Терапевтична функція художнього образу: поетика біблійних образів Сергія Жадана

SACRED SYMBOL AS THEOLOGICAL TEXT

Similar to other sonnets, Edmund Spenser’s Amoretti followed Petrarchan courtship but also demonstrated the unique Spenserian form. Spenser’s superb creative skills profoundly influenced his contemporaries and the English poets of later generations. Nevertheless, the translation of Spenser’s sonnets began exceedingly late in China with few results. Guided by the horizon of expectation in reception aesthetics, this study compared Cao Minglun and Hu Jialuan’s versions of Amoretti Sonnet 67 (Amoretti 67) based on their content, rhyme, and language style. The main question is to understand what horizons of expectations Hu and Cao’s translations reflect based on reception aesthetics, and how do Hu and Cao’s horizons fuse with the original author’s horizon of expectation? Guided by translators’ vision of expectation, Hu emphasized that both the content and style of the translation should be faithful to the original text. Thus, Hu’s translation is the closest to the original poem. Contrarily, Cao’s translation sought a balance between the original text and the translation. Cao aimed to maintain the content and format of the original poetry while capitalizing on the strengths of the Chinese language. Both Chinese versions embody their translator’s values. The significance of this study extends to its implications for Chinese readers delving into Spenser’s poetic world. Analyzing Cao and Hu’s diverse strategies empowers readers to navigate Amoretti 67’s depth, fostering understanding of Spenser’s artistry and the intricacies of translation.

This paper attempts to probe into English translation of fuzzy beauty of classical Chinese poetry via imagery. Classical Chinese poetry is the cream of Chinese culture. It attracts millions of Chinese and western readers with its subtle and profound fuzzy beauty. The ultimate requirement of English translation of classical Chinese poetry lies in transferring its fuzzy beauty. Fuzzy beauty of classical Chinese poetry falls into three categories: fuzzy beauty in form, fuzzy beauty in imagery and fuzzy beauty in artistic conception. Imagery, being the soul of classical Chinese poetry, serves as a communicative and operational medium of transference of fuzzy beauty. The essence of fuzzy beauty consists in "gaps of indeterminacy" which conjures up the reader's unrestrained association. "Gaps of indeterminacy" constitute the "appealing structure" in a text which is subject to the reader's free interpretation according to his own "horizon of expectation". Fuzzy aesthetics sheds light on the aesthetic features of fuzzy beauty, and the hierarchical structure of fuzzy beauty in fuzzy aesthetics corresponds to different layers of fuzzy beauty of classical Chinese poetry. Therefore, both aesthetics of reception and fuzzy aesthetics are of instructive value to English translation of classical Chinese poetry. This paper is composed of five sections. The introductory section is concerned with the significance and purpose of the research. The second section reveals in detail fuzzy beauty in classical Chinese poetry. In the third section, the techniques and principle for translation of poetic fuzzy beauty are put forward in light of aesthetics of reception and fuzzy aesthetics and imagery is recommended as an ideal medium of transference of fuzzy beauty. The fourth section centers on how to transfer fuzzy beauty of classical Chinese poetry using imagery as a medium, analyses and proposals are given from such angles as fuzzy modifiers, syntax, juxtaposition, and cultural influences. A natural conclusion is drawn in the last section.

Horizon of expectations, as a core concept in Reception Aesthetics, provides a new methodological basis for literary translation.Owing to this theory, literary translation is no longer a one-way process which is text-centered and transmitted by a translator with readers passively accepting everything, but an ever-going dialogic process between translator and the literary work, and between translator and implied readers, which results in the necessity, possibility and even sometimes inevitability of retranslation of literary works.Horizons of expectations widen people's space of cognition for retranslation of literary works.

