Reader-response criticism focuses on the reader's experience of a literary work rather than the author or content. It began in the 1960s-70s and argues that readers actively interpret works and complete their meaning. There are three main types - individualists focus on individual experiences, experimenters conduct psychological experiments, and uniformists assume shared responses. Key debates are between those who see responses as unique versus shared, and whether readers or texts control the experience. The theory has expanded to relate to psychology, other arts, teaching, and issues of representation.
It is actually how would the readers response to the message of the writer. Without the writer making his work, there would not be readers. And out readers reading the writers' work, there would not be sense of having it. It is actually a vice-versa relationship where both should function according to their role.
It is actually how would the readers response to the message of the writer. Without the writer making his work, there would not be readers. And out readers reading the writers' work, there would not be sense of having it. It is actually a vice-versa relationship where both should function according to their role.
Here is my second uploaded presentation, Marxist Approach in literary criticism. There are instructions herein. Should you need the activities, please contact me via my email address: fgbulusan_gmail@yahoo.com or my pm me via my FB account. I am always willing to lecture about this topic. Contact me via my cellular number 0935-918-3854. Thanks!
Int. to Literary Theory & Literary Criticism
Compiled By Belachew W/Gebriel (bellachew@gmail.com)
Jimma University
CSSH
Department of English Language and Literature
A brief description of Transactional Reader-response Theory by Louis Rosenblatt and some examples how to do a reading of a text using the theory. "Our Town" by Thornton Wilder is also used for application of the theory.
Here is my second uploaded presentation, Marxist Approach in literary criticism. There are instructions herein. Should you need the activities, please contact me via my email address: fgbulusan_gmail@yahoo.com or my pm me via my FB account. I am always willing to lecture about this topic. Contact me via my cellular number 0935-918-3854. Thanks!
Int. to Literary Theory & Literary Criticism
Compiled By Belachew W/Gebriel (bellachew@gmail.com)
Jimma University
CSSH
Department of English Language and Literature
A brief description of Transactional Reader-response Theory by Louis Rosenblatt and some examples how to do a reading of a text using the theory. "Our Town" by Thornton Wilder is also used for application of the theory.
In this ppt you know about how formalist do literary analysis of any text. They focus on different things like
Form
Diction
Unity
These three basic things focus on formalist analysis of any literary text especially poem.
In this ppt you also find comprehensive information about reader Response Theory.
And different types of reader Response Theory.
Take the quiz to discover what poem you have been assigned to discus.docxbriankimberly26463
Take the quiz to discover what poem you have been assigned to discuss this week;
"On Being Brought From Africa to America" By: Phillis Wheatley
2.Look through the critical approaches in the Week 4 lesson, and CHOOSE 2 that you think could be used to analyze the poem you chose.
Literary Critical Theory:
Interpretive Strategies
1. Historicism considers the literary work in light of "what really happened" during the period reflected in that work. It insists that to understand a piece, we need to understand the author's biography and social background, ideas circulating at the time, and the cultural milieu. Historicism also "finds significance in the ways a particular work resembles or differs from other works of its period and/or genre," and therefore may involve source studies. It may also include examination of philology and linguistics. It is typically a discipline involving impressively extensive research.
2. New Criticism examines the relationships between a text's ideas and its form, "the connection between what a text says and the way it's said." New Critics/Formalists "may find tension, irony, or paradox in this relation, but they usually resolve it into unity and coherence of meaning." New Critics look for patterns of sound, imagery, narrative structure, point of view, and other techniques discernible on close reading of "the work itself." They insist that the meaning of a text should not be confused with the author's intentions nor the text's affective dimension--its effects on the reader. The objective determination as to "how a piece works" can be found through close focus and analysis, rather than through extraneous and erudite special knowledge.
3. Archetypal criticism "traces cultural and psychological 'myths' that shape the meaning of texts." It argues that "certain literary archetypes determine the structure and function of individual literary works," and therefore that literature imitates not the world but rather the "total dream of humankind." Archetypes (recurring images or symbols, patterns, universal experiences) may include motifs such as the quest or the heavenly ascent, symbols such as the apple or snake, or images such as crucifixion--all laden with meaning already when employed in a particular work.
