Dottorato di ricerca--Facoltà di lettere e filosofia--Palermo--Università degli studi, 2000. / Bibliogr. p. 207-226.

Texte remanié de: Dissertation--Magdeburg--Otto-von-Guericke Universität, 2003. Titre de soutenance : Bundesgenossen auf parallelen Wegen ? / Bibliogr. p. 178-201.

Denna uppsats syftar till att undersöka Michail Arcybaševs roman Sanin i den samtida kontexten under 1900-talets första decennium i Ryssland. Mot bakgrund av den sociala och kulturella kontexten analyseras romanens teman och dess mottagande i samtiden. Med utgångspunkt i Jauss receptionsteori diskuteras frågor om hur den samtida läsaren kan ha uppfattat romanen, hur romanen förhöll sig till den större kontexten, hur författaren själv betraktade romanen och vad kritikerna ansåg om den. Ett försök görs också att förklara varför romanen, som orsakade en sådan uppståndelse i sin samtid, idag är i det närmaste bortglömd.

Este trabajo doctoral se propone como objetivo reflexionar sobre este fenómeno, tan exótico, llamado arte: para hacerlo, desarrolla una teoría de la experiencia estética y de la hermenéutica de la literatura y del arte. Esta teoría se basa principalmente en las obras de Hans-Robert Jauss y de Immanuel Kant.En los capítulos I y II, se analizan las teoría de Jauss sobre la recepción de la literatura (1967) y su posterior teoría de la experiencia estética (1972). Lo interesante de la teoría estética de Jauss consiste en explicar verosímilmente el fenómeno del arte en tanto que negación de la realidad y distanciamiento de la misma (ficción), y en tanto que comunicación de un tipo de contenidos morales y cognoscitivos. Sin embargo, un análisis riguroso muestra que su teoría no consigue diferenciar coherentemente la experiencia cognitiva (cotidiana, moral, científica) y la experiencia estética.Para resolver este problema, la tesis continúa con la propuesta de la teoría hermenéutica de Gadamer como un marco filosófico de referencia para definir lo que es la experiencia cognitiva general y moral del mundo (capítulo III). La hermenéutica muestra que la experiencia humana fundamental es una experiencia significativa; sin embargo, no puede argumentar satisfactoriamente que la experiencia estética sea equivalente.Llegados a este punto se impone una recapitulación que muestre los problemas planteados y los retos que debe abordar una nueva teoría de la experiencia estética (capítulo IV). Para afrontarla, se ensaya una relectura de la obra de Kant "Crítica de la facultad de juzgar" (1790), un texto de gran fecundidad filosófica para nuestra época.Esta relectura de Kant (capítulos IV-VI) puede explicar y describir los elementos tanto posivitivos como negativos de la experiencia estética. El momento negativo se refiere al distanciamiento de la realidad cotidiana (ficción), pero también a la posibilidad de juzgar la cualidad estética desde un principio teórico, lo cual debe conducir a despertar la conciencia crítica y autónoma. El momento positivo se refiere a la aprehensión y comunicación de un sentido nuevo, no del objeto, sino de carácter general, del mundo.Sin embargo, la conclusión más destacada frente a otros análisis de la estética kantiana consiste en que el fundamento del juicio estético reside precisamente en su aspecto intersubjetivo. Éste interviene destacadamente en la creación de espacios de comunicación y participa directamente, por tanto, en las relaciones entre personas y en sus valores morales.La potencialidad de la experiencia estética puede también señalar los límites de lo humano y, al mantener su autonomía respecto a los valores morales, puede ser incluso fuente de experiencias negativas y destructoras, sublimes y siniestras.En los últimos capítulos de la tesis, se vuelve a recuperar la obra de Jauss. En el capítulo VII, para ilustrar la teoría estética extraída del texto kantiano mediante una historia de la experiencia estética. A lo largo de ésta se observa la evolución y los cambios producidos en la percepción estética y en sus valores, pero sobre todo destaca una dialéctica inherente a la experiencia estética: dialéctica continua entre negación (crítica) de lo anterior y positividad (comunicación), y de nuevo posterior negación de lo anterior.Finalmente (capítulo VIII) se expone una reformulación de la teoría de la literatura y del arte de Jauss (inédita en el ámbito hispano) en coherencia con los principios de la estética defendidos en los capítulos anteriores. Este modelo heurístico para arte incluye como momento específico la negatividad estética y la apertura de la comprensión; apertura cognitiva que, paradigmáticamente, cabe expresar mejor en modo de pregunta que en el asertivo o descriptivo. / The goal of this PhD dissertation is to reflect on the bizarre phenomenon we call Art by putting forward a theory of the aesthetic experience and of the hermeneutics of literature and art. This theory will be based upon the works of Hans-Robert Jauss and Immanuel Kant.Chapters I and II analyse Jauss' Theory of Reception (1967) and its subsequent Theory of the Aesthetic Experience (1972). The interest of Jauss' aesthetic theory lies in its ability to credibly explain the phenomenon of art not only as a negation of reality (fiction) and estrangement of the self, but also as a communication of a certain kind of cognitive and moral meanings. However, a meticulous analysis also reveals that this theory is unable to make a coherent difference between the cognitive experience (normal, moral, and scientific) and the aesthetic experience.To solve this problem, this dissertation makes use of Gadamer's hermeneutic theory as a philosophical reference to define what the general cognitive experience is (chapter III). The hermeneutic theory defines the human experience as a fundamentally meaningful one; but it cannot adequately compare it to the aesthetic experience.A glance back to the problems and challenges analysed so far shows that a new theory of the aesthetic experience must be put forward (chapter IV). To fulfil this goal, this dissertation will reread Kant's "Critique of the faculty to judge" (1790), a philosophically fertile text to our time.This rereading of Kant's Aesthetics (chapters IV-VI) can explain and describe the positive and negative elements of the aesthetic experience. First, there is a negation on different levels: of the objective meaning of the thing perceived, of normal reality (to build fiction), and also of the possibility to judge the aesthetic quality from any kind of principle. All this should generate an awakening of the critical and autonomous conscience. The positive moment can be better understood. It refers to the apprehension and communication of a new meaning, not of the object, but of a more general meaning, a meaning of the world.However, the most important conclusion, if compared with other approaches to Kantian Aesthetics, is that the basis of the aesthetic judgement lies in its intersubjective aspect. This capacity to aesthetically judge plays an active role in human communication and, in that way, also participates directly in the relationships between people and in their moral values.The potentiality of the aesthetic experience can nevertheless mark the limits of what is human and, maintaining its moral autonomy, can even be the source for negative and destructive, sublime and sinister experiences.In the last two chapters this dissertation goes on to recover Jauss' work. In chapter VII it does so to illustrate the aesthetic theory taken from the Kantian text by means of a history of the aesthetic experience. We might observe the evolution and changes in the aesthetic perception, but also some dialectics which are inherent to the aesthetic experience: an unavoidable process between the negation (critique) of the preceding context and the affirmation (communication) of a new sense, and then again a negation of the later to produce a new one.Finally, (chapter VIII) this dissertation attempts to reformulate Jauss' literature and art Hermeneutics springing from his latest work (unpublished in Spanish). This reformulation is meant to be in coherence with the principles of the aesthetic theory held in the previous chapters. This exegetic model includes as a specific moment the aesthetic negativity and the openness of comprehension. A cognitive openness which cannot be expressed through assertive or descriptive models of discourse, but paradigmatically, through an interrogative one.

Texte remanié de: Diss.--Wuppertal--Kirchliche Hochschule, 1996. Titre de soutenance : Schriftprinzip und Rezeptionsästhetik : Rezeption als Thema homiletischer Theorie. / Bibliogr. p. 299-307.

