Wolfgang Ruttkowski – författare

Scientific Essay from the year 1997 in the subject German Studies - Genres, Kyoto Sangyo University (Japanese Society for Germanistics), course: Yearly Congress of the japanese german organization, Tokio, 11.5.1996, language: English, abstract: We see that in interactive literature, the danger lies less in interactivity as such, but rather in the simultaneity of heterogeneous input it allows. As "e;strata-poetics"e; has taught us our reading experience is always an intensely interactive one. We contribute more to it than we aware of. More precisely: the characteristic experience of literature (especially of poesy) is not possible without intense interactivity between author and reader. It is the simultaneity of various heterogeneous and often contradictory reader-contributions, not inspired by the work itself but by the willfulness of the "e;readers"e;, which cast the "e;Internet Story"e; in doubt as a valid literary genre.

Scientific Essay from the year 1999 in the subject Philosophy - Practical (Ethics, Aesthetics, Culture, Nature, Right, ...), grade: none, , language: English, abstract: I. Prior attempts at sub-dividing aesthetic conceptsII. Some preliminary questions: 1. How do we use the term Art ? 2. What is the difference between Art Object and Aesthetic Object ? 3. If the aesthetic and artistic value of an artifact are not the same, what is their relevancy for original works OF of art and their perfect copies? 4. Can Art in spite of its dependency on the Art World and on its recipients, contain generally valid meaning? III. The central concepts aesthetic - artistic - beautiful IV. Intersections of the central conceptsV. The nomenclature of Aesthetic Qualities, Experiences, and Objects VI. Summary in the form of suggestions(In: Acta Humanistica, Humanities S. No. 26, March 1999, 203-222)

Scientific Essay from the year 2001 in the subject German Studies - Comparative Literature, grade: none, Kyoto Sangyo University (X. International German Congress, Wien), language: English, abstract: By carefully comparing observations made by specialists in Chinese, Indian, Japanese, and Western literature concerning problems of literary values, canon-formation, and the concept of literature itself, the author tries to answer some of the most pertinent questions in comparative aesthetics and ethnopoetics, specifically: Are literatures of radically different cultures comparable regarding literary values?- Do universal literary values exist?- Do literary values remain the same within the development of one culture?- Does the fact that certain works of literature have been valued over centuries indicate that eternal values exist?- Is the concept of literature the same in radically different cultures?- Does it remain the same within the development of one culture?- Are the basic genres (the lyric, epic, and dramatic) comparable?- Are certain analogous phenomena in Indian and Western literature indicative of basic similarities between these literatures?- Is at least the theory deduced from these literatures similar?- Is a unified theory of literature desirable?- Are literary canons established mainly according to perceived aesthetic values in the selected works?- If the answer to all of the questions above is NO, wherein lie the basic differences between Eastern and Western literatures?-(In: Journal of Comparative Literature and Aesthetics, Sambalpur University, Orissa/India, XXIV, 1-2, 2001, 89-125)

Scientific Essay from the year 1991 in the subject Philosophy - Practical (Ethics, Aesthetics, Culture, Nature, Right, ...), grade: keine, Kyoto Sangyo University (German Department), language: English, abstract: Einstein's universe is needed to explain many observations of space science. In the same way, Flatland can only be fully understood from the perspective of Spaceland; Lineland can only be explained from the perspective of Flatland, etc. The inhabitants of each of these "e;dimensional worlds"e; cannot physically transcend their own world and, therefore, cannot visualize the next higher world. However, if they want to explain their own world, they need to do this from the perspective of the next higher one. This is what some types of religion and philosophy have been trying to do for millenia and what science is attempting today. (First presented at Tetsugakkai, Bukkyo Daigaku, Kyoto, 1991/2/6)

Scientific Essay from the year 1984 in the subject Cultural Studies - European Studies, grade: none, Kyoto Sangyo University (German Department), language: English, abstract: Discussion of the concepts "e;national character"e; and "e;cultural profile"e; in view of German history and culture. (Presented at the Fift Annual Conference of the Western Association for German Studies, Seattle/Washington, 1981/10/9; In: Acta Humanistica 14/1. Humanities S. No. 11, 1984, 216-249)

