Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Reader response criticism and new criticism
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Reader response criticism and new criticism
When an audience reads a piece of literature, the author is often not over their shoulder interpreting the text as he or she meant it to come across. The readers are usually equipped with their own previous knowledge, as well as society biases based on his or her previous life experiences. Solely from the use of these tools, as well as the reader’s vocabulary, will a reader interpret the words in front of him or her.
Reader Response Criticism argues this very point. The point of any piece should be subjective, as in, it should give everyone the right to explore their own interpretations rather than seek ones that some other nameless face has published. In other words, “knowledge is made by people and not found” (pg 69). Why should the instructor crush the passions and enthusiasm of the eager reader? By interpreting the text as readers see fit, they not only introduce new ideas into the literary community, but they allow the student insight into his or her own consciousness, which is each person’s ultimate goal. “Our values... are a kind of reader response to our culture and history...
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.
When reading someone else's work you need to be certain that you read between the lines. Author's, at times, will attempt to distort information in order to make their beliefs more prominent. In order to avoid this disinformation, you have to learn the difference between denotations and connotations and facts from opinions. Furthermore, you'll have to recognize figurative language, such as similes and metaphors, which can incite specific feelings onto readers.
reader creates “supplementary meaning” to the text by unconsciously setting up tension, also called binary opposition. Culler describes this process in his statement “The process of thematic interpretation requires us to move from facts towards values, so we can develop each thematic complex, retaining the opposition between them” (294). Though supplementary meaning created within the text can take many forms, within V...
What do these details tell you about the writer’s assumptions about the knowledge and experience of readers?
In literature, schools often teach students the morals of a book rather than actual knowledge that they should acquire in the classroom such as literary devices or sentence structure. In Francine Prose’s, “I Know Why the Caged Bird Cannot Read,” she discusses how teaching students to only focus on the moral of a book instead of the many different literary elements it contains, effects their passion for reading. “A friend’s daughter’s English teacher informed a group of parents that the only reason to study Huckleberry Finn was to decide whether it was a racist text.” (94) This acknowledges that schools do not focus on important aspects of the books. The main point that Prose forms in her essay is that students are no longer required to read a piece of literature in depth, they only have to read to identify and learn the moral, when
By reading a certain print texts, readers are manipulated into accepting or rejecting additional texts. The short story “The Altar of the Family” written by Michael Welding shares many comparisons with the feature article “Boys to Men” written by Stephen Scourfield, and by reading one the reader can make clear understanding of the other. Symbolism, genre and certain values and attitudes are present in both the texts and will be further examined in the following essay to show that a readers understanding of particular print texts is shaped by the reading of previous texts.
In his essay “Disliking Books,” he examines the standard that many teachers hold. The author believes that the view of other teachers is that “leaving me alone with literary texts themselves, uncontaminated by the interpretations and theories of professional critics would enable me to get on the closest possible terms with those texts” (Graff 26). Teachers, as Graff believes, leave their students with only their own interpretations and perspectives on a text. This does not encourage learning or critical thinking, but hinders students’ abilities to improve and develop ideas their own. Without guidance, students cannot delve deeper into the subjects in which they are learning. Alternatively, in his “Other Voices, Other Rooms,” Graff reveals isolation in perspective of teachers through his own experience with teachers holding opposing viewpoints and theorizes “teachers in modern periods need nonmodernists (and vice versa) in order to make their subjects intelligible to their students” Graff 340). Hence, without elaborating on a subject from all possible viewpoints, a student will have a limited understanding of what it is and how to apply it in their life. Each student will take a different standpoint on what is said, and if they disagree, it will slip through their
Parker, Robert Dale. How to Interpret Literature: Critical Theory for Literary and Cultural Studies. New York: Oxford, 2011. Print.
Whether it be in a sad or confused sense, all the reading is supposed to spawn enlightenment or fascination of any sort. This is depicted in her words," Many of my students were delighted by this idea. They felt they were expected to be perfect in whatever it was they undertook seriously (which might be why they resisted taking much seriously)" (Cohen). This quotation sums up the entire idea of persuading the students to have interest.
The easy way to read a text is to observe the general plot and to formulate ideas about the text through a first reading. A strong reader cannot only observe a reading; they can analyze the text and formulate an opinion through not only their own perspective and opinion, but through utilizing their own ideas as well as those of the authors and societies'. Reading Jane Tompkins's Indians, we find that the "strong reader" description is quickly applicable.
W. K. Wimsatt and Monroe C. Beardsley are two of the most famous New Critical theorists. Their essay, “The Intentional Fallacy” impacted and further developed the study of New Criticism. It even has a profound impact on the way scholars practice criticism now. “The Intentional Fallacy” exposes the various “fallacious” or mistaken approaches to the interpretation of literature. It is false to believe that literature follows through with what the assumed purpose is from the author himself. Wimsatt and Beardsley argue that there are a whole variety of meanings of which the author might even be unaware of or never intended to be. If the audience can produce textual evidence, that meaning is valid. Meaning is found within the text itself and not within the intentions of the author. If the reader focuses on the intentions of the author, that is a fallacy or a mistaken approach to the
His first statement is that “Literary criticism is a description and evaluation of its object” (Brooks 19). The literary critic reports on the work that he is criticizing and picks out the meaning that he deems important, which might be different from what the next critic would pick out. To describe the work it is therefore already a subjective exercise, such as in Doctor Faustus, in the A-version of the text, some people ...
Literature is rarely, if ever, merely a story that the author is trying to tell. It is imperative that the reader digs deep within the story to accurately analyze and understand the message the author is trying to portray. Authors tend to hide themselves in their stories. The reader can learn about the author through literary elements such as symbolism, diction, and structure. A good example of this is Robert Frost’s poems The Road Not Taken and Nothing Gold can Stay in which he uses ordinary language unlike many other poets that became more experimental (Frost, Robert. “1.”).
Literature is an intricate art form. In order to attempt to understand the meanings and ideas within literary work, there are many forms of criticism that propose different approaches to its interpretation. Each criticism is crucial to the understanding of how individuals interpret literary works. Since each criticism has a different approach to enrich the understanding literary works, the question is raised whether one criticism should be used over others, whether a certain combination of criticisms should be used, or whether all criticisms should be taken into account. This may all be dependent on the reader’s individual preference or opinion, but each criticism presented builds on the others to create a well-rounded and unique understanding