Made available in DSpace on 2016-08-10T11:07:10Z (GMT). No. of bitstreams: 1 THAIS LUNA RODRIGUES TORRES.pdf: 660665 bytes, checksum: 8f961e13b65f2d01cab5cea62a59db92 (MD5) Previous issue date: 2015-04-16 / This academic study seeks to analyze the choices made by the translators of Ulysses (1922) by James Joyce, during the translation process to Portuguese language in Brazil. We intend to study the technical procedures and procedural choices of translation, performed by Houaiss, Bernardina and Antonio Galindo employed in the act of translation, through a comparative method. We also intend to identify the effect that shines the essence of the work, which reflects on the reader´s understanding, and as the translation interferes in the transference process between the source language and the target language, for this, we will consider the concepts regarding to the aesthetics of reception suggested by Jauss (1982). Thus, the first chapter will present an overview of the translation history at different times and worlds in order to contextualize its appearance and how the research was carried out in this area and what contributions scholars and theorists have left as a legacy in order to make that currently discussion possible. The second chapter will deal with the translation as a complex phenomenon, and examines the difficulties faced by translators, possible solutions relating to the translation of technical procedures, and the loss and loyalty and the translator´s feelings regarding to this task. It also shows that this translation process involves much more that the transfer of meanings. The third chapter will discuss how the reception of the three translations of Ulysses was accepted in Brazil, including a comparative analysis of these translations, which will be observed in the choices of the translators, possible losses and direction changes. Finally, the reception of Ulysses based on assumptions made by Jauss and his seven theses developed to explain the receptivity of a literary work. / Este trabalho procurará fazer uma análise das escolhas feitas pelos tradutores da obra Ulysses (1922) de James Joyce, na tradução da obra para a língua portuguesa no Brasil. Pretende-se estudar, utilizando-se de um método comparativo, os procedimentos técnicos e as escolhas processuais de tradução realizados por Houaiss, Bernardina e Antônio Galindo, empregados no ato tradutório. Procura-se aqui também, buscar o efeito que transluz da essência da obra, que reflete na compreensão do leitor, e como a tradução interfere nesse processo de transferência de sentidos entre a língua fonte e a língua alvo, considerando concepções sugeridas pela estética da recepção segundo Jauss (1982). Assim, o primeiro capítulo irá apresentar uma síntese da história da tradução em diferentes períodos e mundos, a fim de contextualizar seu surgimento e como se desenvolveu a pesquisa nesse âmbito e quais contribuições os estudiosos e teóricos deixaram como legado para que fosse possível essa discussão atualmente. O segundo capítulo tratará da tradução como um fenômeno complexo, e examinará as dificuldades encontradas pelos tradutores, as possíveis soluções referentes aos procedimentos técnicos de tradução, e a questão da perda e fidelidade e o sentimento do tradutor diante desse processo tradutório que envolve muito mais do que a simples transferência de significados. O terceiro capítulo será discutido como se deu à recepção das três traduções da obra no Brasil, incluindo uma análise comparativa dessas traduções, em que serão observados as escolhas dos tradutores, possíveis perdas e alterações de sentidos. E por fim, a recepção da obra Ulysses baseada nas premissas de Jauss e suas sete teses desenvolvidas para explicar a receptividade de uma obra.