A través de la metodología de una selección de teóricos de la“estética de la recepción”, pretendemos analizar la interrelaciónentre el “horizonte de expectativas” (en terminología deGadamer y de Jauss) de Marco Tulio Cicerón, con el de losintelectuales ilustrados Montesquieu y Gaspar Melchor deJovellanos. A partir de ahí, pretendemos rellenar los “vacíos”(según la terminología de Iser), o los misunderstandings (enpalabras de Hirsch) que la lectura ilustrada hace de la éticapolítica ciceroniana en el término concreto de la “virtud” y la“honestidad”. Así pues, desarrollaremos estos conceptos segúntoda la cosmovisión ciceroniana en contraste con la ilustradade Montesquieu y Jovellanos, y resaltaremos, de este modo,aquellos puntos de cambio y aquellos de enraizamiento en elpensamiento del propio Cicerón. En definitiva, responderemosa la pregunta de hasta qué punto el rhetor romano condicionó laconcepción política de la virtud y honestidad tanto en el ilustradofrancés como en el español (en los que también se tendrá encuenta la destacada interferencia del empirismo inglés), a lavez que, de qué forma estos autores “modernos” readaptaron ytransformaron el pensamiento del “clásico” según sus propios“horizontes de expectativas”.

The article analyzes the concept of «reception», which has recently gained popularity, but remains not sufficiently clarified in studies of the history of philosophy. It is assumed that the concept has become the subject of explicit methodological reflection only in the reception aesthetics (Rezeptionsästhetik) of the Constance School of Literary Studies, where it not only opposes the concept of influence, but is interpreted in the context of a horizontal structure for text understanding. At the same time, it is important to distinguish not only the «historical horizon» and the «horizon of modernity» (Gadamer), but also the «horizon of expectations» in its duality: both coded in the text itself and the life practice of the reader, «inter literary» and «external literary» horizons of expectation. The empirical trend of the reception study, developed later, makes it possible to formulate a number of specific proposals for the methodology of historical and philosophical research, which focuses on the principle of «history of receptions». It is clear that only «reproductive» and «productive» reception categories are relevant to this type of research. In particular, it is an analysis of the institutional prerequisites for the reception, the classification of the source base of that received, the channels (re)broadcast of that received, the specification of the types of scientific communication, the tradition determined positive or negative factors of reception, the status of philosophy in particular historical periods.

The article continues the research on the artistic image in the Russian art of the first third of the 20th century and aims at studying the concepts of “steed”/“horse” in the art of the 1900s-1920s. From the beginning of revolutionary transformations in Russian art to the changes after 1917, the semantic meaning of the artistic image in its evolution is of particular interest. The basis for the study is largely fiction, in which the horse image was formed most fully. The multidimensionality of semantic relations within the boundaries of the synonymic paradigm with the general meaning of “horse” is examined in the article on the material of fine arts. The author studies the diversity of artistic roles, symbolic and semantic functions, which were given to the horse image in the art of a certain period and reveals the specificity of these roles depending on the artistic concept. Identification and recognition of the image occurs at different levels. The content of the concept is not revealed only through the plot. Unexpected semantic associations, suggested to the artist by visual, worldly, intellectual, emotional experience or creative intuition, are also possible. In this context, the quotations in the title of the article mark two main notions: “a horse as a horse” (V. Shershenevich) actualizes the direct meaning of “a horse as an animal”, and “we are all a little bit horses” (V. Mayakovsky) is a zoometaphor defining the inner state of a person. At this stage of the study, we can distinguish five main sections that allow us to structure and order the set of works containing the horse image: a village, a city, a rider, Apocalypse, a historical event (here the Civil War and collectivization). In order to fully understand the specifics of the semantic content of the horse image in the art during the study period, it is necessary to carry out some additional research. So far, the proposed text cannot claim to be an exhaustive solution to the problem, but outlines the vectors that allow us to continue its study.

