The researcher believes that the readers’ social and cultural environment affects the constructed meanings in their mind in their transactions with poetry. She does not believe that readers are autonomous with no will on their own; but as the New London Group (1996, p. 76) believes, the researcher attributes the meanings they construct as they transform Available Designs to a marriage between the “culturally received patterns of meaning” and the “human agency”. The researcher pays much attention to the role of the communities of practice (Wenger, 1998) that influences the manner that readers interact with the multimodal design of poetries. By examining Rosenblatt’s (1978) theory of aesthetic reading, which views readers as drawing on their …show more content…
43) elaborates that “aesthetics” is taken from the Greek word “aisthanesthai,” meaning “the ability to perceive”. Early aestheticians interpret the latter word as reflecting a dynamic mode between subject and object that each of them affects the other one. Recognition of this point leads him (1999, p. 44) to conclude that from its beginnings, “aesthetic knowing can be seen as about perceiving in a relationship between subject and object.” As Siegesmund (1999, p. 44) says, in his Art as Experience, Dewey (2005) wrote that he “sought to return the conception of aesthetic knowing to the problem of perception as a recognition of both rational and feelingful relationships between subject and object”. Dewey (2005) views the absence of a division between self and object as a hallmark of aesthetic experience, which he (p. 259) thinks is aesthetic to the extent that an “organism and environment cooperate to institute an experience in which the two are so fully integrated that each disappears.” A similar view of aesthetic knowing is in the theory of aesthetic reading by Rosenblatt that as explained by Dewey, gets meaning as the result of a transaction between the reader and the …show more content…
97) in which readers might go through while transacting with poetries. Rosenblatt (1978) argues that readers find some words’ “emotional overtones…all too powerful,” by having an aesthetic point of view to a text, the result of which will lead them to place their “responses into contexts not at all directly indicated by the text” (p. 97). As she (1978) explains, readers construct these contexts, as they draw on their personal backgrounds, and as they situate their responses in the interpretive frameworks they construct while reading. Therefore, readers are able to interpret the same text in different ways. She (1978) insists that meaning is not merely subjective because she believes that a literary text is a structure that guides a reader’s response. She (1978, p. 13) thinks writers “set down notations for others, to guide them in the production of a work of art.” Therefore, her theory of aesthetic reading compliments the semiotic perspectives on
“Watch your tone young lady” a phrase known all too well to the American culture, whether it be from mom giving her children a lecture or on a television screen being spoken out by an actor. The tone of voice that one uses while speaking plays an extremely significant role in what the spoken words actually mean. Many times one can say one thing and mean another just from placing emphasis on a particular word. With tone of voice plays such a vital role in the meaning of a sentence it becomes clear that poetry, although often times found in books as written work, is meant to be read aloud; this was not all that clear to me until I attended my very first poetry reading. On November 10th Ramapo College welcomed the marvelous poet Mark Doty to its campus. Through Mark Doty’s reading of “House of Beauty” and “Theory of Marriage” it became clear that the use of emphasis and tone are vital characteristics that allows for the poet to challenge poetic traditions and conventions.
In the skillful novel, "How To Read Literature Like A Professor" by Thomas C. Foster, there is neither a protagonist nor antagonist. As a whole, the novel gives insights on how to pick up signs of symbolism, irony, and many other hidden details that are buried within the words of literature. Foster refers to many classis novels by classic authors to demonstrate the use of logic in writing. The novel is extremely educational, leaving many insightful questions and interpretations to the reader's opinion.
The fear of reading literature and not being able to comprehend the ideas presented forces readers to create a deeper meaning through annotations, as expressed through Billy Collins’ use of comparative imagery and aggressive diction in “Marginalia” and “Introduction to Poetry.” Collins’ choice to
Art has always been considered the effervescent universal tool of communication. Art does not require a concrete directive . One sculpture,drawing or written creative piece, can evoke a myriad of emotions and meaning . Artistic pieces can sometimes be considered the regurgitation of the artist's internal sanctum. In Richard Hooks graphic painting,Adoption of the Human Race, the effect of the imagery,symbols ,color and emotional content projects a profound unification of a spiritual edict.
In all of Bradstreet’s works she is constantly expressing herself through her figurative language that whoever reads the poetry can’t help but sense the feelings through any piece. An...
