Reception Aesthetics

With the latest developments in education, an understanding of education that puts the student at the center, structures what they have just acquired based on previous knowledge, and accepts all structured knowledge by rejecting the existence of only one information in this sense, has been adopted. In this respect, the aim of Turkish education, which is focused on skill training rather than knowledge, is to gain reading habit and reading culture. In order to gain the habit of reading, an approach that will enable students to connect with the text and to reproduce and structure the text in their own right should be adopted. The theory of reception aesthetics allows the reader to establish a dialogue with the text, to construct and reproduce it. Reception is not only limited to reading text, but also offers flexibility in terms of listening and visual reading (Ong, 2013). In this study, reception aesthetics in terms of Turkish education is discussed; Accordingly, a literature review is conducted. The concept of the horizon of expectation partially overlaps with the concepts of background knowledge, and world knowledge; Thanks to the horizon of expectation the reader's previous readings combine with the interpretant in the text and transformations take place, and thus the reproduction process is started. The fact that the reception aesthetics is open to interpretation, the view that the gaps in the text / visuals are filled by the reader will develop students' interpretation, creativity and predictive skills, enable them to achieve acquisitions related to these skills, and will ensure that students are progressed in terms of such high-level skills.

Az eseményfogalom megragadásának nehézségéből következtetően alapvető, már evidenciának tekintett elbeszéléselméleti és hermeneutikai összefüggések újragondolására vállalkozunk.
E vállalkozás pedig az eseményhez mint epizódfluktuációhoz: a narráció olyan felfogásához vezet majd végül, amely további alapviszonyok, leginkább az idő és a jel viszonyának átértékelése előtt nyithat utat, mert az eseményfogalom elbeszéléselméleti meghatározhatóságának vizsgálata közben feltűnik a jelölő és jelölt viszonyának újraértelmezési lehetősége, amelynek nyomán a jel mint olyan sajátosan kettős természete mutatkozik meg.

This book attempts to reconsider fundamental narrative theoretical and hermeneutical correspondances by drawing conclusions from the difficulty of capturing the event concept. This attempt finally leads to such a concept which interprets the event as episode fluctuation. This could pave the way for further basic correspondences, especially for the reinterpretation of the correlation of the time and the sign. Namely, during the course of the theoretical definability of the event concept the reinterpretation chance of the correlation of the signified and the signifier rises. As a result of this the peculiar dual character of the sign as such reveals itself.

Although painting at the court of the Emperor Rudolf II in Prague has been regarded as a distinctive artistic phenomenon since the early 20th century, finding a place for Rudolfine art in the history of European painting and in the art historiography of the individual Central European countries is still an open issue. The aim of this study is to identify the roots of this process by observing the changes that occurred in the discourse on Rudolfine painters in the course of the 17th and 18th centuries, making use of contemporary literature and records about how their works were displayed in the visual context of the time.

In art, as in life, for things to work, it’s almost never possible, nor is it always useful, to say everything, to reveal everything at once. More often it’s necessary, and sometimes it’s profitable, to give our interlocutors the opportunity of exercising their “wonderful sagacity” in “filling up these vacant spaces” with their own conjectures, as Henry Fielding warned in "Tom Jones", thinking about “the good and advantage of the reader”. The essays of the present exhibition catalogue are devoted to that “wonderful sagacity”, for it seems we have to admit that many readers do not even know they possess that particular skill, even though they exercise it spontaneously, and many beholders (above all) do not even exercise it – or at least less than they could do – precisely because they do not know they possess it.

This study, which draws on the interpretative methods developed by Pamela Jones and Gabriela Wimböck, examines the response of the baroque-era public to religious art, and demonstrates that the aesthetic quality of an image was indeed of importance. Information on this can be drawn from reports of worshippers´ responses to painting decorations in churches or from stories dealing with the painters as creators of miraculous images.