Scientific Essay from the year 1989 in the subject German Studies - Genres, grade: none, Kyoto Sangyo University (Japanese Society for Germanistics), language: English, abstract: Strata models are systems of categories that we project upon phenomena in order to make sense of them. They correspond to a synthetic mode of thinking, which attempts to strike a balance between the observation of universal laws and the description of individual characteristics. Like most concepts in the humanities, they do not limit, but rather serve to accentuate observed phenomena. They group together certain aspects of literature into unified strata of systems which can be said to stand in a relation to one another comparable to that of psychological strata within the human personality. The application of a strata model to the analysis of literature is mainly pragmatically motivated. The literary scholar or the interpreter of literature is less concerned with philosophical insights than with an objective comprehension of the literary work. Beyond that, s/he wishes to understand other, mainly psychological, phenomena observable within a literary context. Thus strata poetics is justified as a tool of cognition and systematization only insofar as it yields insights , which could not have been gained otherwise. The philosophical dispute as to the justification of strata models as such will be of no concern in this paper. (In: Kyoto Sangyo Daigaku Ronshuu, Humanities s. No. 30, march 2003, 1-20)

Essay from the year 1990 in the subject Philosophy - Practical (Ethics, Aesthetics, Culture, Nature, Right, ...), grade: keine, , language: English, abstract: Although both designed strata models for various kinds of art and especially for literature, the philosophers Nicolai Hartmann and Roman Ingarden never entered into any kind of dialogue. Also in secondary literature there is no exact comparison of their systems to be found. For that reason, the two strata systems are compared here for the first time and their resp. advantages and deficiencies are being pointed out. Amongst other things, the following topics are being discussed: 1. In what way Hartmann's "e;Real Foreground"e; ("e;Realer Vordergrund"e;) is more specifically subdivided in Ingarden's system, 2. How, on the other hand, Ingarden's "e;Stratum of Depicted Objects"e; ("e;Schicht der dargestellten Gegenstandlichkeiten"e;) was more thoroughly subdivided by Hartmann, 3. Why there cannot be found in Hartmann's system a corresponding stratum for Ingarden's "e;Stratum of Schematized Aspects"e; ("e;Schicht der schematischen Ansichten"e;) and 4. Why Hartmann's two strata of the "e;Irreal Background"e; ("e;Irrealer Hintergrund"e;) are consolidated by Ingarden and expressly not seen as a stratum. (In: Acta Humanistica XIX/3, Foreign Lang. and Lit. S. No. 17,June 1990, 64-82)

Anthology from the year 2007 in the subject Art - Art Theory, General, , language: English, abstract: Since I have always been interested in "e;eccentric"e; topics, my essays may be still of interest and relevant. For example, I wrote the first study of the four main types of the literary chanson, representing an expansion of Emil Staiger's 'basic concepts of poetics' thus including the audience centered stance where all genres excluded by Staiger's categories can be subsumed that are; presented a systematic comparison and synthesis of Ingarden's and Hartmann's literary strata and its usefulness in the psychology of art; provided analysis and integration of literary concepts such as 'stratum,' 'structure,' and 'genre;' wrote an extensive comparative study of literary terminology expanding its scope beyond the European realm; undertook a stratum analysis of musical art forms, and attempted a description of the degree of abstraction in Asian painting and non - representational art. Most of my articles written in German are being published simultaneously by the same publisher, except for those concerning the teaching of literature and cultural studies. My tri - lingual (German/English/Japanese) homepage composed by my students includes a list of my publications. It can be found under http://www.cc.kyoto-su.ac.jp/~wolf. Weil ich mich immer fur ausgefallene Themen interessiert habe, finden meine Aufsatze vielleicht noch Interesse und sind nicht veraltet. (Sie befassen sich erstmalig mit: Einer Untersuchung und Beschreibung des lit. Chansons als Gattung sowie der Abgrenzung seiner vier Haupttypen; einer Erweiterung der Staigerschen Grundbegriffe auf die publikumsbezogene Grundhaltung , in der sich alle Gattungen unterbringen lassen, die in seinem System keinen Platz fanden; einem systematischer Vergleich und der Synthese von Ingardens und Hartmanns Schichtensystemen und deren Anwendung auf die Kunstpsychologie; der Analyse und Integration von Literaturbegriffen wie Schicht , Struktur und Gattung ; einem umfassenden Vergleich von Literaturterminologien uber die europaischen hinaus; der schichtentheoretischen Analyse des Musikkunstwerks sowie der Beschreibung der Abstraktionsgrade in asiatischer Malerei und ungegenstandlicher Kunst). Im gleichen Verlag erscheint gleichzeitig ein Sammelband meiner in deutscher Sprache geschriebenen Artikel (au er denen zur Literaturdidaktik und Kulturkunde). Meine von meinen Studenten angefertigte dreisprachige (dt.,engl.,jp.) Homepage (http://www.cc.kyoto-su.ac.jp/~wolf) enthalt eine Publikationsliste.

