Abstract

Historically, the productive aspect of the aesthetic experience can be described as a process during which aesthetic practice freed itself step by step from restrictions imposed on productive activity in both the classical and the biblical tradition. If one understands this process as the realization of the idea of creative man, it is principally art which actualizes this idea.1 First, when the poietic capacity is still one and undivided, it asserts itself subliminally; later, in the competition between technical and artistic creation, it explicitly claims to be a production of a special kind. It is in that history of the concepts labor and work that the restrictions become most palpable.2 In the Greek tradition, all producing remains subordinate to practical action . As the activity of slaves who are rigorously excluded from the exercise of the virtues, poiesis occupies the lowest rank in social life. In the Christian tradition, handiwork is cursed, which means that man is meant to maintain himself only by toiling against a resistant nature ; salvation can only be found beyond his activity in this world. But in both the classical and the Christian conceptual fields relating to labor, we already encounter ambivalent definitions which could introduce and justify an upward revaluation of man's labor.1. See Hans Blumenberg, "'Nachahmung der Natur': Zur Vorgeschichte des schöpferischen Menschen," Studium Generale 10 : 266-83, still unexcelled. I also base my discussion on Jürgen Mittelstrass, Neuzeit und Aufklärung; Studien zur Entstehung der neuzeitlichen Wissenchaft und Philosophie , and to the results of two seminars at Constance held jointly and to which I owe essential insights.2. See Werner Conze, "Arbeit," in Geschichtliche Grundbegriffe: Historiches Lexikon zur politisch-sozialen Sprache in Deutschland, ed. Conze, Otto Brunner, and Reinhart Koselleck, 4 vols. , 1:154-215, and Walther Bienert, Die Arbeit nach der Lehre der Bibel ; an abbreviated version appears in Bienert's "Arbeit," Die Religion in Gescheichte und Gegenwart .Hans Robert Jauss is professor of literary criticism and Romance philology at the University of Constance. He is the author of many books and articles, including two works forthcoming in English, Toward an Aesthetic of Reception and Aesthetic Experience and Literary Hermeneutics, from which the present essay is taken. Michael Shaw has translated many works, among them Max Horkheimer's Dawn and Decline