Reviewers help ease cultural products’ testing transition from the stage of production to that of circulation. Given their intermediate position between stages, reviewers have to deal with uncertainty when valuating new cultural products. How do reviewers in a transnational setting make sense of a novel product that challenges existing aesthetic boundaries, has commercial success, and is made by a little-known creator? Along with the strategies of description, accommodation, and rejection, this paper argues that reviewers’ most effective, long-term strategy to normalize the uncertainty of a brand-new product is to come up with an aesthetic label for it, either by rescuing one (recycling) or by proposing a new one (neo-labeling). These two strategies of resignification help to normalize the product’s aesthetic uncertainty. This paper studies reviewers’ initial valuation of the novel One Hundred Years of Solitude. They applied the above-mentioned strategies to read the text, especially as they could not agree on its aesthetics. A key strategy consisted in recycling the little-known label magical realism. In the long-run, magical realism turned into the normal label applied to the novel worldwide. This paper offers insights into actors’ perception of uncertain cultural products and the standardization of heterogeneous interpretations of such products.

审阅者可帮助简化文化产品从生产阶段到流通阶段的测试过渡。鉴于其在各个阶段之间处于中间位置，审稿人在评估新文化产品时必须应对不确定性。处于跨国环境中的审稿人如何理解一种挑战现有美学界限，取得商业成功并由鲜为人知的创作者创作的新颖产品？除了描述，适应和拒绝的策略外，本文还认为，审阅者最有效，长期有效的方法来标准化全新产品的不确定性是通过挽救一个新产品来为其赋予美学标签。 （回收）或提出新建议（新标签）。这两种表示形式的策略有助于规范产品的美学不确定性。一百年的孤独。他们运用上述策略来阅读文本，特别是因为他们在美学上无法达成一致。一项关键策略包括回收鲜为人知的标签魔术现实主义。从长远来看，神奇的现实主义变成了在世界范围内应用于小说的常规标签。本文提供了有关演员对不确定文化产品的理解以及对此类产品的异类解释的标准化的见解。