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Presentation on Reader Response Criticism

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  • Art508

    1. 2. <ul><li>Focuses on “reader” (or viewer) responses to “texts” ( or a work of art) </li></ul><ul><li>Viewer is not only to respond, but to analyze one’s response </li></ul><ul><li>Offers ideas that can be helpful in a classroom </li></ul><ul><li>The purpose for which something is read (or viewed) has an effect on the response one has to the work. </li></ul>
    2. 3. <ul><li>Louise Rosenblatt </li></ul><ul><ul><li>Transaction between Artwork and Viewer </li></ul></ul><ul><ul><li>As a work of art is viewed, it acts as a “stimulus” and one responds in a personal way. </li></ul></ul><ul><ul><li>Previous works of art, or “encounters”, knowledge, and even the way we feel physically will influence one’s response. </li></ul></ul>
    3. 4. <ul><li>There are two ways to approach a work of art. </li></ul><ul><li>Aesthetic -there is a personal relationship to the work. This allows for judgments to be made. </li></ul><ul><li>Efferent -one is gathering information, facts and ideas. </li></ul><ul><li>In order for “transaction” to occur, the work must be approached in the aesthetic mode. </li></ul>
    4. 5. <ul><li>Determinate Meaning </li></ul><ul><ul><li>The Facts of the text </li></ul></ul><ul><li>Indeterminate Meaning </li></ul><ul><ul><li>The “gaps” or the things that could be explained in multiple ways. </li></ul></ul><ul><ul><li>Invites viewers to create an interpretation. </li></ul></ul>
    5. 6. <ul><li>Stanley Fish </li></ul><ul><li>A Literary Text (or work of art) is an event that occurs in time. It comes into being as it is read (or viewed). </li></ul><ul><li>One is “Affected” while in the process of viewing the work. </li></ul><ul><li>Meaning! What does this sentence mean? What does this sentence say? Reader (or viewer) moves from certainty to uncertainty. </li></ul>
    6. 8. <ul><li>David Bleich </li></ul><ul><li>Reader responses are the text. </li></ul><ul><ul><li>There is no text (or work) beyond the meanings created by readers’ (or viewers) interpretations. </li></ul></ul><ul><ul><li>The work the critic analyzes is not the literary work but the written response of readers. </li></ul></ul>
    7. 9. <ul><li>REAL OBJECTS </li></ul><ul><ul><li>Chairs, tables, even the paper, canvas, or book in which one encounters a work of art. </li></ul></ul><ul><li>SYMBOLIC OBJECTS </li></ul><ul><ul><li>The experience created when someone reads or views a work. The viewer creates the imagery in their mind. They “picture” things. </li></ul></ul>So, if when we interpret a work, we are really interpreting the meaning of our own symbolization. Re-symbolization occurs after our experience, when we desire an explanation.
    8. 10. <ul><li>Understand that: </li></ul><ul><ul><li>Subjective Criticism-all knowledge is subjective. The perceived can’t be separated from the perceiver. </li></ul></ul><ul><ul><li>Objective-what a community believes to be objectively true. </li></ul></ul>“ Truth” isn’t an objective reality waiting to be discovered, it’s constructed by communities of people to fulfill specific needs of the community (Historical, sociological, psychological)
    9. 11. <ul><li>Students are asked to write a response statement after reading or viewing a work. </li></ul><ul><li>Every statement is to be “useful into knowledge about the reading (or viewing) experience </li></ul><ul><li>Experience Oriented statements include judgments/reactions to the text (or the artwork). </li></ul><ul><li>Experience Oriented statement is analyzed in a “response-analysis” statement. </li></ul>“ There’s a big difference between knowing what you like and understanding your taste”
    10. 12. <ul><li>Normand Holland </li></ul><ul><li>Focus on what readers’ interpretations reveal about themselves rather than the text (Or work of art) </li></ul><ul><li>Identity Theme </li></ul><ul><ul><li>Coping strategies/psychological conflicts </li></ul></ul><ul><li>3 Modes </li></ul><ul><ul><li>Defense </li></ul></ul><ul><ul><li>Fantasy </li></ul></ul><ul><ul><li>Transformation </li></ul></ul>
