By Hans Robert Jauss
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25 Subsequent to the breakthrough of the autonomous aesthetic of 12 D SKETCH OK A THEORY AND HISTORY OF AESTHETIC EXPERIENCE genius, creative aesthetic experience refers not merely to a production in subjective freedom, without rules or model, or to the creation of possible worlds beyond the known; it also means the capacity of the genius to restore its pristine state and plenitude of meaning to that one world which is familiar, which he has always known but which has become alien. "28 But it is not only owing to its freshness and plenitude of meaning that the child's perception becomes the ideal yardstick of aesthetic experience.
I am not reluctant to admit that this overview reflects the canon my own experience created and that it omits a good many names. But it seemed pointless to me to engage in polemics with representatives of other positions where a prior decision for a work-immanent interpretation is openly declared or the communicative achievement of aesthetic experience is not examined at all. The theories of the so-called Paris semiotics and the Tel Quel group come under this heading. 12 And the fact that in defining the achievements of aesthetic experience I gave priority to the historical and hermeneutic method did not seem to me to require that I restart the old quarrel with structural linguistics, poetics, and communications theory.
It anticipates future experience and thus discloses the scope of possible action. It allows recognition of what is past or suppressed and thus makes possible both the curious role distance of the beholder and the playful identification with what he ought or would like to be: it permits the enjoyment of what may be unattainable or difficult to bear in life; it provides the exemplary frame of reference for situations and roles that may be adopted in naive imitation but also in freely elected emulation.
Aesthetic Experience and Literary Hermeneutics by Hans Robert Jauss