Notre étude de doctorat se focalise sur une minutieuse analyse des rencontres organisées autour de l’oeuvre et la personne de Marguerite Yourcenar, sur une base théorique bien précise : d’une part, la métacritique de l’Italien Gianbattista Vico, de l’autre, la théorie de la réception littéraire de l’École de Constance, en particulier de son élève Hans Robert Jauss.Notre analyse essaye de mettre de l’ordre dans le dédale des théories à ce sujet, en montrant que toute approche sur la réception doit situer son objet dans une triple dimension du processus herméneutique : la compréhension, l’interprétation et l’application du texte à la situation historique de l’interprète.Selon la méthodologie de la réception de Jauss, qui fournit des outils pour une relecture critique de tout produit littéraire, nous avons étudié les actes des colloques sur la base de différents genres d’analyse :l’édition du texte, l’analyse thématique, lexicale et sémantique, herméneutique, génétique, pragmatique,psychocritique, sociocritique, l’étude du paratexte (épitexte et péritexte) et l’étude comparatiste.Sur la base de cette théorie, nous avons fourni un véritable dossier de toutes les expériences de lecture de l’oeuvre yourcenarienne, exposées au cours de plus de quarante-quatre rencontres. Une riche annexe est offerte, composée par des fiches déductives pour chaque rencontre organisée depuis 1984, pour essayer de montrer les approches préférées par la plupart des critiques de l’oeuvre yourcenarienne. À la fin de cette analyse, nous sommes animée par la conviction que le lecteur, voire la lecture, sont bien l’objet central de la communication yourcenarienne et nous ne sommes donc pas surprise que le thème fasse l’objet de très nombreux travaux et approches différents, qu’ils préfèrent s’intituler recherches sur la réception ou sur le récepteur, l’un et l’autre recouvrant en définitive les mêmes questionnements. Les récepteurs de l’oeuvre yourcenarienne jouent donc un rôle déterminant dans le travail de décodage des messages qui leur sont proposés par l’écrivaine, mais sans pour autant que le contenu soit indifférent ou neutre.Ce travail esquisse la ligne de notre lecture personnelle, qui, d’une part, se voit comme une tentative de bilan des études produites à l’occasion des colloques yourcenariens, et qui, d’autre part, ouvre la voie à d’autres lectures possibles de ces écrits épitextuels.Nous espérons pouvoir stimuler d’autres horizons d’attente chez d’autres lecteurs, “différemment”intéressés aux colloques yourcenariens. Et nous espérons, aussi, que notre recherche donnera à plusieurs le goût d’une meilleure connaissance de Marguerite Yourcenar et le plaisir de la recherche littéraire, pour que la littérature soit un domaine de jouissances esthétiques, voire un accès à la connaissance intérieure de l’homme. / Our PhD thesis concerns a detailed examination of all the conferences organised and dedicated to Marguerite Yourcenar’s person and works, on an exact theoretical basis: on a hand, the metacritic of the Italian Giambattista Vico, on the other hand, the literary reception theory of the École de Constance, in particular of its student Hans Robert Jauss.Our study tries to neaten the different theories about this topic, demonstrating that all method on the reception has to put its object on a triple dimension of the hermeneutics process: the comprehension,the interpretation and the application of the text to the historical situation of the interpreter. According to the Jauss reception method, which gives some tools for a critic re-reading of allliterary products, we studied all the conferences proceedings according to different kind of analysis: theediting of the text, the thematic analysis, the lexical and syntactic analysis, the hermeneutics, genetic,pragmatics, psycho-critic, socio-critic analysis, the study of the paratexte (epitext and peritext) and thecomparative study.Following this theory, we gave a real dossier of all the reading experiences of the Yourcenar’s work, setout during more than forty-four conferences. A rich annexe is offered too, composed by deductive fichesfor every meeting organised since 1984, at the aim to show the different approach preferred by the mostcritics of Yourcenar’s work.At the end of our research, we are persuaded that the reader even the reading are the central object of theYourcenar’s communication and, therefore, we are not surprised that the topic is the object of really different works and approaches, researches on the reception or the receptor, both finally covering the same questionings. The Yourcenar’s work receptors play a determinant role in the decoding work of messages proposed to them by the author, but without having indifferent or neutral contents.This thesis outlines the line of our personal reading that, on a hand, is a tentative of assessment of studies produced during the Yourcenar’s conferences, and that, on the other hand, opens the path to other possible readings of these epitextual works.We hope may stimulate other horizons d’attente in other readers, differently interested in the Yourcenar’sconferences. And we hope, as well, our research will give to several people the taste of a best appreciationof Marguerite Yourcenar and the pleasure of the literary research, so that the literature is a field ofaesthetic enjoyment, even an access to the interior knowledge of man.