This paper discusses a passage from the finale of Heliodorus' Aethiopica which has hitherto been interpreted as suggesting that Charicles, the heroine's foster-father, possesses information which he should not hold according to earlier parts of the novel. Offering two solutions to the Charicles puzzle, this article sheds light on important narratological characteristics of Heliodorus' novel: firstly, the Aethiopica opens itself to a 'completive mode of reading', which prompts the reader to speculate about unnarrated parts of the story; secondly, profound ambiguities can trigger chain reactions of alternative readings which reach far into parts of the plot that are connected with the ambiguous segment.

The display of artefacts always implies an external mediation that influences, and often codifies, the reception of the exhibits. Objects are manipulated, restored, appropriated, staged, in short displayed, through various representational strategies that include pedestals, labels, and showcases. These elements, which we could define as parerga, are often ignored because of their utilitarian function. Yet, they play an important role in the history of the artefacts and define the setting in which the objects can exert their agency. They not only shape their meaning, but also determine the effect that these artefacts have on their viewers. Framing devices create the conditions for interactions between the individual and the object to take place. This publication aims to explore the relation between artefacts and viewers as they are manifested in framing devices, and to develop a new theoretical framework for thinking about the power of objects on display.

Examinaremos três metáforas referenciadas por Wolfgang Iser no livro "O ato da leitura: uma teoria do efeito estético": a leitura como viagem, o sentido como "desenho do tapete" e o texto como partitura. Pretendemos analisar também as potencialidades da metáfora no contexto de um discurso teórico como o de Iser. A partir do paralelo entre a perspectiva de Hans Blumenberg – que confronta conceito e metáfora – e a de Lorenza Mondada e Danièle Dubois – segundo a qual a instabilidade constitutiva do discurso é cerceada por procedimentos que determinam a referência discursiva –, discutiremos se as metáforas da leitura no livro de Iser não propiciariam, ao menos parcialmente, o que Mondada e Dubois denominam "efeito estabilizador".

“The Medieval femme auteur As A Provocation to Literary History: Eighteenth-Century Readers of Christine de Pizan,” in: Visitors to the City, Readers of Christine de Pizan, ed. Glenda McLeod, Michigan Medieval and Renaissance Series, v. 9 (Lewiston, New York: Mellen University Press, 1991), pp. 101-132.
This article documents the specific contexts in which the writings of Christine de Pizan were received and interpreted in the 18th century.

A partir de los trabajos de Hans Robert Jauss, especialmente, la estética de la recepción ha sido una herramienta especialmente útil para el análisis de textos medievales. Su categoría de “Horizonte de expectativas” ha sido fundamental para entender, teóricamente, cómo enfrentarse con textos tan lejanos en el tiempo y pertenecientes a una cultura tan diversa a la nuestra. Este trabajo quisiera reparar en otra colección de categorías provenientes del mismo campo teórico, acuñadas tanto por el mismo Jauss como por Wolfgang Iser, y que pueden ser de la misma utilidad para el estudio de la Edad Media: la experiencia esética, la diferenciación entre significado y sentido, la conformación del lector implícito, el concepto del texto como juego, y otras, son de especial interés. El terreno medieval ofrece, asimismo, sus particularidades: es en especial la intención de este trabajo considerar con mayor detalle las problemáticas que el período impone sobre las definiciones de estas categorías y las cuestiones básicas que deben ser tenidas en cuenta para su aplicación.

