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Aesthetic experience and social praxis in the literary hermeneutic: H. G. Gadamer and H. R. Jauss.

机译：文学诠释学的审美经验和社会实践：H. G. Gadamer和H. R. Jauss。

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Faced with the aesthetics of negativity, both H. R. Jauss and H. G. Gadamer defend the institutional function of artistic language, and as such attempt to associate, again, aesthetics with social praxis. Jauss will renounce the autonomy of art---dislodged from a social and labour context---so as to re-associate again aesthetic experience with social praxis. However, for Gadamer, the autonomy of art---liberty vis-a-vis its representative finality---is not pitted against society and its valorative framework. The work of art according to Gadamer, is part of the social process wherein the human being fully realizes its humanity, giving it full recognition through its works. In a word, Jauss and Gadamer rehabilitate, as opposed to Adorno, the practical dimension of the aesthetic experience.;H. R. Jauss and H. G. Gadamer recover the notion of phronesis of the Aristotelian rhetorical tradition, to link art and social practice again. Both authors contribute a notion of weaker community than the one of the communitarism in use, that leaves space to the first moral person's reflexive and distanced construction.;We denominate "aesthetic of the paideia" the aesthetic hermeneutics of H. G. Gadamer and H. R. Jauss, to claim the communicative-practical value of the work of art in terms of cultural transmission. It is about a reaction to the aesthetics the negativity, such as that of T. W. Adorno. The hermeneutics of Jauss allows us to recover an outcast category in the current theory of art, the didactic of the aesthetic experience. Thus, our interest in Jauss among the authors of the aesthetics of the reception; his perspective, allows us to reconsider the notion of formation (Bildung) in the aesthetic gadameriana. We see this in "Wahrheit and Methode" in search of a deliberate continuity of Gadamer with the Aristotelian, humanist and rhetoric tradition, in which he continues as opposed to the cult to science.

机译：面对否定性美学，H。R. Jauss和H. G. Gadamer都捍卫了艺术语言的制度功能，并因此试图将美学与社会实践联系起来。贾斯（Jauss）将放弃艺术的自主权-从社会和劳动环境中移走-以便将审美经验与社会实践再次联系起来。但是，对伽达默尔而言，艺术的自主权-自由相对于其代表作的终局性-并不与社会及其价值框架相抵触。伽达默尔（Gadamer）所说的艺术品是社会过程的一部分，在这个过程中，人类充分实现了其人性，并通过其作品获得了充分的认可。简而言之，与阿多诺相反，贾斯和加达默尔恢复了审美经验的实用范围。 R. Jauss和H. G. Gadamer恢复了亚里士多德修辞传统的语调概念，以再次将艺术与社会实践联系起来。两位作者都提出了一种比使用中的社群主义更弱的社区概念，这给第一位道德人的反身和距离建设留下了空间。我们将“加达默尔美学”命名为HG Gadamer和HR Jauss的美学诠释，以主张艺术作品在文化传播方面的传播实践价值。这是对美学的消极反应，例如T. W. Adorno的消极反应。 Jauss的诠释学使我们能够恢复当前艺术理论中被抛弃的范畴，即审美经验的教actic。因此，我们在接待美学的作者中对Jauss的兴趣；他的观点，使我们可以重新考虑审美伽达默里亚纳中的构成（Bildung）概念。我们在《 Wahrheit and Methode》中看到了这一点，以寻求加达默尔与亚里士多德，人文主义和修辞学传统的故意连续性，在这种传统中，他继续而不是崇拜科学。

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Lourdes, Otero Leon.;
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Universidad de Valladolid (Spain).;

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授予单位 Universidad de Valladolid (Spain).;
学科 Philosophy.;Education Art.;Literature Comparative.
学位 Dr.
年度 2007
页码 542 p.
总页数 542
原文格式 PDF
正文语种 eng
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机译：来自a. G. R.和s. G. H. W. R.的核能的新鲜水

Aesthetic experience and social praxis in the literary hermeneutic: H. G. Gadamer and H. R. Jauss.

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