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reception aesthetics.doc

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    • 11 Aesthetics of ReceptionAesthetics 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, "Literary History as a Provocation to Literary Scholarship".In this part, I will explain four main concepts of the Aesthetics of Reception; they are "horizon of expectations", "fusion of horizons", "aesthetic distance" and "appealing structure".2 Horizon of ExpectationsTheorists of the reception theory, on analyzing the activity of reading, made remarkable use of this concept defined by Hans Robert Jauss. By "horizon of expectations", Jauss refers to a readers mindset (Holub, 1984: 59), a horizon of experience, a material horizon of conditions, a horizon which "contains literary norms and values but also desires, demands, aspirations" (Holub, 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玩 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 "fusion of horizons" as one intends to understand the text itself. And this means that the interpreter's own thoughts too have gone into re-awakening the text's meaning.玩 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 "horizon 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.2We could only understand the text in the light of the present situation. So the concept "fusion of horizons", according to Jauss, unites past and present. 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 DistanceAesthetic distance is usually defined as the difference or separation between the horizon of expectations and the work or as the "change of horizons".(Jauss, 1982: 19) If one characterizes as aesthetic distance t。

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