4. Psychoanalytic criticism adopts the methods of "reading" employed by Freud and later theorists to interpret what a text really indicates. It argues that "unresolved and sometimes unconscious ambivalences in the author's own life may lead to a disunified literary work," and that the literary work is a manifestation of the author's own neuroses. Psychoanalytic critics focus on apparent dilemmas and conflicts in a work and "attempt to read an author's own family life and traumas into the actions of their characters," realizing that the psychological material will be expressed indirectly, encoded (similar to dreams) through principles such as "condensation," "displacement," and "symbolism."
5. Femini.
English 205Masterworks of English LiteratureHANDOUTSCritica.docxYASHU40
English 205:
Masterworks of English Literature
HANDOUTS
Critical Approaches to Literature
Plain text version of this document.
Described below are nine common critical approaches to the literature. Quotations are from X.J. Kennedy and Dana Gioia’s Literature: An Introduction to Fiction, Poetry, and Drama, Sixth Edition (New York: HarperCollins, 1995), pages 1790-1818.
· Formalist Criticism: This approach regards literature as “a unique form of human knowledge that needs to be examined on its own terms.” All the elements necessary for understanding the work are contained within the work itself. Of particular interest to the formalist critic are the elements of form—style, structure, tone, imagery, etc.—that are found within the text. A primary goal for formalist critics is to determine how such elements work together with the text’s content to shape its effects upon readers.
· Biographical Criticism: This approach “begins with the simple but central insight that literature is written by actual people and that understanding an author’s life can help readers more thoroughly comprehend the work.” Hence, it often affords a practical method by which readers can better understand a text. However, a biographical critic must be careful not to take the biographical facts of a writer’s life too far in criticizing the works of that writer: the biographical critic “focuses on explicating the literary work by using the insight provided by knowledge of the author’s life.... [B]iographical data should amplify the meaning of the text, not drown it out with irrelevant material.”
· Historical Criticism: This approach “seeks to understand a literary work by investigating the social, cultural, and intellectual context that produced it—a context that necessarily includes the artist’s biography and milieu.” A key goal for historical critics is to understand the effect of a literary work upon its original readers.
· Gender Criticism: This approach “examines how sexual identity influences the creation and reception of literary works.” Originally an offshoot of feminist movements, gender criticism today includes a number of approaches, including the so-called “masculinist” approach recently advocated by poet Robert Bly. The bulk of gender criticism, however, is feminist and takes as a central precept that the patriarchal attitudes that have dominated western thought have resulted, consciously or unconsciously, in literature “full of unexamined ‘male-produced’ assumptions.” Feminist criticism attempts to correct this imbalance by analyzing and combatting such attitudes—by questioning, for example, why none of the characters in Shakespeare’s play Othello ever challenge the right of a husband to murder a wife accused of adultery. Other goals of feminist critics include “analyzing how sexual identity influences the reader of a text” and “examin[ing] how the images of men and women in imaginative literature reflect or reject the social forces that have historically kept th ...
Essays are generally scholarly pieces of writing giving the author's own argument, but the definition is vague, overlapping with those of an article, a pamphlet and a short story.
Essays can consist of a number of elements, including: literary criticism, political manifestos, learned arguments, observations of daily life, recollections, and reflections of the author. Almost all modern essays are written in prose, but works in verse have been dubbed essays (e.g. Alexander Pope's An Essay on Criticism and An Essay on Man). While brevity usually defines an essay, voluminous works like John Locke's An Essay Concerning Human Understanding and Thomas Malthus's An Essay on the Principle of Population are counterexamples. In some countries (e.g., the United States and Canada), essays have become a major part of formal education. Secondary students are taught structured essay formats to improve their writing skills; admission essays are often used by universities in selecting applicants, and in the humanities and social sciences essays are often used as a way of assessing the performance of students during final exams.
Acetabularia Information For Class 9 .docxvaibhavrinwa19
Acetabularia acetabulum is a single-celled green alga that in its vegetative state is morphologically differentiated into a basal rhizoid and an axially elongated stalk, which bears whorls of branching hairs. The single diploid nucleus resides in the rhizoid.
The French Revolution, which began in 1789, was a period of radical social and political upheaval in France. It marked the decline of absolute monarchies, the rise of secular and democratic republics, and the eventual rise of Napoleon Bonaparte. This revolutionary period is crucial in understanding the transition from feudalism to modernity in Europe.
For more information, visit-www.vavaclasses.com
Embracing GenAI - A Strategic ImperativePeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
Welcome to TechSoup New Member Orientation and Q&A (May 2024).pdfTechSoup
In this webinar you will learn how your organization can access TechSoup's wide variety of product discount and donation programs. From hardware to software, we'll give you a tour of the tools available to help your nonprofit with productivity, collaboration, financial management, donor tracking, security, and more.
