By Hans Robert Jauss
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Extra info for Aesthetic Experience and Literary Hermeneutics
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 . Thisis not to say that negativity must be abandoned as the fundamental characteristic in the experience of the aesthetic object, as will become apparent when we ask how aesthetic distance and communicative identification are mediated in the experience of catharsis (see below, chap.
Nor is identification "upward" the only possible direction the aesthetic experience can take, as has been shown by Andre Jolles's example of the masked ball. The aesthetic experience of play that teaches us "to place next to our life another life, next to our world another world"17 leads, in the case of the masked ball, to a preference being accorded to three categories of roles, those of the knight, the shepherd, and the jester. "18 Three important genres of the literary tradition are rooted in these three directions of aesthetic identification, SKETCH OF A THEORY AND HISTORY OF AESTHETIC EXPERIENCE D 9 the heroic, the bucolic, and the picaresque.
5 In contrast to the mimetic or realist aesthetic, expectation in the prereflective aesthetic attitude is directed toward something that does not resemble the ordinary world but points beyond everyday experience. For this reason, the real piano on the stage disconcerts aesthetic expectation just as the wolf in the zoo disconcerts the naive fairy-tale conception of the child, should it be ignorant of the well-known argument that the wolf with its red hood has nothing in common with the wolf in the zoo.
Aesthetic Experience and Literary Hermeneutics by Hans Robert Jauss