This study examines the concepts of art, politics and art institution departing from three cases of exhibition situations
at Moderna Museet in Stockholm, 1998–2008. The cases are considered in relation to different aspects of the museum’s
identity as an art institution.
The first case, the Pontus Hultén Study Gallery (2008–), is an interactive exhibition space containing 34 mechanical
screens for displaying art. It is understood here as a comment on the museum’s identity as a collecting institution. The
author critically analyses a number of common oppositions in avant-garde theory regarding museum culture, such as the
museum as a place for passivity rather than activity, preservation rather than initiation, and ultimately death rather than
life. The second case, the exhibition series Moderna Museet Projekt (1998–2001), was marked by the ambition to integrate
artworks into contexts outside the physical museum building. Here case analyses focus on the distinction that the series
established between art and a presumed alternative, such as life, reality, or politics. The third and last case, the sound
installation Forty-Part Motet (2001) by Janet Cardiff, was installed in an exhibition space that actualised the ideals of the
so-called white cube. In the institutional critique of the 1960s and 1970s, this exhibition space was dismissed as isolated
and detached from society, an idea that is critically examined. Throughout the different case studies, spectator positions
and potential agency are of particular concern.
This thesis concludes that the concepts of art and politics are different permeable forms of experiences, visibilities and
practices, that cross and intertwine. This conclusion is informed by Jacques Rancière’s notions of aesthetics and politics.
In this reading, the art institution is not a barrier separating art from politics, reality or life, but nor is it a dead or deadening
space. Rather, the art institution, as a social space and concept of art, is considered as intertwined with other forms of
visibilities and experiences. Thus, regarded as a frame for a certain type of visibility, the art institution is capable of
establishing a difference that is both unproblematic and urgent.

Sebuah karya sastra tidaklah mungkin muncul secara an sich, ia ada karena diciptakan, atau dengan kata lain ia tidak merupakan entitas ontologis yang mendadak ada. Fakta inilah yang membuat kita tidak punya pilihan lain selain mempertimbangkan sejarah karya sastra, atau dapatlah kita sebut sisi-sisi historis, di dalam usaha interpretasi. Dengan demikian maka pembicaraan sebuah karya sastra tentunya niscaya memunculkan pertanyaan-pertanyaan misalnya: apakah kaitan antara karya dengan pengarangnya, karya lain sejamannya, penikmat karyanya, genrenya, waktunya, bahasa khususnya? (Colie dalam Thorpe ed., 1967: 1). Kemudian pertanyaan dapat berlanjut ke arah yang lebih spesifik ketika berbicara mengenai sejarah bahasa: pada titik manakah di dalam "sejarah bahasa" dapat dianggap secara sah terlibat di dalam sastra? Jawaban atas pertanyaan tersebut sebenarnya didasarkan atas fakta bahwa bahasa, kata-kata, konteks penggunaannya, dan juga semantik yang kerap kali berbeda di tiap jaman.

Quedan rigurosamente prohibidas, sin la autorización escrita de los titulares del Copyright, bajo las sanciones establecidas en las leyes, la reproducción total o parcial de esta obra por cualquier medio o procedimiento, comprendidos la reprografía y el tratamiento informático, y la distribución de ejemplares de ella mediante alquiler o préstamo públicos.

The present article is focused in the analysis of the concept Bildungsroman (novel of formation/education). Since Karl Morgenstern (1770-1852) created the term Bildungsroman in his famous article Über das Wesen des Bildungsroman, the concept has been definitely shaping up to form the kind of novel that appointed today.
Any definition of Bildungsroman designates as essential features of this genre, the story of a character, who is developing his artistic, moral, emotional or psychological level with a well-defined stages, such as adolescence, youth, adventures and maturity or improvement.
The unquestionable contribution of W. Dilthey helps to do a study around the issue, making the German concept of common use among the criticism. In his work Leben Schleiermachers, develops the concept in the terms of the human development and his stages.
The problem that we see in this definition is that there is an identification between the novel of Goethe that originated the term, Wilhelm Meister, and the genre itself. The novel is the way to define the literary model.
Our article tryes to show the contradiction of using only a novel as a reference for a literary genre, and we propose a new reformulation of the concept allowing it to be as widest as posible, with novels with similar themes. And likewise we try to remark the importance of the reader in the learning process, because he is closely linked to the text itself, since he is also the recipient of the formation of the novel (J. Culler).

