Lecture Introduction. Fiction. System of literature. Plans

Lecture 13.Receptive aesthetics. Aesthetics of impact
Plan:
1. Receptive aesthetics.
2. The basis of receptive aesthetics
3. Explicit and implicit reader
Aim:
- to provide students with information about origin of "Receptive aesthetics"— methods in literature;
- to emphasize the main concepts and tendencies of its development;
- to teach students to distinguish Explicit and implicit reader
Objectives:
- to learn features of the method;
- to give opportunities to students how to analyse text in terms of aesthetic method;
- to identify the major role of this method in literature.
Learning outcomes:
- to introduce the theme and improve their knowledge about it;
- to give an opinion about literature and its functions;
- toanalyse the characters of each novel
Keywords: reception, impact, receptive aesthetics, aesthetics effects, dialogue, text, artwork, reading, recipient, addressee, explicit, implicit reader, horizon of expectations, the point of uncertainty, unfilled position
"Receptive aesthetics"— aesthetics dialogue between text and reader, contributing to the paradigm shift in literary theory in the second half of the 60-ies of XX century. It is based on the interaction of a conditional, fictional text with a real reader. V. Iser wrote that only reading a literary work leads to a "key interaction between its structure and the recipient"¹⁰
From the point of view of a systematic approach to literature, receptive aesthetics connects the subsystem "the work of the reader", focusing on the mechanism of direct and indirect connections. Thus, the subsystem "author's work" loses its significance. The history of the origin of the work, its genesis fall out of sight.
The relationship of "author tradition", so significant for the cultural-historical approach and hermeneutics, to a certain extent loses its significance. Receptive aesthetics of refusals-
It also refuses to study closely the relationship of "author — reality", leaving this problem for the sociological method.
The analysis of the "work-reader" subsystem is at the intersection of hermeneutics, formal, sociological and psychological approaches. Readers' likes and dislikes are readers' psychological attitudes, brought out and manifested in a series of negative and positive reactions to a work of literature.
Developing the subsystem "work -reader", V. Iser relies on the concepts of Y.M. Lotman and the theory of systems of the German philosopher and sociologist N. Luhmann,author of the monograph "Social Systems". In Yu.M.Lotman, V. Yserhighlights the idea of a work as a "living organism" connected with the reader by a mechanism of feedback. Following Luhmann, Iser points to the "self-regulation of systems" as the basis for the interaction of the author and the reader .
It also refuses to study closely the relationship of "author — reality", leaving this problem for the sociological method.
The analysis of the "work-reader" subsystem is at the intersection of hermeneutics, formal, sociological and psychological approaches. Readers' likes and dislikes are readers' psychological attitudes, brought out and manifested in a series of negative and positive reactions to a work of literature.
Developing the subsystem "work -reader", V. Iser relies on the concepts of Y.M. Lotman and the theory of systems of the German philosopher and sociologist N. Luhmann, author of the monograph "Social Systems”. In Yu.M.Lotman, V. Yser highlights the idea of a work as a "living organism" connected with the reader by a mechanism of feedback. Following Luhmann, Iser points to the "self-regulation of systems" as the basis for the interaction of the author and the reader . In formulating this point, V. Yser comes very close to a system-synergetic approach in humanitarian knowledge.
A direct connection in the subsystem "work - reader" gives rise to the "aesthetics of impact" . In this case, we are talking about the impact of the text on the reader. The main provisions of the "aesthetics of impact" were developed by V. Iser. if the emphasis is placed on feedback, then the mechanisms of "receptive aesthetics" are triggered. its main provisions were developed by H.R. Jauss.
"Receptive aesthetics" and "aesthetics of impact" are opposed to the immanent theory of literature. In Germany, at the turn of the 60-70s of the XX century, the "Constance school" (Kon- stanzerSchule) of receptive aesthetics was formed. The American receptive criticism, studying the reader's reactions (receptive criticism, reader-response school) is also connected with the German tradition.
In formulating this point, V. Yser comes very close to a system-synergetic approach in humanitarian knowledge.
A direct connection in the subsystem "work - reader" gives rise to the "aesthetics of impact" . In this case, we are talking about the impact of the text on the reader. The main provisions of the "aesthetics of impact" were developed by V. Iser. if the emphasis is placed on feedback, then the mechanisms of "receptive aesthetics" are triggered. its main provisions were developed by H.R. Jauss.
"Receptive aesthetics" and "aesthetics of impact" are opposed to the immanent theory of literature. In Germany, at the turn of the 60-70s of the XX century, the "Constance school" of receptive aesthetics was formed. The American receptive criticism, which studies the reader's reactions (receptive criticism, reader-response school), is also connected with the German tradition. Con-
The Stanza school included a group of literary theorists, historians and philosophers united around the university in the city of Konstanz .Interdisciplinarity is a distinctive feature of the school. Among its representatives are writers H.R. Jaussand V. Iser.Philosopher H. Blumenberg etc. Within the framework of the school, a series of publications "Poetics and Hermeneutics" was prepared, which gained international fame.
The ideas of receptive aesthetics arise in Anglo-American and German literary studies in the late 60s of the XX century. Receptive aesthetics is based on the then reigning "epoch-making systems of explanation of" literature" . Representatives of the "Constance school" refused to see in a work of verbal art a "documented testimony" of the "spirit of the epoch", a reflection of social conditions or an expression of the author's neurosis.
Receptive aesthetics is formed in the attraction and rejection of the language, the Prague Linguistic Circle, the Anglo-American "new criticism" and structuralism. H.R. Jauss and V. Yser distance themselves from the understanding of the work as a "sum of techniques", from the technique of "close reading" and the immanent approach in general.
The basis of receptive aesthetics are the philosophical concepts of E. Husserl, the ideas of phenomenological literary criticism of R. Ingarden, the key provisions of hermeneutics. Of great importance for receptive aesthetics were the philosophical ideas of G.G. Gadamer, transferred to literature.