The article offers a completely new perspective for Dostoevsky studies of the study of Dostoevsky's artistic creativity, specifically one of the novels of the «great five books» – the novel «The Prossessed». The concept of «horizons of expectations», which is used in the presented study, has received its justification within the framework of the receptive aesthetics of G.R. Jauss. In the works of Jauss, the main attention is paid to the peculiarities of the reader's perception of the text. In our study, we propose to expand the possibilities of this approach. Therefore, the concept of «horizon of expectations» is used by us in relation not only to the level of reader's perception of the text, but also to the «expectations» of the writer and the characters of the novel. For this purpose, draft versions of the text are involved, which help to trace the dynamics of the author's idea and, accordingly, the change of the «horizons of expectations» of the writer. Equally important is the analysis of the «horizons of expectations» of the most important characters, their change, mutual intersection or substitution. This allows, firstly, to rethink the plot roles of the main characters of the novel (Stepan Trofimovich Verkhovensky, Stavrogin, Pyotr Verkhovensky, Shatov, Kirillov), as well as a number of female characters, and, secondly, to expand the ideas available in Dostoevsky studies about the conceptual meaning of each artistic image in the novel as a whole.

The aesthetics of reception have revealed to us the position occupied by the reader, represented by their interpretation of the literary text by filling in the gaps it contains. The identity of the text is linked to the term "horizon of expectation," coined by Jauss, which aligns with what readers expect or are disappointed by. This concept may be connected to Abu Deeb's concept of "breaking the structure of expectations." The creator of the text disrupts the mind of the recipient through the shifts present within the text. The literary text contains symbols and codes, and the recipient's poetic quality is achieved by deconstructing them, creating a state of harmony and interaction. The recipient's interpretation of the literary text does not occur arbitrarily, but is subject to the recipient's culture and training. The reader's role is not passive; he holds the power and authority, and he is not subject to the text. Deconstruction is his authority, and he exercises his role through his interpretation of the text and filling in the gaps it contains. The poetics of the recipient excludes the idea of obtaining meaning from the literary text. The relationship between the text and the reader is represented by the formation of the absent elements, and a dialectical relationship arises between them. The first reading is exploratory and the second is retrospective. The literary text is not open to itself, but rather the responsibility for its interpretation falls on the reader, since what is conceived and its meaning imagined is what makes the role of the recipient positive.

Chaucer's Fifteenth-Century Audience and the Narrowing of the "Chaucer Tradition" Paul Strohm Indiana University TEPRINCIPAL mpon.sibility of any theory ofliternry history is to account for stylistic change. 1 The shortcoming of a wholly enclosed history of the interrelations of literary texts is that it has no persuasive way to account for the challenge or supplantation of tradition by coun­ ter-tradition, for the replacement of one form or genre by another, for the revival of a form or style whose time might seem wholly to have passed. Presumably, none ofus still believes in the "evolutionary" model ofthe progression oftexts, in which forms and styles pass from youthful vitality to full maturity tosenescence, are born and die out, according to some imperative inherent in their own genetic structure. Yet, in its failure to produce a more satisfactory account of stylistic change, the self-enclosed history of texts causes us to behave as if this evolutionary model still possessed explanatory force. If we are to develop more efficacious models, we must enlarge the scope ofour consideration from the interrelationships ofliterarytexts to include the historical and social environments in which they were composed or written, heard or read. One promising linkbetweenliteraryworks and their environments is through the aesthetics of reception, with its interest in the relationship between artistic styles and their literary publics. Hans-RobertJauss has demonstrated the pertinence of reception-aethetics to the analysis of medieval literature, in his theory that a literary work is received by contemporary readers or hearers within their historically-conditioned 1 I am paraphrasing a comment made by Ralph Cohen at an Indiana University symposium on narrative, October 1980. 3 STUDIES IN THE AGE OF CHAUCER "horizon ofexpectations."2 Still more relevant to a discussion ofstylistic change are the theories of Arnold Hauser, with his recognition that audiences ofdifferent social composition (and different expectations and tastes) may co-exist or overlap or succeed each other. 3 In his view, writers within a period and even individual writers within their careers engage in various stylistic experiments, but a particular style is perpetuated when it finds its "point of attachment" in the encouragement of a socially-defined class or group of readers. So long as the position of this group is secure, the style it encourages is likely to persist; displacement of the group may have consequences for artistic style. One corollary of this view is that the emergence of a new style is likely to be associated with the emergence ofa new group. Another is that the eclipse ofa style is likely to be associated with a major deterioration in the position ofthe group. Hauser's is essentially a theory of reception. To be sure, his hypothesis ofa connection between stylistic tendencies and the different social levels of a society has possible implications for the genesis of works, ifwe were to seek them.4 Finally, though, he has most to tell us about why some styles, once available, flourish, while others, equally available, decline. These introductory comments are meant to frame the discussion of a particular issue in literary history: the striking narrowing in the decades immediately following Chaucer's death of what has been called the 2 "Literary History as a Challenge to Literary Theory," in New Directions in Literary History, ed. Ralph Cohen (Baltimore: Johns Hopkins UP, 1974), pp. 11-41. 3 "Arr History Without Names," in The Philosophy ofArt History (Meridian Books, 1963), pp. 207-36, 253-76. 4 Implicit in Hauser'stheory is the notion that the work ofart does not merely "copy" or "reflect" economic conditions, but that it is a socially-conditioned creation co­ ordinate with other social creations. In this he anticipates such neo-Marxian theorists as Raymond Williams (who believes that works ofarr participate in parrerns ofhegemonic expression, which embrace the broadest range ofsocial and cultural creations) and Fredric Jameson (whose theory of structural causality presumes the simultaneous existence within works of art of a wide variety of impulses from contradictory modes of cultural production). See Raymond Williams, Marxism and Literature (Oxford Paperbacks, 1977), pp. 108-14, and Fredric Jameson, The Political Unconscious (Ithaca & London: Cornell UP, 1981) pp. 74-102. All these formulations resist the simple...

