Den talande bokens poetik - Doria

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might look like. This education gives the learners an affordance to be active and
to build their understanding of a text in different ways using different methods.
The theoretical concepts of "aesthetic response", "active aesthetic response”,"
the reader as co-author "," text on text"," layer upon layer " and ”meaning
potential” were discussed and loaded with meanings. Østern has been inspired
by Iser and John Dewey (1934/1980) in developing the concept active aesthetic
response which can serve as a guiding principle for teachers to arrange
aesthetical learning processes in the classroom. She describes the active aesthetic
response as an aesthetical processing of an impulse or an idea in order to find a
meaning or understanding that is significant for the individual through enlarging,
reducing, stylizing or twisting the impulse. The creative work is characterized by
a serious playfulness and elaboration with form in order to find the expression
that gives most meaning. Østern thinks that there is an existential dimension in
an active aesthetic response. An aesthetic doubling is characteristic of an active
aesthetic response in drama and literature. The aesthetic doubling includes a set
of transformations in time (real time to fictive time), in place (real place to
fictive place), in role (person to role), and finally building an intrigue by re-using
elements from memories and experiences. Østern describes aesthetic doubling as
a space with great learning potential. In the liminal space (compare with Turner
1995; Szatkowski 1985; Winnicott 1995) between reality and fiction the learner
can process existential themes and articulate existential questions. Concepts
from co-creative literary education were used in analysis of the informant’s
interpretations in conversations about literature. The concepts of writing text on
text, reading between the lines, and so on were used metaphorically because the
informants did not write or act out like in drama. Instead, they were retelling,
paraphrasing, reformulating and orally building on the story that they had
listened to in different ways.
In Figure 1, called aesthetic doubling in literary envisionments, Knip-Häggqvist
has gathered the different concepts that were in use in the analysis. The figure
shows the influence from Langer, Rosenblatt, Iser, Østern, Sørensen and
Steffensen.