"Receptive aesthetics" is aimed primarily at the study of the "literary experience" (Erfahrung) of the reader. At the same time, the "reception" of the work, its "impact" on the public correspond to the literary "expectations" of readers, with their "pre-
understanding" the genre, form and subject matter of the work against the background of the previous literary tradition. Of great importance is the perception of poetic language going back to the dialect against the background of the "everyday language" of this era. Obviously, the categories of "misunderstandings" and "expectations" are associated with the hermeneutics of Jauss. The opposition of poetic and everyday language goes back to the theories of Russian formalists. At the same time, the material properties of the text, its "literariness" are studied not directly, but indirectly. They are reconstructed based on the impact of the work on readers. The question is raised about the study of the "sociology of reader's taste".
Works on aesthetics p .Ingardena are a bridge between the immanent study of literature and receptive aesthetics. Perceiving the work, the reader "completes" it. R. Ingarden calls such semantic "completion" "concretization". Concretization is "... an addition to the work introduced by the reader and not contradicting the work". Due to the structure of the work, the reader's "completion" "... is already beyond the limits of the work ...".
R. Ingarden owns the idea of "the set... the images of "the same work that it "... acquires... with repeated reading of it" by the same reader or readers of different eras. The multitude of readings is explained not only by sociological reasons, "... by the variety of abilities and tastes of readers," as well as by the conditions under which reading is performed. The potential multitude of concretisations goes back to "... a certain specificity of the work of artistic literature itself"
R. Ingarden believes that the content and form are inherent instability, incomplete naming (naming), semantic uncertainty. In this instability, "... in the absence of final completeness and immobility...
", the "charm" of literature3 is reflected. The thought of "places incomplete
certainty" in the text will become one of the central ideas of receptive aesthetics.
The main character of the history of literature becomes the reader, the addressee, the public as "the energy that develops history". H.R. Jauss characterizes the communicative nature of literature as "... a dialogical and at the same time developing relationship between the work, the public and the new work, which can be comprehended both at the level of relations between the message and the perceiver, and at the level of relations between the question and the answer, the problem and the solution".
The program text of the receptive school was the introductory lecture by H.R. Jauss "literature as a provocation". He read it at the University of Konstanz in 1967 . The dating of the lecture is quite remarkable. on the eve of the student revolution in Europe in 1968, H.R. Jauss objected to the reduction of literary theory to "productive and imaginative aesthetics", i.e. to the aesthetics of the creator. The Creator is Supreme
Hans Robert Jauss is a German historian and literary theorist, a specialist in the works of M. Proust, one of the creators of "receptive aesthetics" in Germany. In 1966-1987 - Professor at the University of Constance, one of the founders of the "Constance school". At the end of the 60s of the XX-th century, large-scale reforms in the field of humanitarian knowledge were carried out at the Konstantsky University, which opened up new opportunities for literature. H.R. Jauss sought to establish a new paradigm of humanitarian knowledge, based on the "interaction" of production and the reader. In the work devoted to the reception of Middle-century literature Jauss puts forward the thesis about the hermeneutical value of "otherness" in cognition. At the end of the 80s of the XX century, Jauss got into a polemic with the representatives of "New Historicism" and deconstructionism, defending a dialogical hermeneutic approach to humanitarian knowledge. The dynamic meaning that becomes in the dialogue of the text and the reader
the world he created. Pushed to the limit, this approach ignores the reader as an addressee, "... to whom a literary work is primarily intended"1. This approach also denied the habitual role of a historian (theorist) of literature, who had lost the monopoly right to the only correct interpretation of the "meaning" of the work. The category of "meaning" found dynamism, instability, and fluidity in the works of Jauss and Yser. The Constance School was interested in the formation of meaning in the dialogue between the work and the public.
H.R. Jauss formulated a new understanding of literature in a number of main theses:
- the value (meaning)
of a statement is not a constant, once and for all given, static quantity;
- the meaning of the work varies depending on the reception of readers;
- reception arises on the basis of dialectical relations between the work and the recipient against the background of the historical context;
- the reception of a literary text by readers is carried out on the basis of a "referential framework" regulating the act of reading. The referential frame is determined by the structure "
consumer expectations" The expectations of the readers are a kind of collective "pre-understanding" of the literature. The referential frame is the "horizon of expectation" of the reader, formed on the basis of genre norms of the era, the relationship of fiction and reality, text and context in the minds of readers;
- the reception process is a continuous dialog of the "reader's waiting horizon" with text signals.;
- due to the possibility of "aesthetic distance" a work of high literature can cause a "change in the horizon of readers' expectations";
— the "primary reception" differs from the "secondary reception" of later readers2. In contrast to the "implicit reader" of V. Yser, H.R. Jauss focuses on the explicit, "historical" reader.
H.R. Jauss has developed the basic Ideas of "aesthetics of action". Receptive aesthetics was developed in the works of V. Yser.
The central position of receptive aesthetics is the birth of a new meaning in the act of aesthetic perception of the reader's text. V. Yser relies on the ideas of the researcher of social systems N. luhmann, who understood meaning as "... the ability to define oneself through pointing to other elements of the system". "Another element of the system" literature is the public, the reader. According to V. Iser, meaning is always an "impact" , which first appears "in the course of reading literary texts initiate the self-emergence of meaning . Therefore, the text is not equal to the author's creation as the final product. literary texts "can produce
something that they themselves are not" .
