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Reader response criticism example
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The term reader-response criticism means not only a theory but also a range of approaches in which the focus of critical attention is how a reader responses to a text. Its development was a reaction in which there is an emphasis on the text and the reader gives an ultimate source of meaning. In literary criticism, reader- response theory means for the first time, the reader began to come into focus as the determiner of meaning. The canon of reader-response criticism was depicted by a series of retrospective collections, overviews and reading lists of the early 1980s and the texts included in the canon. The authors of the text were- David Bleich, Norman Holland, Wolfgang Isher, Stanley Fish and Jonathan Culler. These five critics gave emphasis The narrate is the same thing as the implied author. The narrate is a full-fledged fictional person, whether or not “he” is a name referred to in the text. Another important Germen reader-response critic was Hans Robert Tauss. For Tauss, readers have a certain mental set, a “horizon” of expectations from which perspective each reader at any given time in history reads. Thus Reader-Response criticism allows for variegated types of readers ranging from the subjective Reader of Holland or ‘informed’ reader of Fish, the competent reader of Culler and the super reader of Riffature, each with his individual (subjective) or transactive (inter-subjective) modes of reading. In the Rime of the Ancient Mariner, the admixture of past and present tense keeps the action or progress of the poem in “temporal limbo”- Fergusson argues that rime creates a kind of apparent relation between cause and effect for the reader to discover a kind of clear sense in the rime which is actually the moral value of the Edited by Paul H. Fry, Yale University.) Here the reader is also discussing the crime of the Mariner simultaneously. The first voice asks what makes the ship move and the second voice speaks of harmony between the ocean and the moon. When the first voice asks a question, the second voice answers that the air is “cut away” in front of the ship and it closes behind it. (18171.428). He is mesmerized by the crew where the ship sails into the harbour and the illuminated dark-red shadows rise out of the calm water. When the ship advances, a boat appears and its Pilot shouts. The Mariner watches the Pilot and the Pilot’s boy is approaching and sees a Hermit abroad and the Hermit sings religious songs. Now the reader probably wants to know who is the Hermit and what is the real identity of the Hermit? But now the reader gets no answer. In the concluding part of the poem Hermit is described as a woodland dweller. The Hermit marvels at the decrepit appearance of the Mariner’s ship and the pilot thinks that it looks “fiendish.” A sound is listened under the deep water and the ship sinks-as did the Albatross-“like lead” (1817 1.553), spewing the Mariner up to the surface of the
He too quickly dismisses the idea of reading on your own to find meaning and think critically about a book. For him, Graff states that “It was through exposure to such critical reading and discussion over a period of time that I came to catch the literary bug.” (26) While this may have worked for Graff, not all students will “experience a personal reaction” (27) through the use of critical discussion.
Joyce Carol Oates' message of life and transitions is best understood when the reader brings his or her interpretation to meet with the author's intention at a middle ground. This type of literary analysis is known as Reader Response. In Reader-Response, the emphasis is placed on "the idea that various readers respond in various ways, and therefore [the] readers as well as authors 'create' meaning" (Barnet, et. al. 1997). In this story of life passages and crucial events, it is imperative that the reader has a solid response to Oates' efforts in order to fully comprehend the message. Literature is a combined meeting between the intentions of the author and the reaction of the reader.
A traditional method assumes that the criticism involves both explication of what actually went on when the speaker engaged his or her audience, and an evaluation of how well the speaker performed the task of changing the audiences’ perspective of reality. It is also assumed that the traditional method will create a feeling of identification and sense of relatedness between the speaker or writer and the
Everyone comes from their own background, and has their own opinions about the world around them. They bring those thoughts and prejudices with them into every text they read, meaning they see what they expect to see. The author claims that close reading leads to ethical reading, ethical reading meaning the reader is listening to the author’s voice within the text, truly understanding and listening to that which the author is saying. Close reading forces the reader to temporarily abandon their preconceptions and “by concentrating on the details, we disrupt our projection; we are forced to see what is really there” (Gallop p.11). The author provides some historical context, in relation to the “new criticism” method of teaching. Between the 1950’s and 1970’s new criticism, “allowed students to appreciate the complexity of literary writing, to see the artful work, rather than merely themes and ideas.” (Gallop p.13). The issue with new criticism being that only “great” works or authors were considered “worthy” of analysis in that manner. Unfortunately, most work that was considered “great” within that period were written by men of European descent. Within the past few decades the multicultural movement has made reading lists in schools more diverse, making understanding the voice of authors more important than ever, as to not reinforce stereotypes and
Parker, Robert Dale. How to Interpret Literature: Critical Theory for Literary and Cultural Studies. New York: Oxford, 2011. Print.
