score. Furthermore, the musical work is a purely intentional object unlike the literary work, is not a stratified entity. According to the analyses in the first chapter, I found the difference between the literary and musical work is the existence of the meaning units in the literary work.The third chapter looks to the Chinese traditional art of calligraphy. Because of its geographical constraints, calligraphy couldn’t go into the research vision of Ingarden. However, there are many similarities between Chinese calligraphy and Western painting in some extent. This paper tries to draw lessons from Ingarden’s research results on the stratified structure of the picture to sum up the heterogeneous strata of the works of the calligraphy.