Macroeconomics- Movie Location
This will be used as part of your Personal Professional Portfolio once graded.
Objective:
Prepare a presentation or a paper using research, basic comparative analysis, data organization and application of economic information. You will make an informed assessment of an economic climate outside of the United States to accomplish an entertainment industry objective.
2024.06.01 Introducing a competency framework for languag learning materials ...Sandy Millin
http://sandymillin.wordpress.com/iateflwebinar2024
Published classroom materials form the basis of syllabuses, drive teacher professional development, and have a potentially huge influence on learners, teachers and education systems. All teachers also create their own materials, whether a few sentences on a blackboard, a highly-structured fully-realised online course, or anything in between. Despite this, the knowledge and skills needed to create effective language learning materials are rarely part of teacher training, and are mostly learnt by trial and error.
Knowledge and skills frameworks, generally called competency frameworks, for ELT teachers, trainers and managers have existed for a few years now. However, until I created one for my MA dissertation, there wasn’t one drawing together what we need to know and do to be able to effectively produce language learning materials.
This webinar will introduce you to my framework, highlighting the key competencies I identified from my research. It will also show how anybody involved in language teaching (any language, not just English!), teacher training, managing schools or developing language learning materials can benefit from using the framework.
Honest Reviews of Tim Han LMA Course Program.pptxtimhan337
Personal development courses are widely available today, with each one promising life-changing outcomes. Tim Han’s Life Mastery Achievers (LMA) Course has drawn a lot of interest. In addition to offering my frank assessment of Success Insider’s LMA Course, this piece examines the course’s effects via a variety of Tim Han LMA course reviews and Success Insider comments.
June 3, 2024 Anti-Semitism Letter Sent to MIT President Kornbluth and MIT Cor...Levi Shapiro
Letter from the Congress of the United States regarding Anti-Semitism sent June 3rd to MIT President Sally Kornbluth, MIT Corp Chair, Mark Gorenberg
Dear Dr. Kornbluth and Mr. Gorenberg,
The US House of Representatives is deeply concerned by ongoing and pervasive acts of antisemitic
harassment and intimidation at the Massachusetts Institute of Technology (MIT). Failing to act decisively to ensure a safe learning environment for all students would be a grave dereliction of your responsibilities as President of MIT and Chair of the MIT Corporation.
This Congress will not stand idly by and allow an environment hostile to Jewish students to persist. The House believes that your institution is in violation of Title VI of the Civil Rights Act, and the inability or
unwillingness to rectify this violation through action requires accountability.
Postsecondary education is a unique opportunity for students to learn and have their ideas and beliefs challenged. However, universities receiving hundreds of millions of federal funds annually have denied
students that opportunity and have been hijacked to become venues for the promotion of terrorism, antisemitic harassment and intimidation, unlawful encampments, and in some cases, assaults and riots.
The House of Representatives will not countenance the use of federal funds to indoctrinate students into hateful, antisemitic, anti-American supporters of terrorism. Investigations into campus antisemitism by the Committee on Education and the Workforce and the Committee on Ways and Means have been expanded into a Congress-wide probe across all relevant jurisdictions to address this national crisis. The undersigned Committees will conduct oversight into the use of federal funds at MIT and its learning environment under authorities granted to each Committee.
• The Committee on Education and the Workforce has been investigating your institution since December 7, 2023. The Committee has broad jurisdiction over postsecondary education, including its compliance with Title VI of the Civil Rights Act, campus safety concerns over disruptions to the learning environment, and the awarding of federal student aid under the Higher Education Act.
• The Committee on Oversight and Accountability is investigating the sources of funding and other support flowing to groups espousing pro-Hamas propaganda and engaged in antisemitic harassment and intimidation of students. The Committee on Oversight and Accountability is the principal oversight committee of the US House of Representatives and has broad authority to investigate “any matter” at “any time” under House Rule X.
• The Committee on Ways and Means has been investigating several universities since November 15, 2023, when the Committee held a hearing entitled From Ivory Towers to Dark Corners: Investigating the Nexus Between Antisemitism, Tax-Exempt Universities, and Terror Financing. The Committee followed the hearing with letters to those institutions on January 10, 202
The Roman Empire A Historical Colossus.pdfkaushalkr1407
The Roman Empire, a vast and enduring power, stands as one of history's most remarkable civilizations, leaving an indelible imprint on the world. It emerged from the Roman Republic, transitioning into an imperial powerhouse under the leadership of Augustus Caesar in 27 BCE. This transformation marked the beginning of an era defined by unprecedented territorial expansion, architectural marvels, and profound cultural influence.
