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Ingarden’s ‛strata-layers’ theory and the structural analysis of traditional Chinese Kunqu opera

Roman Ingarden's earlier studies on the strata of the work of literary art and his later research into the theory of esthetic value are two of the most fruitful contributions to twentieth-century esthetics. His work followed the tradition of philosophical esthetics on the one hand, and joined the trends of modern structural approaches to literature and the arts on the other. Unlike most structuralists, who emphasized formalist interests in their work, Ingarden had always been concerned with the problems of phenomenological ontology; unlike many contemporary conventional estheticians, he stayed very close to the structural analysis of form and meaning in the work of art itself. My impression is that as a phenomenological esthetician his esthetics seem more important than his phenomenology, while as a structuralist esthetician his structural inquiry looks more attractive than his esthetic ontology and his general value theory. It is very interesting to note that as a philosopher himself, Ingarden had always been obsessively preoccupied with literature. In fact, he took literature as the main subject of his esthetic investigations; we might even say that he was one of the founders of the philosophy of literature as a discipline. In this light, his last ambitious project — to complete a panorama of literary philosophy ('Poetik') — is understandable. While Ingarden was hard at work on his original strata analysis of the literary work, the equally revolutionary Russian formalism and Czech structuralism had begun to flourish. It is obvious in retrospect that all of these initial enterprises reflect and express the coming of a new intellectual era in this century, focusing on the themes of form and structure of the work itself. Owing to his philosophical background in phenomenological realism, however, Ingarden's task was bound to be more intricate, and to involve more theoretical challenges. Nevertheless, his brilliant works have demonstrated that his heroic lifelong effort has resulted in many fruitful academic achievements. Ingarden takes literature as the main subject of his esthetic investigations, but he continually emphasizes the significance of studying other art