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OD DZIEJÓW HISTORIOGRAFII DO DZIEJOWOŚCI TEKSTÓW HISTORIOGRAFICZNYCH

100%

Julkowska V.

Historia@Teoria

2017

vol. 1

issue 3

53-60

The article att empts to defi ne the history of historiography as a subdiscipline of history; it indicates the numerous competences of historians of historiography which are nessesary for undertaking an (auto)refl ection around the history of their discipline, for touching the theoretical and methodological aspects of historiography, and for the study of historicity of historiographical texts. Th e author asks about the current status of the history of historiography and new horizons of research. Regarding the fi eld of changes in the ways of comunication, she sees potential chances for increasing the interest of new recipients in the history of historiography. The author amplifi es the weft of reception, understood as a phenomenon that belongs to the comunication situation occuring between the author of transmission and his recipients. The author refers to the inspiration of the methodological conception of the school of reception aesthetics from Constance (W. Iser, R. Jauss) and the hermeneutics of H-G. Gadamer. Reception is a new concept for presenting the history of historiography as a fi eld of research on the historicity of historical works.

‘Looking out fo r the Horizon The music of Gustav Mahler in the light of the theory of the aesthetic of reception by Hans Robert Jauss

86%

Mika B.

Interdisciplinary Studies in Musicology

2014

issue 13

189-202

The theory of the aesthetic of reception proposed by Jauss in the field of literature can be applied to research into the reception of the music of Gustav Mahler. In creating his symphonies ‘with every means of accessible technique’, the composer achieved what might be described as a reinterpretation of the conception of selected genres. In this way he disturbed the traditional ‘horizon of expectations’ of the potential audience, and significantly distanced himself from it. The most important consequence of this was the lack of understanding of his music by a section of his contemporary audience. Mahler justified the rightness of his own creative intuition with the famous sentence ‘my time will come’. In her article the author presents the fundamental theses of Jauss’s aesthetic of reception relating to his understanding of the ‘horizon of expectations’. She also indicates the manner in which Mahler distanced himself from that ‘horizon’, and how in individual symphonies he contributed to the expansion and reinterpretation of conceptions of genres which had previously been based on knowledge shared by the composer and the listener.

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1 Historia@Teoria

1 Interdisciplinary Studies in Musicology

1 Julkowska V.

1 Mika B.

1 2017

1 2014

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OD DZIEJÓW HISTORIOGRAFII DO DZIEJOWOŚCI TEKSTÓW HISTORIOGRAFICZNYCH

‘Looking out fo r the Horizon The music of Gustav Mahler in the light of the theory of the aesthetic of reception by Hans Robert Jauss