By Hans Robert Jauss
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Additional resources for Aesthetic Experience and Literary Hermeneutics
This transgressive function of question and answer can be found on both the byways of fictional literature and the royal way of literary processes such as the reception of myths which —as the history of Amphytrion shows 27—leave all "superiority of origin" far behind and are perfectly capable of competing with philosophical thought as vehicles of emancipation. Concerning the question how art can negate what exists and yet create norms, in other words, how it can provide yet not impose norms that will guide practical action so that their bindingness arises only from the consensus of their recipients, there is the recipe of an eighteenth-century philosopher whose authority is indisputable.
Walter Benjamin's Kunstwerk essay (1936) and Herbert Marcuse's Critique of the Affirmative Character of Culture (1937) opened discussion about the end of autonomous art at the same time. Benjamin defined aesthetic experience by the concept of aura, anticipated Malraux's thesis of the Musee imaginaire (1951)13 with the analysis of the consequence of the aura's deritualization in the age of the mechanical reproducibility of art, and attributed to technicized art the revolutionary significance that it would make the masses the subject of a politicized aesthetic praxis.
Jurij M. " Phenomenology of the Social World by Alfred Schiitz and Thomas Luckmann (1975) provides the indispensable foundation for dealing with the problem of setting off the aesthetic from other provinces of meaning of human activity. Odo Marquard has repeatedly defined the aesthetic historically and systematically by its compensatory achievements and given the impetus for a new interpretation of modern art which would make it the corrective of the contemporary ioss of the PREFACE a xxxv tclos.
Aesthetic Experience and Literary Hermeneutics by Hans Robert Jauss