By Hans Robert Jauss
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Extra resources for Aesthetic Experience and Literary Hermeneutics
If one does not simply propose to deny the character of art to a literature of such indisputable social effect as heroic poetry, as Adorno's thesis would require, one must not start out by seeing and recognizing the social function of art in negation but in the creation of an objectively binding meaning. " But even Diderot and Lessing would not escape the stigma of that appellation. As theoreticians of the bour geois play, they demanded that the modern dramatist portray his hero as being like everyone else because only the sameness of hero and audience could arouse our compassion along with our fear.
Besides, there are the senses and, finally, the mind. "24 After the advent of the aesthetics of subjectivity (when aesthetic activity is neither any longer experienced as a creation according to nature nor —in Poe's and Baudelaire's antiromantic turn—as a production like nature's), aesthetic reflection which accompanies modern lyric poetry up to Valery understands the artist's creation as a creation against the resistance and opacity of nature. It was Valery who, in his Leonardo essays, most profoundly probed the antinaturalism of this modern period, and it is in his Eupalinos (1921) that he poetically thematized it.
354) is to pour out the child with the bathwater and to misunderstand the communicative achievement of art at the level of primary identifications such as admiration, emotion, laughing, and crying with the hero which only aestljetrc*" snobbery will consider vulgar. Fox_itus_Jn such identificatio*ns and gg yg y j snobbery will consider vulgar. Fox-it^Mn such identif icatiorTs and . oply second arily in the aesthetic R eflection that detaches Jtseit trom LK them that aesthetic experien ce turns into symbolic or communicative I action .
Aesthetic Experience and Literary Hermeneutics by Hans Robert Jauss