This paper analyzes the audience’s reception of Colonia, a 2016 film by Florian Gallenberger. As a popular work, Colonia is a docudrama film that presents historical events happened in Chile during the coup of General Augusto Pinochet in 1973. The problems analyzed in this article are the reception process of respondents and the quality of Colonia as popular films. The film is chosen for the study as it received five nominations from German Film Awards 2016 and won Bavarian Film Awards 2016 for Best Production category, but it only has a rating of 26% from 47 reviews by Rotten Tomatoes. The respondents involved in this study are members of Kronik Filmedia of Diponegoro University. Kronik Filmedia is the university film club that focuses on producing short films and appreciating films by conducting film discussions. The purpose of the study is to describe the reception processes of respondents who are affected by their horizon of expectations and to prove that not all of popular works are low literature. The theory used in this paper is the Aesthetic of Reception theory by Hans Robert Jauss. The main concept of this theory is horizon of expectations. Horizon of expectations is a reader’s preferences from the previous experiences or readings. For the methodology, this paper uses qualitative research and focus group discussion as the data collecting method. Focus group discussion is a gathering data method by means of interviewing respondents in a forum consisted of five to eight people. Focus group discussion is an effective method to observe a social phenomenon or a case study. The data obtained is then analyzed as texts to draw a conclusion. The research involves eight members of Kronik Filmedia as respondents. The results of the research show the reception of Kronik Filmedia as Colonia can satisfy and even surpass seven out of eight respondents’ horizon of expectations as the film goes to be more ‘interesting’ and ‘thrilling’. All respondents also view that Colonia is worth to be studied and discussed as those of high literature.

