How is the “horizon of expectations” determined? This is the first important concept of Jauss’ reader-response theory.

Reader-Response Criticism – AssignmentHans Robert Jauss ““Literary History as a Challenge to Literary Theory.” New Literary History 2.1. A Symposium on Literary History (Autumn 1970): 7-37.Q1: How does the reader first receive a work? What are its historical implications?Q2: What determines the frame of reference of the reader’s expectations?Q3: What does Jauss mean when he claims a literary work “, does not appear as something absolutely new in an informational vacuum”?Q4: How is the “horizon of expectations” determined? This is the first important concept of Jauss’ reader-response theory.Q5: What is the “horizon change”? This is the second important concept of Jauss’ reader-response theory.Q6: What is the result of a small distance between the horizon of expectations and the work?Q7: What is the result of a great distance between the horizon of expectations and the work?Q8: Against what backgrounds are new literary works received?Stephen King, “Why We Crave Horror Movies” Playboy (January 1981):237.Q: According to King, what are the three main reasons “we pay our four or five bucks and seat ourselves … in a theater showing a horror movie” by “daring the nightmare”?Atkinson, Michael. “Family in Peril.” Sight and Sound 18.4 (2008): 23.Q1: The “family in peril” sub-genre of horror fiction exploits a distinct set of fears. What are they?Q2: How do previous iterations of the genre shape the viewer’s “horizon of expectations? Name at least three examples, and the potential family issues they address.Q3: Why does the motif of the “family in peril” sub-genre “remain the more toxic idea”?

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