FRANCISCO. JAVIER MUÑOZ ACEBES. Universidad de Valladolid. Facultad de Filosofía y Letras, Valladolid, España

Introduction to the volume "Poetic Critique: Encounters with Art and Literature". Eds. Michel Chaouli, Jan Lietz, Jutta Müller-Tamm, and Simon Schleusener. Berlin: De Gruyter, 2021 (pp. 1-6).
DOI: https://doi.org/10.1515/9783110688719
DOI: https://doi.org/10.1515/9783110688719-001

Este artículo examina críticamente la interpretación del Laocoonte como una obra cuyo principal aporte consiste en una teoría de los signos. Dos elementos del texto de Gotthold Ephraim Lessing son destacados: la especificidad de la dinámica temporal que despliegan las imágenes estáticas y la defensa que el autor hace del potencial icónico del lenguaje. Parte central del argumento es que la manera en que Lessing comprende el concepto de instante fecundo en la representación visual de lo transitorio incluye un análisis de la figuración lingüística. Esta manera de proceder permitiría entonces interpretar su contribución como una teoría implícita de la imagen, es decir, como un estudio de los fundamentos objetivos de creación de sentido de las imágenes a partir de sus encuentros y desencuentros con el lenguaje verbal.

Cos'è una soglia? O, per meglio dire: in che senso il termine, nella sua accezione metaforica, designa determinati fenomeni figurativi in maniera epistemologicamente feconda? Le quattro opere raccolte in questa sezione sono accomunate dalla presenza di elementi che marcano, in senso più o meno letterale, un margine. Eccone un elenco sommario: la finta cornice attraversata dalle dita della fanciulla nella tela di Rembrandt; le nicchie, i cui limiti sono valicati dalla mano sinistra della donna ritratta da Ottmar Elliger e dal libro dipinto da Gerrit Dou; infine, il drappo e la tenda, la cui posizione spaziale, nell'immagine di Scipione Pulzone come in quelle degli artisti olandesi, risulta significativamente ambigua. Si tratta di dettagli che contribuiscono a creare anzitutto una suggestione di permeabilità tra il "dentro" e il "fuori" del quadro, come se i due universi non fossero ontologicamente separati. Sono soglie, appunto, cioè spazi di transizione e anche di transazione, secondo la definizione di Gérard Genette, cioè luoghi in cui, in modo più o meno tacito, si negozia un accordo, ad esempio, sulle norme dell'interazione fra le parti 1 . In effetti, sono proprio alcune regole -in questo caso, della rappresentazione e della sua fruizione -che il gruppo di immagini finisce col portare all'attenzione. La piccola serie presenta tipi di liminarità dalla decifrazione complessa, la cui ambiguità spaziale sembra progettata -come avviene nelle metalessi -per spingere a interrogarsi sul funzionamento delle opere stesse e, più in generale, sui principi che ne governano i meccanismi, ragionando nel contempo sulla posizione, il ruolo e i compiti dello spettatore 2 . Sicché, a causa del carattere sorprendente ed enigmatico delle soglie, che sfumano i confini tra la finzione e il dominio del reale, la percezione risulta disorientata e vengono a galla, in forma problematica, alcuni fondamenti della mimesi e dell'illusionismo. Si manifesta, insomma, e in maniera flagrante, quella dimensione opaca della rappresentazione pittorica di cui parlava Louis Marin, sulla scorta della teoria dell'enunciazione elaborata da Émile Benveniste. In breve, conviene qui ricordare che, per Marin, con la metafora dell'opacità si designano quelle componenti della

Curiously, there has been a lot of discussion about the death of the author but the death of the literary work has hardly been resisted. It has been taken for granted that literary work closes itself on a signifed, that the work is closed, finished object which hides its meaning. In this article I show that there are good reasons to doubt this claim.
In the first part of the article I argue that the literary work has lost its content because the notion of the text has has such an important extension. Many reader-oriented critics are convinced that every text has its meaning only in reading. As the meaning is produced, assembled and constituted in the reading process, it is always subjective, individual, plural. The literary work becomes the victim of the text and will be sidelined.
In the second part of the article I will compare the phenomenological literary theory of the Polish aesthetician Roman Ingarden and the reader-response theory (reception aesthetics) of the German literary theorist Wolfgang Iser. I will focus on how Iser will make an important extension of the notion of the text - in the spirit of Barthes- at the same time giving the notion of the literary work a totally new content.

