Heidegger

The receptive aesthete took over the formulation of the expectant horizon from scholars such as Husserl, Heidegger, Gadamer, Popper, and Mannheim and added his own content. In Yaosi's view, the expectation horizon is the recipient's directional expectation before accepting the work. The so-called directional expectation means that this expectation stays in a certain realm, and this realm is determined by the recipient's previous aesthetic experience and life experience. The proposition of the expectant horizon confirms an important fact, that is, the psychology of the recipient is not a vacuum, but a preset structure has long existed. This preset structure is formed by the accumulation of light and dark memories and emotions, which collide with the structure of the work, and in the process of impact, determine the degree of understanding and acceptance, and decide whether to break through this preset psychological structure and push aesthetic activities to a new realm.

Husserl

Yao Si said:

A literary work, even if it appears in a new guise, cannot present itself in an absolutely new posture in an information vacuum. But it can preemptively suggest a special kind of reception for the reader through teasers, overt or covert signals, familiar features, or covert hints. It awakens the memory of previous readings, brings the reader into a particular emotional attitude, and then begins to evoke the expectation of "middle and end", which is thus maintained intact in the course of reading, or changed, reoriented, or satirically fulfilled according to the particular rules of the genre and style of the text. In the main field of aesthetic vision, the mental process of receiving a text is not just an arbitrary list based on subjective impressions, but the realization of special instructions in the process of perceptual orientation. Perceptual orientation can be understood in terms of its constituent motivations and triggers, and can also be described through the linguistics of the text.

A corresponding, continuous process of establishing and changing perspectives, also determines the relationship between individual texts and the successor texts that form genres. This new text evokes the reader's (viewer's) horizon of expectation and the norms formed by the previous texts, which are constantly changing, revising, changing, and even reproducing. Changes and corrections determine their scope, while changes and reproductions determine the boundaries of the typological structure.

We generally believe that the recipient's participation in the creation must be in the forward direction, that is, according to the creator's intention and the text, to take the initiative and fill in the gaps. However, the aesthetics of acceptance believes that it is more about misreading, misreading, and preconceived reading. Since the recipient's misreading is caused by their cultural background, special history, and the fashion of the times, even if it is misinterpreted, it is a profound cultural phenomenon. What is "positive reading" before this "misreading" of inevitability? Is it important to "read"?

Of course, there will also be cases where the presentation of the work is relatively close to the expected horizon, which will lead the recipient to enter a quick and light process of acceptance, but such a process may not produce profound aesthetic pleasure. Only when there is a large and small conflict and friction between the display of the work and the expectation of the horizon, will there be aesthetic excitement and creative excitement due to the sense of strangeness, impact, and confrontation.

In this sense, the gap between the psychology of creation and the psychology of acceptance of aesthetic support does not consider that the creator has the right to demand that the recipient must be close to the creative intention when commenting on the work.

Any kind of acceptance is a kind of transformation with a gap. It's the drop, the strength, and then the impact. This influence, in turn, transforms the work, but there is no such thing as an "accurate" transformation, everything is a two-way impact, a two-way misreading, and a two-way transformation.

Here, the concepts of personal expectation and public expectation are involved. In contrast, the public expectation horizon is more worthy of attention, because as a collective expectation, it determines a large number of individual expectations and the quality of expectations. What's more, artists can't choose their audience, and it's the public horizon of expectation that they mediate with every day.

The concept of expectation horizon further defines the meaning of "audience" from the perspective of psychology. As a group of recipients, the public, presuppositional, and inevitable misreading of the audience's psychological activities, as well as the moldability and influence on the basis of the misreading, determine the deep characteristics of this group. This kind of recognition has shown high academic research value.