The empire's roots lie in the city of Rome, founded, according to legend, by Romulus in 753 BCE. Over centuries, Rome evolved from a small settlement to a formidable republic, characterized by a complex political system with elected officials and checks on power. However, internal strife, class conflicts, and military ambitions paved the way for the end of the Republic. Julius Caesar’s dictatorship and subsequent assassination in 44 BCE created a power vacuum, leading to a civil war. Octavian, later Augustus, emerged victorious, heralding the Roman Empire’s birth.
Under Augustus, the empire experienced the Pax Romana, a 200-year period of relative peace and stability. Augustus reformed the military, established efficient administrative systems, and initiated grand construction projects. The empire's borders expanded, encompassing territories from Britain to Egypt and from Spain to the Euphrates. Roman legions, renowned for their discipline and engineering prowess, secured and maintained these vast territories, building roads, fortifications, and cities that facilitated control and integration.
The Roman Empire’s society was hierarchical, with a rigid class system. At the top were the patricians, wealthy elites who held significant political power. Below them were the plebeians, free citizens with limited political influence, and the vast numbers of slaves who formed the backbone of the economy. The family unit was central, governed by the paterfamilias, the male head who held absolute authority.
Culturally, the Romans were eclectic, absorbing and adapting elements from the civilizations they encountered, particularly the Greeks. Roman art, literature, and philosophy reflected this synthesis, creating a rich cultural tapestry. Latin, the Roman language, became the lingua franca of the Western world, influencing numerous modern languages.
Roman architecture and engineering achievements were monumental. They perfected the arch, vault, and dome, constructing enduring structures like the Colosseum, Pantheon, and aqueducts. These engineering marvels not only showcased Roman ingenuity but also served practical purposes, from public entertainment to water supply.
2. Reader-response criticism
is a school of literary theory that focuses on the reader (or "audience
. and his or her experience of a literary work, in contrast to other
")
schools and theories that focus attention primarily on the author
or the content and form of the work.
3. Reader-response criticism
Although literary theory has long paid some attention to the reader's
role in creating the meaning and experience of a literary work,
modern reader-response criticism began in the 1960s and '70s,
particularly in America and Germany, in work by Norman Holland,
Stanley Fish, Wolfgang Iser, Hans-Robert Jauss, Roland Barthes, and
others. Important predecessors were I. A. Richards, who in 1929
analyzed a group of Cambridge undergraduates' misreadings;
Louise Rosenblatt, who, in Literature as Exploration (1938), argued
that it is important for the teacher to avoid imposing any
"preconceived notions about the proper way to react to any work";
and C. S. Lewis in An Experiment in Criticism (1961).
4.
Reader-response theory recognizes the reader as an active
agent who imparts "real existence" to the work and
completes its meaning through interpretation. Reader-
response criticism argues that literature should be viewed as
a performing art in which each reader creates his or her
own, possibly unique, text-related performance. It stands in
total opposition to the theories of formalism and the
New Criticism, in which the reader's role in re-creating
literary works is ignored. New Criticism had emphasized
that only that which is within a text is part of the meaning
of a text. No appeal to the authority or
intention of the author, nor to the psychology of the reader,
was allowed in the discussions of orthodox New Critics.
5.
6. Kinds of Reader-Response Criticism
One can sort reader-response theorists into three groups: those who focus upon the
individual reader's experience ("individualists"); those who conduct psychological
experiments on a defined set of readers ("experimenters"); and those who assume a
fairly uniform response by all readers ("uniformists"). One can therefore draw a
distinction between reader-response theorists who see the individual reader driving
the whole experience and others who think of literary experience as largely text-
driven and uniform (with individual variations that can be ignored). The former
theorists, who think the reader controls, derive what is common in a literary
experience from shared techniques for reading and interpreting which are, however,
individually applied by different readers. The latter, who put the text in control,
derive commonalities of response, obviously, from the literary work itself. The most
fundamental difference among reader-response critics is probably, then, between
those who regard individual differences among readers' responses as important and
those who try to get around them.