Dès 1936 jusqu’à nos jours, l’œuvre de François Mauriac a connu plus de 80 ans d’histoire en Chine. Aux yeux des Français, ce long voyage en Chine de Mauriac, écrivain classique, pour certains, régionaliste et même démodé, est inattendu… Le travail présent consiste à dresser un bilan historique de la réception de l’œuvre de François Mauriac en Chine par le biais de la traduction et de l’étude académique. Il s’agira de mettre en lumière les caractéristiques de son voyage en Chine dans les différentes périodes, d’analyser l’image particulière attribuée par les lecteurs chinois, tout en cherchant ses racines dans le domaine littéraire, social et culturel. Enfin nous mettrons en évidence la place de François Mauriac et de son œuvre dans l’histoire de la littérature française reçue en Chine. / From 1936 to the present day, François Mauriac's work has more than 80 years of history in China. In the eyes of the French, it is unexpected this long trip to China of Mauriac, classic writer, regionalist and even old-fashioned ... The present work is to draw a historical record of his reception in China through translation and academic study, highlight the characteristics of his trip to China in different periods, analyze his particular image attributed by Chinese readers, while seeking the causes in the literary, social and cultural, and finally highlight the place of François Mauriac and of his work in the history of French literature received in China.

The purpose of this study is to summarize and analyze the swedish reception and public discussion of the book The Capital in the Twenty-First Century by the french economist Thomas Piketty. Reviews and articles from printed mass media are discussed and reflected upon with help from the reception theory developed by Hans Robert Jauss. Three conclusions are presented in the study. The first conclusion is that the comments and the critique of Piketty’s book depend upon other comments and critical points expressed in the collected reception. The second conclusion is that the swedish reception is heavily influenced by how the book by Piketty has been read and discussed in an anglo-american context. The third and final conclusion is that the swedish reception can be divided into two historical phases which differs in terms of how the book is perceived.

Hans Robert Jauss is a professor of literary criticism and romance philology at the University of Constance in Germany. Jauss co-founded the University of Constance and the Constance group of literary studies. Hans Robert Jauss's version of reception theory was introduced in the late 1960s, a period of social, political, and intellectual instability in West Germany. Jauss's reception theory focused on the reader rather than the author or text. The original reception of a text was compared to a later reception, revealing different literary receptions and their evolution. Jauss's Rezeptionsgeschichte (history of reception) illustrated the evolution of the reception of texts and the evolving paradigms of literary criticism that they were a part of. However, Jauss's essays proved to be more of a provocation for change in literary criticism than the foundation for the next literary paradigm. The empirical studies discussed in this thesis reveal the.idealism of Jauss's theory by testing main ideas and concepts. The results show the inapplicability of Jauss's theory for practical purposes. The intent of this study is to illustrate the origins, development and impact of Jauss's version of reception theory. The interrelationship between the social environment, the institutional reforms at the University of Constance, and the methodology of reception theory are also discussed. The new social values in West Germany advocated individualism and questioned status quo institutions and their authority. This facilitated the establishment of the University of Constance, which served as the prototype for the democratization of German universities and the introduction of Jauss's reception theory. With the democratization of the university, old autonomous faculties were broken down into interdisciplinary subject areas. The Old Philology and New Philology department were made into the sciences of language and literature and ultimately introduced as the all-encompassing literaturwissenschaft. Five professors from the Slavic, English, German, Classics and Romance language departments gave up direction of these large departments to work together under the Constance reforms in an effort to form a new concept of literary studies. The result was the socalled theories of "reception" and "effect" which they continue to research.