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Aesthetic Experience and Literary Hermeneutics

by Hans Robert Jauss
University of Minnesota Press, 1982
Paper: 978-0-8166-1006-8
Library of Congress Classification PN45.J313 1982
Dewey Decimal Classification 801.93

TOC

  • Contents 
    • Introduction
      • Godzich, Wlad
    • A Note on the Translation
    • Preface
    • A. 
    • Sketch of a Theory and History of Aesthetic Experience
      • 1. 
      • What does aesthetic experience mean?
      • 2. 
      • Critique of Adorno's aesthetics of negativity
      • 3. 
      • Aesthetic pleasure and the fundamental experiences of poiesis, aesthesis, and catharsis
      • 4. 
      • The ambiguity and the refractoriness of the beautiful–a backward glance at a Platonic legacy
      • 5. 
      • Poiesis: the productive side of aesthetic experience (construire et connaître)
      • 6. 
      • Aesthesis: the receptive side of aesthetic experience (voir plus de choses qu'on n'en sait)
      • 7. 
      • Catharsis: the communicative efficacy of aesthetic experience (movere et conciliare)
      • 8. 
      • Aesthetic experience among the problems of everyday life: problems of delimitation
        • a) 
        • Delimiting the ridiculous and the comic
        • b) 
        • Sociological and aesthetic role concept
        • c) 
        • The religious origin and aesthetic emancipation of individuality
    • B. 
    • Interaction Patterns of Identification with the Hero
      • 1. 
      • On the demarcation of the primary levels of aesthetic identification
      • 2. 
      • Historical explanation of the interaction patterns
        • a) 
        • Associative identification
        • b) 
        • Admiring identification
        • c) 
        • Sympathetic identification
        • d) 
        • Cathartic identification
        • e) 
        • Ironic identification
    • C. 
    • On Why the Comic Hero Amuses
      • 1. 
      • The comic hero seen negatively and positively (laughing about and laughing with)
      • 2. 
      • The deflation of the classical ideal of the hero in the Vergil travesty of the seventeenth and eighteenth centuries
      • 3. 
      • The Rabelaisian hero as a figure of grotesque life
      • 4. 
      • The comic of a one-sided portrayal of human nature (humor)
      • 5. 
      • The comic of innocence–the innocence of the comic (Dickens's comic hero)
    • D. 
    • On the Question of the “Structural Unity” of Older and Modern Lyric Poetry (Théophile de Viau: Ode III; Baudelaire: Le Cygne)
      • 1. 
      • On the debate over Hugo Friedrich's theory of modern lyric poetry
      • 2. 
      • The modernity of the classical in Gide's selection from the Maison de Silvie
      • 3. 
      • Théophile's ode in the horizon of experience of Baroque lyric poetry
      • 4. 
      • Baudelaire's renunciation of Platonism and the poetics of remembrance
      • 5. 
      • Lyric poetry as “dream of a world in which things would be different” (postscript 1977)
    • E. 
    • La douceur du foyer: Lyric Poetry of the Year 1857 as a Model for the Communication of Social Norms
      • 1. 
      • From the image-fields of the poem to the communicative function of the lyric
      • 2. 
      • Synchronic analysis of a lyrically represented subuniverse: La douceur du foyer
      • 3. 
      • The social function of the lyric experience and its communications system in the life world of 1857
    • Notes
    • Bibliography
    • Index
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