Introduction First, let me express my deep gratitude to you for taking time out of your busy schedule and the public demands made upon so celebrated a writer to talk to a reader who finds your works--be they poetic, dramatic, or prose--intriguing and compelling. I can well understand why the International Pen Club has you as their vice-president. Secondly, I must tell you that I would like to use this interview as the opening piece in a monograph of your works that 1 hope to publish shortly, containing articles by myself and also those by some of my postgraduate students at the University of Pretoria in South Africa. Rosemary Gray: I'd like to begin by asking you to respond to my perception that throughout your oeuvre there seems to me to be a single guiding principle, a deeply embedded philosophical credo, if you like. Of course I could be mistaken, being driven in my reading of your work by my own horizons of expectation (to borrow a term from Robert Jauss). In other words, I may be being misled by my own reception aesthetics. The principle I refer to is, I believe, nowhere better expressed than towards the end of Songs of Enchantment when, from the silence of unblindedness, Azaro's father, in conversation with his son, a spirit-child, an abiku, is moved to muse that [t]he light comes out of the darkness. (1993:287) This is a catalyst for two other questions and for a request I should like to make, but perhaps you'd like to respond to my contention about your guiding principle before I pose the two questions that arise out of this one. Am I on the right track in attributing an innate optimism to you? Ben Okri: No, I wouldn't call it optimism so much as realism. But, it is important how one defines realism. Realism takes in what is seen, felt, touched; what is unknown and unseen. The primordial African spirit views reality from a wider spectrum [than the Western one]. It is informed by the metaphysical sense embedded in all the great traditions, but particularly in the African tradition. The African world view takes in the hierarchy of metaphysical beings which, in turn, leads to a number of essential questions: What constitutes one's reality? Is one's reality true only for that individual? Isn't our reality limited to what we are taught to see? A piano with only five keys is a reality. But, if we include all the keys, the white keys and the black keys, this is a different reality. So reality depends on our cultural perception of the keyboard of life. Using the full keyboard, Azaro's father discovered a new perception of fundamental questions, especially the question of what constitutes the nature of reality. Is it outside oneself or fatally linked to human sensibilities? How does one construct reality? One cannot truthfully tell an African tale according to Jane Austen's reality or an early-nineteenth-century English tale according to an African reality. Dialogue with the West is thus difficult because reality is not universal. R.G.: Is there an element of the Platonic notion of the and the here? B.O.: Yes, but also the Scandinavian concept of reality. I can draw it for you. [This Okri did in my copy of Starbook. R.G.: Although the author has himself emphasised the realistic dimensions of his work, this realism must be seen to embrace the ancestors, myths and legends, which are an integral part of the real world, of urban life and of rural life. Local beliefs are thus part of the real world, not parallel with, but contiguous to it. Elsewhere, I have referred to Okri's spirit-in-life beings as leading sentient double lives (see The English Academy Review 26(1) May 2009: 45). In Starbook, Okri states: Only in light can truth be found.... Beyond is where it really begins (2007: 118), which is itself an effective synopsis of what he writes in Birds of Heaven (1996: 12-13): The greatest inspiration, the most sublime ideas of living that have come down to humanity come from a higher realm, a happier realm, a place of pure dreams, a heaven of blessed notions. …

This is a report on Chinese-English translation. The source text is selected from the children’s literature Running Like Wind by Deng Xiangzi, a Hunan children’s literature writer. There is no English translation of this book yet. The book tells the life experience of the fifth-grade girl Juduo in her grandmother’s hometown, Hongfengping. It depicts Juduo’s kindness and diligency, guiding children to find the truth of life. Under the guidance of Reception Aesthetics, this translator fully considers children’s mind, thought and reception level. The translation keeps the subjectivity of target readers, meeting their horizon of expectation, and balancing the indeterminacy and vacancy of text meaning. The difficulties in the translation are discussed in case analysis from three levels of vocabulary, sentence and rhetoric, which aims to provide certain reference for the translation of similar children’s literature.

This article advocates reading for moods, moments in literary texts that draw attention to textual forms conditioning the experiential parameters of narrative. Drawing from Hans Ulrich Gumbrecht’s reception aesthetics, I demonstrate how the normative critical history of Charles Dickens’s 1850 novel David Copperfield is a product of the novel’s delimitation of its horizons of expectation and structuration of contingency. I then link these delimited horizons to the accepted austerity politics of academic labor today.

The remakes of classic film and television series represent a meticulously planned artistic endeavor that enriches and diversifies China’s film and tele-vi-sion industry. From the perspective of reception aesthetics, grasping the di-verse needs of the audience is paramount to the success of these remakes. To achieve this, it is essential to fully consider the psychological needs of the audi-ence and construct a common discourse space that transcends temporal and spatial boundaries. Such an approach not only evokes widespread resonance but also caters to the “horizon of expectations” across different audience groups. By adapting to shifts in the communication landscape and proactively stimulating the audience’s anticipation, these classic stories can be rejuvenated with new vitality in the modern era.