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reception aesthetics

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2021-01-25 19:57
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2021年1月25日发(作者:wing是什么意思)
1 Aesthetics of Reception




Aesthetics of Reception,

a literary criticism,

can

be regarded

as the latest development

of

hermeneutics.

It

derives

something

from

Russian

Formalism,
Structuralism
from
Prague School, Ingarden's phenomenal aesthetics and Gadamer's hermeneutics.




Aesthetics
of
Reception
was
established
by
scholars
at
the
University
of
Constance
in
Germany during the late 1960s and early 1970s, and soon swept across the whole European and
American
literature
circle.

Its
two
representatives
are
Hans
Robert
Jauss(1921-)and
Wolfgang
Iser (1926-). The essential viewpoint of Aesthetics of Reception was all-round expounded for the
first time in the lecture delivered by Jauss in 1967,
Scholarship




In
this
part,
I
will
explain
four
main
concepts
of
the
Aesthetics
of
Reception;
they
are

2 Horizon of Expectations




Theorists of the reception theory, on analyzing the activity of reading, made remarkable use
of this concept defined by Hans Robert Jauss.

By


readers mindset (Holub,

1984: 59), a horizon of experience, a material horizon of conditions, a
horizon which
1984: 68). In this way, Jauss describes the criteria that readers use to judge a literary work in any
given period.

With this term, Jauss gave a historical dimension to reader- oriented criticism.




Jauss holds that people have various interpretations of a literary work in different historical
periods.

The original horizon of expectations only tells us how the work was first interpreted,
but does not rule out the possibility of more interpretations.

Jaussconsiders it equally wrong to
say that a work is universal and that its meaning is fixed and the same to readers in any period
(Jauss,
1982:
21).

Jauss
argues
that
all
interpretations
of
past
literature
arise
from
a
dialogue
between past and present.

It's quite evident that literary works will rouse different interpretations
from readers in different historical periods and we cannot impose the original evaluation of a work
upon the following readers (Jauss, 1982: 23).






2.1 Fusion of Horizons







order to understand a text we need a fusion between the horizon of our expectation and
the world of the text. This is a creative or dialectical fusion which produces a new meaning of the
text.

Gadamer explains

And
this means that the interpreter's own thoughts too have gone into re-awakening the text's meaning.

this
case,

the
interpreter's
own
horizon
is
decisive
as
an
opinion
and
a
possibility
that
one
brings
into
play
and
puts
at
risk,
and
that
helps
truly
to
make
one's
own
what
the
text
says.(Gadamer, 1979: 350)




In
Aesthetics
of
Reception,
Jauss
attempted
to
define
a
more
historically
situated
understanding
of
the
actualization
process,
positing

of
expectations
Then
in
each
historical period the criteria are created. With the criteria, people read and evaluate literary works.

The horizon of expectations at the historical moment of production could only tell us something
about how the work was received and understood at that time.

It does not lay down the criteria
for understanding of the universal meaning.

1




We
could
only
understand
the
text
in
the
light
of
the
present
situation.

So
the
concept


The text reading is an endless
dialogue between the text and the reader, the past and the present (Jauss, 1982: 21). The fusion of
horizons is the integration of the text and the horizon of expectations of present readers.




In
Jauss'
opinion,
the
meaning
of
the
text
could
not
be
isolated
from
the
history
of
its
reception.
This
is
quite
true
in
the
reception
phase.
The
reading
process
is
selective,
and
the
potential meaning of a text is infinitely richer than any of an individual's understanding.

There is
a case in point that a second reading of a piece of literature often produces different impression
from the first.

The reason for this may lie in the reader's own change of circumstances and his
horizon of expectations.

Therefore, toreaders, the meaning of a literary work changes with time.

Under
different
historical
circumstances,
a
literary
work
may
rouse
different
responses
from
readers.


Thus, a literary work can only be understood in a limited perspective of the present.


Literary
work
does
not
have
an
ultimate
meaning.

When
social
circumstances
change,
new
horizon
of
expectations
may
emerge.

The
new
horizon
of
expectations
overrides
the
previous
one.
2.2 Aesthetic Distance




Aesthetic distance is usually defined as the difference or separation between the horizon of
expectations and the work or as the
aesthetic distance the disparity between the given horizon of expectations and the appearance of a
new
work,
whose
reception
can
result
in
a

of
horizons
through
negation
of
familiar
experiences or through raising newly articulated experiences to the level of consciousness, then
this
aesthetic
distance
can
be

objectified
historically
along
the
spectrum
of
the
audience's
reactions and criticism's judgment.(Jauss,1982: 25)




The distance between the horizon of expectations and the work, between the familiarity of
previous aesthetic experience and the
work, determines the artistic character of a literary work. According to an aesthetic reception: to
the degree that this distance decreases, and no turn toward the horizon of yet- unknown experience
is demanded of the receiving consciousness, the closer the work comes to the sphere of
or
entertainment
art.(
Jauss,
1982:
25)
Such
work
can
be
characterized
by
an
aesthetic
of
Reception
as
not
demanding
any
horizontal
change,
but
rather
as
precisely
fulfilling
the
expectations
prescribed
by
a
ruling
standard
of
taste,
in
that
it
satisfies
the
desire
for
the
reproduction of the familiarly beautiful; confirms familiar sentiments; sanctions wishful notions;
makes unusual experiences enjoyable as




If conversely, the artistic character of the work
is to be measured by the aesthetic distance
with which it opposes the expectations of its first audience, then it follow that this distance, at first
experienced
as
a
pleasing
or
alienating
new
perspective,
can
disappear
for
later
readers,
to
the
extent that the original negativity of the work has become self- evident. After the work read, the
original negativity of the work has itselfentered into the horizon of future aesthetic experience, as
a henceforth familiar expectation.




It is inferred that if the aesthetic distance between the horizon of expectations and the literary
work does not demand too much from the reader, the work will be popular.



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