... Phenomenology of Reading A number of poststructuralist movements such as deconstruction had challenged the formalist and New Critical assertion of the objectivity of the text. But it was not until the 1970s that a number of critics at the University of Constance in Germany, the Constance School, began to formulate a systematic reader-response or “reception” theory. The leading members of this school were Wolfgang Iser and Hans Robert Jauss. Such phenomenological theories deal with the important role of the reader in the overall structure of any given literary text. The reader plays a great role in shaping how the work will be understood and what meanings it will have. Each new generation and each new group of readers in a new setting brings to a literary work different code for understanding it. Does writing require reading? What does reading do for writing that writing cannot do for itself? Different schools have different answers, but for phenomenology of literature, the answer is YES. Reading is ontological requirement for writing. Since writing in itself is not complete and indeterminate, it ontologically requires reading completement. So, reading, as prof.A.V.Ashok, from EFLU, defined, is “the compeletization of incomplete textured meaning into actualized meaning”. Text, for realistic theory of reading, is nearly getting written, the text exists as a body of complete meaning. In other words...
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... In his approach to Reader-Response criticism, Wolfgang Iser stands between subjectivity and objectivity. For him, literary texts do not have one final meaning; nor are they open to as many meanings as there are readers. Iser’s two major books, The Implied Reader (1974) and The Act of Reading (1978), have continued to be sold and reprinted; he has also published an abundance of more recent articles. Iser distinguishes literary texts from non-literary ones and presents us with a phenomenology of reading that has significant implications for literary interpretation. He draws a distinction between literature and non-literature in the book titled: The Act of Reading: A Theory of Aesthetic Response and says: “Literary texts do not contain a referential meaning; if they did, they would not be literature.” Iser’s primary concern is the relationship between the text and its readers. According to Iser, the literary text has a ‘potential’, and ‘the structure of the text allows for different ways’ of fulfilling its ‘potential’. (qtd. The Act of Reading, 13) I believe that to achieve this effect, the literary text conceals as it reveals. The presence of holes or gaps in the text invites the reader to fill in the gaps, but the reader’s activity is guided and molded by that what is revealed. Iser’s blanks come with his points of suspended connectability between segments of the text. (qtd. The Act of Reading, 13) He focuses on the role of the reader, which is controlled by what the...
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...A study of reader-response theories, and some views on how the objectivity of the literary text is or is not distinguished from the subjectivity of the reader's response by Clarissa Lee Ai Ling In the academic study of literature very little attention has been paid to the ordinary reader, the subjective individual who reads a particular text. David S. Miall and Don Kuiken, in their paper The form of reading: Empirical studies of literariness state. Almost no professional attention is being paid to the ordinary reader, who continues to read for the pleasure of understanding the world of the text rather than for the development of a deconstructive or historicist perspective. The concerns that an ordinary reader seems likely to have about a literary text, such as its style, its narrative structure, or the reader's relation to the author, the impact on the reader's understanding or feelings - such concerns now seem of little interest. In this paper I should like to study a few kinds of reader and the subjectivity of their responses to the objectivity found within literary texts, quoting some views found within reader-response criticism. Before I begin, I should like to consider what is meant by the term 'literary text', and what is meant by the objectivity of it. According to Terry Eagleton, [1] the definition of 'literary', as advanced by the Russian formalists, (who included in their ranks are Viktor Shklovsky, Roman Jakobson, Osip Brik, Yury Tynyanov, Boris Eichenbaum...
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...known collectively as Literary Theory. Many Departments have become divided between "theory people" and opponents who see themselves as defending the traditional values central to the culture against Theory’s perceived anti-humanism. Literary Theory is part of a wide-spread movement in the culture which has affected a number of disciplines, occasioning similar disputes in some, a movement which has explored and elucidated the complexities of meaning, textuality and interpretation. Literary Theory is not a single enterprise but a set of related concepts and practices — most importantly deconstruction, post-Althusserian ideological or 'political' criticism, post-Lacanian psychoanalytic criticism, New Historicist or 'cultural' criticism, some reader-response criticism and much feminist criticism. The aim of this essay is to define the issues that ground these contemporary literary theories. There have always been literary theories — about how literature works, what meaning is, what it is to be an author and so forth. The central interpretive practices in force and in power in the academy which are being...
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...critical theory today critical theory today A Us e r - F r i e n d l y G u i d e S E C O N D E D I T I O N L O I S T Y S O N New York London Routledge is an imprint of the Taylor & Francis Group, an informa business Routledge Taylor & Francis Group 270 Madison Avenue New York, NY 10016 Routledge Taylor & Francis Group 2 Park Square Milton Park, Abingdon Oxon OX14 4RN © 2006 by Lois Tyson Routledge is an imprint of Taylor & Francis Group, an Informa business Printed in the United States of America on acid‑free paper 10 9 8 7 6 5 4 3 2 1 International Standard Book Number‑10: 0‑415‑97410‑0 (Softcover) 0‑415‑97409‑7 (Hardcover) International Standard Book Number‑13: 978‑0‑415‑97410‑3 (Softcover) 978‑0‑415‑97409‑7 (Hardcover) No part of this book may be reprinted, reproduced, transmitted, or utilized in any form by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying, microfilming, and recording, or in any information storage or retrieval system, without written permission from the publishers. Trademark Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Library of Congress Cataloging‑in‑Publication Data Tyson, Lois, 1950‑ Critical theory today : a user‑friendly guide / Lois Tyson.‑‑ 2nd ed. p. cm. Includes bibliographical references and index. ISBN 0‑415‑97409‑7 (hb) ‑‑ ISBN 0‑415‑97410‑0 (pb) 1. Criticism...
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...Proceeding for the School of Visual Arts Eighteenth Annual National Conference on Liberal Arts and the Education of Artists: Art and Story CONTENTS SECTION ONE: Marcel’s Studio Visit with Elstir……………………………………………………….. David Carrier SECTION TWO: Film and Video Narrative Brief Narrative on Film-The Case of John Updike……………………………………. Thomas P. Adler With a Pen of Light …………………………………………………………………… Michael Fink Media and the Message: Does Media Shape or Serve the Story: Visual Storytelling and New Media ……………………………………………………. June Bisantz Evans Visual Literacy: The Language of Cultural Signifiers…………………………………. Tammy Knipp SECTION THREE: Narrative and Fine Art Beyond Illustration: Visual Narrative Strategies in Picasso’s Celestina Prints………… Susan J. Baker and William Novak Narrative, Allegory, and Commentary in Emil Nolde’s Legend: St. Mary of Egypt…… William B. Sieger A Narrative of Belonging: The Art of Beauford Delaney and Glenn Ligon…………… Catherine St. John Art and Narrative Under the Third Reich ……………………………………………… Ashley Labrie 28 15 1 22 25 27 36 43 51 Hopper Stories in an Imaginary Museum……………………………………………. Joseph Stanton SECTION FOUR: Photography and Narrative Black & White: Two Worlds/Two Distinct Stories……………………………………….. Elaine A. King Relinquishing His Own Story: Abandonment and Appropriation in the Edward Weston Narrative………………………………………………………………………….. David Peeler Narrative Stretegies in the Worlds of Jean Le Gac and Sophe Calle…………………….. Stefanie Rentsch...
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