8. Quanto ao Conteúdo Geral do Livro
Diversificar as fontes bibliográficas consultadas
para a eaboração do texto,
dando preferência aos
ivros, periódicos
acadêmicos e às fontes digitais
reconhecidas. Evitar o uso da wikipédia, pela
pouca garantia da credibiidade
das informações
veicuadas por esse
suporte.
Ao iniciar uma unidade de aprendizagem,
9. Individualists
In the 1960s, David Bleich began collecting statements by influencing
students of their feelings and associations.[clarification needed] He used these
to theorize about the reading process and to refocus the classroom
teaching of literature. He claimed that his classes "generated"
knowledge, that is, knowledge of how particular persons recreate
texts.
Michael Steig and Walter Slatoff have, like Bleich, shown that students'
highly personal responses can provide the basis for critical analyses in
the classroom. Jeffrey Berman has encouraged students responding to
texts to write anonymously and share with their classmates writings in
response to literary works about sensitive subjects like drugs, suicidal
thoughts, death in the family, parental abuse and the like.
10. Quanto ao formato do livro
A kind of catharsis bordering on therapy results. In general, American
reader-response critics have focused on individual readers' responses.
American magazines like Reader, Reading Research Quarterly, and
others publish articles applying reader-response theory to the teaching
of literature.
In 1961, C. S. Lewis published An Experiment in Criticism, in which he
analyzed readers' role in selecting literature. He analyzed their
selections in light of their goals in reading.
11. In 1967, Stanley Fish published Surprised by Sin, the first study of a
large literary work (Paradise Lost) that focused on its readers'
experience. In an appendix, "Literature in the Reader", Fish used
"the" reader to examine responses to complex sentences sequentially,
word-by-word. Since 1976, however, he has turned to real
differences among real readers. He explores the reading tactics
endorsed by different critical schools, by the literary professoriate,
and by the legal profession, introducing the idea of "
interpretive communities" that share particular modes of reading.
In 1968, Norman Holland drew on psychoanalytic psychology in
The Dynamics of Literary Response to model the literary work. Each
reader introjects a fantasy "in" the text, then modifies it by
defense mechanisms into an interpretation. In 1973, however, having
recorded responses from real readers, Holland found variations too
great to fit this model in which responses are mostly alike but show
minor individual variations.
12. Holland then developed a second model based on his case studies
5 Readers Reading. An individual has (in the brain) a core identity
theme (behaviors then becoming understandable as a theme and
variations as in music). This core gives that individual a certain style
of being--and reading. Each reader uses the physical literary work
plus invariable codes (such as the shapes of letters) plus variable
canons (different "interpretive communities", for example) plus an
individual style of reading to build a response both like and unlike
other readers' responses. Holland worked with others at the
State University of New York at Buffalo, Murray Schwartz,
David Willbern, and Robert Rogers, to develop a particular teaching
format, the "Delphi seminar," designed to get students to "know
themselves".
13. Experimenters
Reuven Tsur in Israel has developed in great detail models for the expressivity of
poetic rhythms, of metaphor, and of word-sound in poetry (including different
actors' readings of a single line of Shakespeare). Richard Gerrig in the U.S. has
experimented with the reader's state of mind during and after a literary experience.
He has shown how readers put aside ordinary knowledge and values while they
read, treating, for example, criminals as heroes. He has also investigated how
readers accept, while reading, improbable or fantastic things (Coleridge's "willing
suspension of disbelief"), but discard them after they have finished.
In Canada, David Miall, usually working with Donald Kuiken, has produced a large body of
work exploring emotional or "affective" responses to literature, drawing on such concepts
from ordinary criticism as "defamiliarization" or "foregrounding". They have used both
experiments and new developments in neuropsychology, and have developed a
questionnaire for measuring different aspects of a reader's response.
There are many other experimental psychologists around the world exploring readers' responses, conducting many detailed experiments. One can
research their work through their professional organizations, the International Society for the Empirical Study of Literature and Media, and
International Association of Empirical Aesthetics, and through such psychological indices as PSYCINFO.
Two notable researchers are Dolf Zillmann and Peter Vorderer, both working in the field of communications and media psychology. Both have
theorized and tested ideas about what produces emotions such as suspense, curiosity, surprise in readers, the necessary factors involved,
and the role the reader plays .