Opslaget foretager en sensibel sortering af det budskab, der blev formidlet med skriften som medium, og som er blevet fortolket som værende hele menneskehedens budskab. Håbet er at den aktuelle kontrast mellem den litterære humanisme og eksponentielle medieteknologier muliggør en forståelse for, hvad den humanitetsdannende skriftkultur kunne og ville. I kulturens arkiver er den litterære humanisme stadig tilgængelig for den søgende, men har den selv udstedt en vilje til sin eftertid, og skal en sådan i givet fald respekteres og efterleves?

This essay turns to Don DeLillo's novel Point Omega to revisit a blind spot of narrative theory--narrative's relation with lyricality and poeticity. Responding to recent debates on this topic by shifting the emphasis toward modes of reception and readerly engagement, my essay examines how the novel's experimental mix of literary forms changes the game of what narrative commonly does. Point Omega's unusual brevity (it is the shortest of DeLillo's recent short novels) and eventlessness (nothing much happens, and much of what happens evades reconstruction) are key to this operation. I argue that the novel endorses lyric and poetic strategies—among them, slow- ing down the reading process by amplifying the demand for "speakerly appropriation" (Schlaffer), and spacing the narrative by exploiting the cinematic frame as the prime compositional measure—with the effect of impairing the temporal reign of emplotment along with the knowledge-generating logic of cause and effect. As a result of downplaying narrative dominance (and frustrating our expectations to find out what has happened), we read for cohesion (a sense of unity) rather than for coherence (a system of rules). I contend that this poetological agenda and the receptive mode that it harbors mark a break with—or plot against—the concern with paranoia that was the staple of DeLillo's earlier, longer, Cold War novels. And I suggest that Point Omega's post-paranoid style casts a lyric-poetic instance on the fundamental unknowability of reality against the blazing knowledge regimes of our crisis-ridden age.

This paper discusses two recapitulatory speeches at the end of Heliodorus' Aethiopica. Parts One and Two explore the metaliterary significance of the speeches, arguing that they call the reader's attention to the novel's narratological heterogeneity. Part Three discusses those elements of the novel's ending which subvert its teleological drive, thereby challenging the novel's seemingly strong closure.

Skripsi ini membahas satu di antara peristiwa dalam sejarah kesusastraan Indonesia yang dikenal sebagai peristiwa heboh sastra 1968. Peristiwa heboh sastra 1968 berpangkal pada kontroversi sebuah cerpen yang berjudul "Langit Makin Mendung" (1968) karya Kipandjikusmin. Guna mengetahui peristiwa heboh sastra 1968, ditelitilah tanggapan-tanggapan pembaca mengenai cerpen tersebut, dengan berpijak pada teori estetika resepsi. Dengan kerangka teori estetika resepsi Hans Robert Jauss, penelitian ini menempatkan karya sastra pada konteks sosial budaya, merunut kembali semangat zaman, horison harapan pembaca, dan konvensi sastra berdasar kurun waktu. Dari hasil analisis tanggapan-tanggapan pembaca dapatlah diketahui seluk-beluk permasalahan yang memicu peristiwa heboh sastra 1968. Dengan demikian, penelitian ini diharapkan dapat menjadi satu di antara model alternatif penulisan sejarah kesusastraan Indonesia.

*Skrispsi S1 pada Program Studi Sastra Indonesia, Fakultas Sastra Universitas Padjadjaran thn. 2007.