Essay from the year 2000 in the subject Philosophy - Practical (Ethics, Aesthetics, Culture, Nature, Right, ...), grade: keine, , language: English, abstract: Ever since their "e;declaration of independence"e; 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 "e;mutual elucidation of the arts"e;. 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 ("e;Fundamentalpoetik"e; and the sociological approach). However, I hope to show that in reality they complement each other. The third model ("e;Strata Poetics"e;) 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)

Essay from the year 2007 in the subject Philosophy - Practical (Ethics, Aesthetics, Culture, Nature, Right, ...), grade: keine, , language: English, abstract: The concept of genre can be satisfactorily explained only in com parison with the concepts of stratum and structure. Proceeding from this conviction we shall try here to establish a demarcation of these often used terms and at the same time prove their interdependence.

Essay from the year 1996 in the subject Philosophy - Practical (Ethics, Aesthetics, Culture, Nature, Right, ...), grade: keine, , language: English, abstract: Dieser Aufsatz ist eine Fortsetzung der schichtenasthetischen Arbeiten des Autors, die in deutscher Sprache erschienen sind. Es wird versucht, ein "e;synthetisches Modell"e; der stratologischen Kunstkonzepte von Nicolai Hartmann und Roman Ingarden fur einen ontologischen Vergleich von vier ganz verschiedenen Gegenstanden zu nutzen: einen Gebrauchsgegenstand, ein kunstgewerbliches Objekt, sowie fur je ein Kunstwerk der Literatur und der Musik. Die dabei gewonnenen Einsichten uber die besondere Daseinsstruktur von Kunst lassen uberraschende und in ihrer philosophischen Begrundung neue Aufschlusse uber Grenzen der Wirkungsmoglichkeit "e;moderner"e; Kunstarten zu. Der Aufsatz beginnt und endet mit Reflexionen uber die zeitliche Begrenztheit und eingeschrankte Gultigkeit unserer Kunstkonzepte uberhaupt.

Essay from the year 1999 in the subject Philosophy - Practical (Ethics, Aesthetics, Culture, Nature, Right, ...), grade: keine, , course: Acta Humanistica, Humanities S. No. 26 (1999) 203-222, language: English, abstract: Contents:I. Prior Attempts at Sub-Dividing Aesthetic ConceptsII. Some Preliminary Questions: 1. How Do We Use the Term Art ? 2. What Is The Difference Between Art Object and Aesthetic Object ? 3. If the aesthetic and artistic values of an artifact are not the same, what is their relevancy for original works of art and their perfect copies? 4. Can Art - In Spite Of Its Dependency On The Art World and On Its Recipients - Contain Generally Valid Meaning? III. The Central Concepts aesthetic - artistic - beautiful IV. Intersections Of the Central ConceptsV. The Nomenclature Of Aesthetic Qualities, Experiences, And Objects VI. Summary In The Form Of Suggestions