The Seafarer highlites the transience of wordly joys which are so little important and the fact thet we have no power in comparison to God.
Kirszner, Laurie G., and Stephen R. Mandell. Literature: Reading & Reacting & Writing. 4th ed. Boston: Earl McPeek, 2000. 388-423.
Roberts, Edgar V., and Robert Zweig, Editors. Literature: An Introduction to Read and Writing. 5th Compact ed. New York: Pearson Longman, 2012. 226. Print.
Kirszner, Laurie G., and Stephen R. Mandell. Literature: Reading, Reacting, Writing. Boston, MA: Wadsworth Cengage Learning, 2010. Print.
First, he provides an overview of the history and development of the book as well as the development of reading. Carr analyzes and explains the effects of these developments on the individuals. Furthermore, he notes that the Internet recreates and alters a medium’s content by the use of hyperlinks, which ultimately distracts readers, and by separating the content into organized chunks. These characteristics make the content “searchable” which stimulates skimming behavior or superficial reading. As a result, readers retain less information due to the lack of deep, analytical reading. In addition, online texts often incorporate opinions, beliefs, or skewed viewpoints of certain topics, which can have negative effects on readers. Carr also addresses that some opponents believe that hardcopy reading was a result of “impoverished access” (111) and that the desire to use the fast paced web is a result of a quickening pace of life and work over the past few
...eading and studying the definitions set forth by Bartholomae and Petrosky, not only does the reader categorize Tompkins as an effectively strong reader, the readers see two other main points. The first point is that Tompkins's strong writing ability can be directly linked to her ability to read "strongly" based on the ideas of Bartholomae and Petrosky. The final point noticed, was that without either the introduction to Ways of Reading or Indians, either reading would possibly lose validity. Each work studied in this duo, appears to aid the others' ideas and arguments. The analysis and perspectives utilized in Indians are conveyed through the processes described in the introduction to Ways of Reading. Vice versa, the arguments made toward the makeup of a "strong reader" would not have been feasibly possible to illustrate without examples such as Jane Tompkins essay.
Second of all, in the poem “Lake Isle of Innisfree”, the reader sometimes fails to understand what is really happening. “I will arise and go now, for always night and day I hear lake water...
The Mariner, a tan man that is extremely old and malnourished with “a glittering eye” begins his story with his ship getting caught in a treacherous storm and being driven south towards the equator. As the Mariner is in the beginning of his story, the people hear the wedding bells ring. An albatross then appears and becomes friendly with the shipmates, the bird leads them out of Antarctica. The Mariner then shoots the albatross. After he shot the bird, his shipmates are aggravated with the Mariner, they believed that this bird was the miracle that lead their ship out of the South.
An odd sensation, full of guilt and anxiety, overcomes the mariner when he crosses a potential target. The only relief that the man can find comes after the interpretation of his story. This struggle of the sailor is due to the curse condemned on him for slaying the albatross. He is forced to tell a horrifying tale, and be used as an example to pass on a crucial message. “He prayeth best, who loveth best/ All things both great and small;/ For the dear God who loveth us,/ He made and loveth all.” The seaman travels the world, picking out the people who need to experience the message passed through his oral legend. Each person is chosen because of their lack of knowledge towards living things, and the importance of them all. The history of the sailor leaves an impression on the distinct listeners, and they always depart as wiser
Historical Criticism is criticism that “considers how military, social, cultural, economic, scientific, intellectual, literary, and every other kind of history helps us to understand the author and the work” (Lynn 142). Simply stated, unlike the previously discussed criticisms, Historical Criticism connects a work to certain times or places, revealing its historical influences. Therefore, the reader is required to perform research in order to learn more about the author’s life, the author’s time period and culture, and the way of reasoning during that time. Accordingly, with a critical eye, the reader should relate the information back to the work which will provide the reader with a richer understanding of the reading as well as with author’s message to the reader (Lynn 29-31). Beyond “close reading”, the reader must research what establishes the foundation of the work. Although, below the foundation of a work there lies an even richer understanding of the