Over the decades, art has been used as a weapon against the callousness of various social constructs - it has been used to challenge authority, to counter ideologies, to get a message across and to make a difference. In the same way, classical poetry and literature written by minds belonging to a different time, a different place and a different community have somehow found a way to transcend the boundaries set by time and space and have been carried through the ages to somehow seep into contemporary times and shape our society in ways we cannot fathom.
The paper discusses the sound of the poem and how those certain words, said aloud, help to emphasize the meaning. Looking at the form of a poem in this way gave me a new way of looking at the text and finding the meaning. Personally, I have not had much familiarity looking at the sound of a text, but now see how the sound can be valuable when looking for the meaning of a text. I like to look at the imagery that is utilized in a text because I believe it works well in giving the reader a look into the text and bringing the text to life. What I have discovered reading about the formalist approach is to look at the overall form and how the text itself affects the meaning. Looking at the imagery and symbols helps me personally find the meaning in a text, so learning that the form of the text also can contribute to the meaning was
Thomas C. Foster’s novel How to Read Literature Like a Professor, helps the reader understand the beginnings of a quest by breaking down the task into five steps. A quest will always consist of 1) a quester, 2) a place to go, 3) a stated reason to go there, 4) challenges and trials en route, and 5) a real reason to go there. A quester, the protagonist, typically is not aware that they are partaking in a quest. Step two and three are thought of together usually because the protagonist is told to go somewhere to do something. However, the stated reason to go to their destination is not the real reason they go there. As Foster explains, “In fact, more often than not, the quester fails at
My goal for this paper is to give a practical critique and defense of what I have learned in my time as a Studio Art Major. During my time here I have learned that Pensacola Christian college’s definition of art “art is the organized visual expression of ideas or feelings” and the four parts of Biblosophy: cannon, communication, client, and creativity. Along with Biblosophy I have studied Dr. Frances Schaeffer 's criteria for art, seeing how the technical, and the major and minor messages in artwork. All of these principles are great but they do need to be refined.
Since its emergence over 30,000 years ago, one of visual art’s main purposes has been to act as an instrument of personal expression and catharsis. Through the mastery of paint, pencil, clay, and other mediums, artists can articulate and make sense of their current situation or past experiences, by portraying their complex, abstract emotions in a concrete form. The act of creation gives the artist a feeling of authority or control over these situations and emotions. Seen in the work of Michelangelo, Frida Kahlo, Jean Michel-Basquiat, and others, artists’ cathartic use of visual art is universal, giving it symbolic value in literature. In Natasha Trethewey's Native Guard, Kazuo Ishiguro’s Never Let Me Go, and Joseph Conrad’s Heart of Darkness,
The stylistic technique that both texts share is the use of sensory key words and images that not only appeal to the emotion of the reader, but help...
“Billy Collins' “Introduction to Poetry” isn’t an ars poetica poem about writing poetry, but about reading poetry. The speaker is a teacher who tells his students that they should experience a poem, rather than dissect it. The f...
Poetry is very difficult to interpret because everybody has a different approach, understand, meaning and point of view. My next writer is an African Americans whose poem is” Black Art” by Amiri Baraka “Black Art”. In the poem “ Black Art “, the poem is dedicated to African American to wake up and reverse the situation , by taking control over everything . The author urges the audience to be conscious and unconscious about African-American. Amiri is saying I need to see all the hardworking of the African American not just word but reality, proof, demonstration, and action been taking. In addition, in a poem the author express his anger; frustration to the audience how he feels and the action need take
...human imagination and reality, the role of imagination in shaping that reality, and the role of the reader, as an observer as well as participant, in the understanding of poetry, of language shaping the world around him.
Aesthetics is the philosophy of art. By appreciating the value of aesthetics, one can comprehend the meaning of the abstract notion of beauty. In James Joyce’s novel, A Portrait of the Artist as a Young Man, Stephen Dedalus’ perception of aesthetics is a key component in the main character’s pursuit of individuality and purpose. Through the use of literary techniques such as diction and tone, Joyce conveys the protagonist’s aesthetic development. This artistic growth, paralleled throughout the novel’s external structure with Dedalus’ coming of age, illustrates the life, purpose and aesthetic ambition of an artist: “To discover the mode of life or of art whereby the spirit can express itself in unfettered freedom” (Joyce 231).