Developing the ideas of H.R. Jauss, V. Iser analyzes the categories "reading" and "reader". He distinguishes between an "internal", "implicit" reader, rooted in the text itself, and an explicit, real-historical reader.
Implicitly the reader is a theoretical construct, "transcendental model", which can be described the impact of the text on the reader. V. Isere, refers to "the role of the reader", as enshrined in the appellative text structure .
Central receptor aesthetics is in terms of the text as a network APEL - stepnyh structures, addressed to the recipient. The text appears as a result of interaction, as an "interaction" with the reader. In the reader's perception, there is a "concretization" of the text. The appellative structure of the study contains an open semantic horizon, the potential of "possible actualizations" in the process of reading.
Receptive aesthetics proceeds from the fundamental asymmetry of the text and the reader. Developing the ideas of Jauss, V. Yser puts forward
Wolfgang Iser is a German anglist and literary theorist, one of the key figures of the "konstantz school". Analyzing the appellative structure of the text, Yser, following R. Ingardin, considered the presence of semantic "uncertainties" as a condition for the impact of the text on the reader. These ideas were developed in the monograph "The Implicit Reader" .based on the material of the English novel of the XVII - XX centuries, the author investigated the role of the reader in the text. The "implicit reader" is an analogue of the conceptualized (implicit) author, about whom the American literary critic U. Booth and B.O. Korman. An "imaginative reader" is a theoretical construct associated with the reader's perspective in the text. In the monograph "The Act of Reading" ,Yser continued to study the communicative interaction between the text and the reader. In the future , V. Iser focused on the problems of hermeneutics and literary anthropology. Justifying "literary anthropology, V. Yser focused on fiction (On the anthropology of fiction).
the following concepts: the structure of the "act of reading", "repertoire of the text", "horizon of expectation", "places of uncertainty", "unfilled positions"
The disclosure of the semantic content of the text during a new reading is possible, since the work, which is an "appeal" to the reader, contains numerous points of uncertainty that the reader actualizes in the reading.1 The points of uncertainty are associated with unfilled, empty, free spaces in the text . At such a point, the reader can be included in the production, combining various "text segments" and "narrative perspectives". The reader has hypotheses about the mutual relations of various segments of the text. "unfilled positions", "gaps" direct the activity of the reader's perception.
its historical and socio-cultural horizon. The reading of a work is its "individual concretization". At the same time, the reader reacts to a certain "Textrepertoire" The "repertoire of the text" includes "out-of-text norms" selected by the author from extratextual reality and included in the work, as well as repeating elements of previous genre traditions. M.M. Bakhtin referred to this component by the term "genre memory". Due to the combination of extra-textual norms and repeating elements of the previous literary tradition, the "degree of certainty") of this text arises.
The contours of the reader's "horizon of expectation" are outlined in the text, the contours of the dialogue between the reader and the text. It depends on the reader how he will react to the repertoire of the text, filling in the "unfilled positions" in the text in accordance with his "horizon of expectation".
"Blank position", "space" — "place of uncertainty" in the text. Potentially, this is where the reader could connect to the understanding of the text. but it is here that "negation", semantic negation, occurs . The reader cannot "enter" the text. "unfilled positions" cause its increased activity. The power of the reader's imagination is activated. V. Yser calls "unfilled positions" "elementary matrices" of the interaction of the text and the reader . At these points, the text structure is "dynamized", it acquires "openness" if the text arouses certain expectations in the reader, which are later removed, then this may be the result of the influence of "incomplete positions". At these points, the text "negates" the energy of the reader's imagination . "negation" is associated with the emergence of a special "aleatorics" of meaning. Aleatorics implies the presence of free, open, dynamic semantic positions that are not predetermined, not given in advance . In the text, there is a tension between the said and the unsaid, the unformulated .
Semantic aleatorics combines combinatorial possibilities of textual elements with "prohibitions" on certaincombinations.
However, these "prohibitions" are rarely spelled out in the text. The reader brings them into the text .
Example
Let's try to read the literary text from the perspective of the re- ceptive aesthetics, considering the aleatorics of meaning for this. Let us consider for this the novella of the Prague prose writer G. Grab "The Taxi Driver".
G. Grab is a talented prose writer of the younger generation of Prague German-speaking writers, the author of psychological prose, in which the traditions of M. Proust and F. Kafka are distinguishable.
In the "Kafkaesque" novel by Grub "Taxi Driver" there are "unfilled positions", semantic "gaps". written in the first person, the novella contains the story of one mistake. Returning from a business trip, the narrator asks the taxi driver to bring a suitcase into the room. Instead of leaving, the taxi driver, having completed the assignment, begins to look at the bookshelves. Immersed in reading, the driver spends the whole night in the apartment. Two days later he comes again. From that moment on, the narrator's life is completely turned upside down.
The taxi driver comes again and again, takes out the books from the shelf. Sometimes he plays a "sad tune" on the piano, and he plays without touching the keys. The taxi driver also appears when the narrator is engaged in professional conversation. He poisons his hours of work and rest. At different times and in different parts of the room, the guest looks different: "... in front of the bookshelves stood a plump reddish man of middle age...", at a desk with a desk lamp turned on was a slender young man dressed in a worn livery that sat on him "like a fit". As if having bonded with a strange guest, the narrator tries one day "... to approach him and pat him on the head." but suddenly he notices,
that "... the black curly hair of the "taxi driver" ... is braided into free-standing dense bundles, between which microscopic worms nest" . The story ends with a sad sigh from the narrator: "What can I do? How could all this have happened... it wasn't so hard to bring this suitcase to Mom.