14. Uniformists
Wolfgang Iser exemplifies the German tendency to theorize the reader and so posit a
uniform response. For him, a literary work is not an object in itself but an effect to
be explained. But he asserts this response is controlled by the text. For the "real"
reader, he substitutes an implied reader, who is the reader a given literary work
requires. Within various polarities created by the text, this "implied" reader makes
expectations, meanings, and the unstated details of characters and settings through
a "wandering viewpoint". In his model, the text controls. The reader's activities are
confined within limits set by the literary work.
Another important German reader-response critic was Hans-Robert Jauss, who
defined literature as a dialectic process of production and reception (Rezeption--the
term common in Germany for "response"). For Jauss, readers have a certain mental
set, a "horizon" of expectations, from which perspective each reader, at any given
time in history, reads. Reader-response criticism establishes these horizons of
expectation by reading literary works of the period in question.
Both Iser and Jauss, and the Constance School they exemplify, return reader-response
criticism to a study of the text by defining readers in terms of the text. In the same
way, Gerald Prince posits a "narratee", Michael Riffaterre posits a "superreader",
and Stanley Fish an "informed reader." And many text-oriented critics simply
speak of "the" reader who typifies all readers
15. Objections
Reader-response critics hold that, to understand the literary experienc
or the meaning of a text, one must look to the processes readers us
to create that meaning and experience. Traditional, text-oriente
critics often think of reader-response criticism as an anarchi
subjectivism, allowing readers to interpret a text any way they wan
They accuse reader-response critics of saying the text doesn't exis
(Reader-response critics respond that they are only saying that t
explore someone's literary experience, one must ask the someone, no
pore over the text.) By contrast, text-oriented critics assume that on
can understand a text while remaining immune to one's own culture
status, personality, and so on, and hence "objectively."
16. Objections
To reader-response based theorists, however, reading is always both subjective and
objective, and their question is not "which" but "how".[clarification needed] Some reader-
response critics (uniformists) assume a bi-active model of reading: the literary
work controls part of the response and the reader controls part. Others, who see
that position as internally contradictory, claim that the reader controls the whole
transaction (individualists). In such a reader-active model, readers and audiences
use amateur or professional procedures for reading (shared by many others) as we
as their personal issues and values.
Another objection to reader-response criticism is that it fails to account for the text
being able to expand the reader's understanding. While readers can and do put the
own ideas and experiences into a work, they are at the same time gaining new
understanding through the text.
This is something that is generally overlooked in reader-response criticism.
17. Some argue that 'artworks' are now purposely being fabricated which lack meaning
but rather the 'artworks' are fabricated only to generate a reader response.
The reader response then is corralled via interpretative communities.
Reader response rather than handing a freedom to the reader empowers the leaders of
an interpretative community against the reader.
The reader has no ground to evaluate the 'artwork' as the artwork is senseless.
Only a reader response, basically an emotive response, is legitimate.
The Web provides an ideal way to form such interpretative communities.
The power of reader response strategy is that people are fundamentally 'hungry' for
culture and will attempt to impart meaning even to artworks that are senseless. Of
course, people can always opt out of these interpretative communities centered
around senseless artworks with little to no loss via-a-vis culture and almost
certainly a cultural gain.
18. Extensions
Reader-response criticism relates to psychology, bot
experimental psychology for those attempting to find principles o
response, and psychoanalytic psychology for those studyin
individual responses. Post-behaviorist psychologists of reading an
of perception support the idea that it is the reader who make
meaning. Increasingly, cognitive psychology, psycholinguistics
neuroscience, and neuropsychoanalysis have given reader-respons
critics powerful and detailed models for the aesthetic process.
In 2011 researchers found that during listening to emotionally intens
parts of a story, readers respond with changes in heart rate variabilit
, indicative of increased activation of the sympathetic nervous system
. Intense parts of a story were also accompanied by increased brai
activity in a network of regions known to be involved in th
processing of fear, including amygdala.[
19. Extensions
Because it rests on psychological principles, a reader-response approac
readily generalizes to other arts: cinema (David Bordwell), music, or
visual art (E. H. Gombrich), and even to history (Hayden White). In
stressing the activity of the scholar, reader-response theory justifies
such upsettings of traditional interpretations as, for example,
deconstruction or cultural criticism.
Since reader-response critics focus on the strategies readers are taught
to use, they address the teaching of reading and literature. Also,
because reader-response criticism stresses the activity of the reader,
reader-response critics readily share the concerns of feminist critics
and critics writing on behalf of gays, ethnic minorities, or post-
colonial people