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Book Reviews151 that the concept of intertextuality becomes, in fact, the single mode of interpretation and the only unifying principle governing the text. By a close analysis of the text, she then demonstrates that this concept permits a reading that restores many of the precepts of the traditionally closed, programmed work it is meant to oppose, and thus she is able to underscore some of the drawbacks of the Tel Quel theory. Finally, the third rubric, "The Literary Palimpsest," includes Richard Goodkin's and David Hult's valuable considerations of two cases of literary influence. In a well-reasoned essay, Goodkin confronts the interpretive problem caused by Racine's reversion to the close of Euripides' play in the second edition of Andromaque. Huit concentrates on Jean de Meun's continuation of Guillaume de Lorris' Roman de la Rose. In a penetrating study, he highlights the symbiotic quality of the literary continuation. His examination of Jean's various "strategies of mimetic supplementarity and recombination" (248) leads him to reassess the traditional view of the poetic work as a simple critique of courtly ideology. Rarely does one see collected essays with such breadth, depth, and quality. The editor, David F. Huit, is to be commended for bringing together such outstanding scholars and critics. His volume constitutes without a doubt an eloquent tribute to the memory of a most distinguished scholar. COLETTE H. WINN Washington University in St. Louis HANS ROBERT JAUSS. Aesthetic Experience and Literary Hermeneutics. Translated by Michael Shaw. Foreword by Wlad Godzich. Minneapolis: University of Minnesota Press, 1982. 357 p. Hans Robert Jauss' Aesthetische Erfahrung und literarische Hermeneutik I (Munich: Wilhelm Fink Verlag, 1977), which very quickly became something of a post-structuralist classic, is finally available in English translation, and an excellent translation it is. As stated in the Preface, the specific subject is "the phenomenological distinction between understanding and cognition, primary experience and the act of reflection, in which consciousness returns to the meaning and constitution of its experience is also present in the distinction between assimilation and interpretation in the reception of texts as aesthetic objects. Aesthetic experience occurs before there is cognition and interpretation of the significance of a work ..." (xxix). His historical investigation , "Literary History as a Challenge to Literary Theory" (Literaturgeschichte als Provokation (1967), and Wolfgang Iser's Die Appellstruktur der Texte (1970), which concentrated on the aesthetic effect of literary works on the dynamic process of production and reception, of interaction among author, work, and public, became a world-wide success of the so-called Constance School, "renewing the study of literature" in rejection of both positivism and literary history (xxxi). Hans-Georg Gadamer (Truth and Method, 1960), T. W. Adorno (Aesthetische Theorie, 1970), Jean-Paui Sartre (Psychology ofthe Imagination, 1953), Mikel Dufrenne (Phénoménologie de l'expérience esthétique, 1967), Wolfgang Iser (The Act ofReading, 1976), Jurij M. Lotman (The Structure ofthe Artistic Text, 1977), Alfred Schütz and Thomas Luckmann (Phenomenology of the Social 152Book Reviews World, 1975), and Dieter Wellerhoff (Die Auflösung des Kunstbegriffes, 1976) are among the critics who were the immediate impetus for this book. Since Kant and Rousseau, aesthetic judgment requires universal communicability and redeems something of the social contract. Both production and reception ofaesthetic experienceare an expression offreedom, as explained in the book. Part A, "Sketch of a Theory and History of Aesthetic Experience," allots separate chapters to the meaning of aesthetic experience, a critique of Adorno's aesthetics of negativity, aesthetic pleasure, and the fundamental experiences of poiesis, aesthesis, and catharsis. Part B is titled "Interaction Patterns of Identification with the Hero," distinguishing five interaction patterns, associative, admiring, sympathetic, cathartic, and ironic identification . Jauss calls Part C "On What the Comic Hero Amuses," referring with this to the context of the comic. He devotes Part D to the question of the structural unity of older and modern lyric poetry (Théophile de Viau's ode in the horizon of Baroque lyric poetry in distinction from Gide's selection with a Classical perspective, and Baudelaire's renunciation of Platonism and the poetics of remembrance). He devotes the last chapter to the social function of the lyric experience of the year 1857 as a...

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