Exercise 1.

1 What is receptive aesthetics?
2. The basis of receptive aesthetics?
3.Who is explicit reader?
4 Who is implicit reader?
Exercise 2.
Think about a literary book you have read and find out the aesthetic approach in it.

1^ . Mitchell, Juliet. 2000. Psychoanalysis and Feminism: A Radical Reassessment of Freudian Psychoanalysis. London: Penguin Books. p. 341.

2^ Birnbach, Martin. 1961. Neo-Freudian Social Philosophy. Stanford: Stanford University Press. p.3.

3^Freedheim, D.K.; DiFilippo, J.M; Klostermann, S. (2015). Encyclopedia of Mental Health (2nd ed.). New York: Elsevier. pp. 348-356. ISBN 978-0-12-397753-3.

4^ Fromm, Erich. 1992. The Revision of Psychoanalysis. New York: Open Road. pp. 12-13. (points 1 to 6).

5^Chessick, Richard D. 2007. The Future of Psychoanalysis. Albany: State University of New York Press. p. 125.

6^ Thompson, M. Guy. 2004. The Ethic of Honesty: The Fundamental Rule of Psychoanalysis. Rodopi. p. 75.

7^Hinshelwood, Robert D. 2001. "Surveying the Maze." In Psychoanalysis and Psychotherapy: The Controversies and the Future, edited by S. Frisch, R. D. Hinshelwood, and J-M. Gauthier. Karnac Publishing. p. 128.

8^ Joyce, James. Ulysses. Penguin Classics, 2000. P. 619. Далее все цитаты приводятся по этому изданию.

9^ДжойсДж. Улисс. СПб., 2006. С. 519. Далее все цитаты приводятся по этому изданию.

10