By Hans Robert Jauss
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Extra info for Aesthetic Experience and Literary Hermeneutics
In Adorno's aesthetic of negativity, the avant-gardist literature and art of the sixties was given its most inclusive theory and its strongest legitimation. I devote a more detailed criticism to it (chap. 2) because Adorno is the adversary who provoked me into attempting to play the unwonted role of apologist for the discredited aesthetic experience. I will close by briefly explaining the parti pris of my apologetic intent and how it relates to our contemporary situation. " There are limits to the manipulation of aesthetic need because even under the conditions of industrial society, the production and reproduction of art cannot determine reception.
30 Time and again, the initial phenomenological inventory of what may be called aesthetic experience has taken us to a limit where the aesthetic attitude detaches itself from the area of meaning of religious experience. 31 The very circumstance that art cannot impose its validity, that its truth can be neither refuted by dogma nor "falsified" by logic is the grounds for the emancipatory chance its refractoriness provides, and explains why those in authority are interested in making its powers of seduction and transfiguration serve their ends.
Valery's poetics was not the first to recognize and describe the specific achievement of the aesthetic experience. On SKETCH OF A THEORY AND HISTORY OF AESTHETIC KXPERIENCE □ 1 3 the threshold of modern times, Montaigne, his manner of writing, and the experience of himself that accrues in the act of composition already impressively testify to this. The incomplete enterprise of his essays describes a search that, in a progressive unmasking, tests and rejects one guarantee of identity after another: the offices and honors of public life, the retreat from the world, the stoic turning inward, the authenticity in the face of death, the fideist skepticism, and, finally, the return to paraitre as the truth of natural life.