Abstract
One of the most tantalizing questions in the modern theory of criticism is concerned with the location of the aesthetic value of literary works. Some say that it lies in the work of art’s ability to reflect (imitate) reality in a special way (Lukacs). Others claim that the aesthetic factor belongs less to the work than to its receiver (Jauss). According to the various approaches to literature the work can be seen as a monument, independent of time or an interpretative community (Formalism) — or just the opposite, a document, telling us either about the circumstances of its creation (Positivism), or about its reader’s horizon of expectations (Reader-Response Criticism).
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