    11. 13. <ul><li>Stanley Fish- Later Years </li></ul><ul><li>Interpretive Community </li></ul><ul><ul><li>Can be anything from a group of students to a group of well educated theorists. </li></ul></ul><ul><ul><li>They evolve over time </li></ul></ul><ul><ul><li>Communities affect the interpretation of a work. </li></ul></ul>“ No Interpretation, and therefore no form of (Literary) criticism can claim to reveal what is in a (Text)”
    12. 14. <ul><li>Louise Nevelson- </li></ul><ul><li>Claus Oldenburg- </li></ul>
    13. 15. <ul><li>His own interest in the power of everyday objects was influenced by by his mother's fascination with such things. The Oldenburgs emigrated from Sweden when Claes, born in 1929, was a little boy. His mother made a scrapbook of American objects that entranced her. He still has it. </li></ul><ul><li>http://www.nydailynews.com/blogs/culture/2009/05/claes-oldenberg-at-the-whitney.html#ixzz0dxONt3d9 </li></ul>&quot;In my childhood things had a clear personality and shape,&quot; he said. &quot;Today everything is getting abstract. Everything that's tangible and visible is disappearing -- that's hard for artists to deal with.”
    14. 16. <ul><li>Given his use of everyday objects which evoke memories/meanings for individual viewers. </li></ul><ul><li>Given that those objects are enlarged and create a new experience for the viewer. </li></ul><ul><li>Given that the images that he chooses from American Culture may evoke an assortment of responses from the viewer. </li></ul>
    15. 22. <ul><li>Made Fun of Art Galleries by using a store space, where any window shopper would come in. </li></ul><ul><li>All objects relate to the human being </li></ul><ul><li>Unusable/Decorative rather than functional. </li></ul>
    16. 23. <ul><li>“ Structuralist” piece of food” </li></ul><ul><ul><ul><li>Oldenburg </li></ul></ul></ul><ul><li>“ I’d just as soon eat it as look at it” </li></ul><ul><ul><ul><li>Oldenburg </li></ul></ul></ul>
    17. 24. <ul><li>Seemingly more in the “Feminist” realm </li></ul><ul><li>her work is not easily allied with any one movement </li></ul><ul><li>Nevelson used themes connected to her complicated past, fractious present, and anticipated future </li></ul><ul><li>http://www.thejewishmuseum.org/exhibitions/nevelson </li></ul>&quot;When you put together things that other people have thrown out, you’re really bringing them to life – a spiritual life that surpasses the life for which they were originally created.&quot; “ Black Cord”
    18. 25. &quot;I have made my world,&quot; she said, &quot;and it is a much better world than I ever saw outside.&quot;
    19. 27. <ul><li>“ Nevelson was aware of her standing as a foreigner, until she came to embrace this feeling of &quot;otherness&quot; and used it to advance her work” </li></ul><ul><li>http://www.thejewishmuseum.org/exhibitions/nevelson </li></ul><ul><ul><li>As an immigrant, does her work connect with other viewers who may have similar experiences, given that America is a “Melting Pot”? </li></ul></ul><ul><ul><li>Do readers respond more to the names of her works, or to the sculptures initially? </li></ul></ul>“ Dawn’s Presence”
    20. 28. <ul><li>&quot;It is as if her works were three-dimensional drawings of realities created by the viewers themselves; they were prompts for the imagination.” </li></ul><ul><ul><li>Arthur C.Danto </li></ul></ul>
    21. 29. “ Julie” by Julie Fritz as part of a pilgrimage box sculpture series
    22. 30. <ul><li>Each image depicted has an influence on the people of Haiti who practice Iwa. </li></ul><ul><li>“ The Iwa are constantly reinvented according to the realities of today’s world.” </li></ul><ul><ul><li>School Arts Magazine May/June 2000 </li></ul></ul>

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