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<table border="0" cellpadding="3" cellspacing="1" width="100%" class="forumline"> <tr> <th class="thCornerL" width="22%" height="26">Autor</th> <th class="thCornerR">Wiadomość</th> </tr> <tr> <td width="22%" align="left" valign="top" class="row1"><span class="name"><a name=""></a><b>Angela</b></span></td> <td class="row1" height="28" valign="top"><table width="100%" border="0" cellspacing="0" cellpadding="0"> <tr> <td width="100%"><img src="http://picsrv.fora.pl/subSilver/images/icon_minipost.gif" width="12" height="9" alt="Post" title="Post" border="0" /><span class="postdetails">Wysłany: Śro 17:51, 13 Cze 2007<span class="gen"> </span> Temat postu: pyt. 10</span></td> </tr> <tr> <td colspan="2"><hr /></td> </tr> <tr> <td colspan="2"><span class="postbody">Pyt.10 Rola czytelnika w odbiorze dzieła literackiego <br />according to dr. Mazurek handout: <br />The reader: individual, implied/History: Antiquity: Aristotle’s katharsis – emotional reaction in the audience/Rhetoric – persuasion/ Pragmatic approach/ 18 c. – reader to be able to recognize the pattern which the author uses <br /> “Places of indeterminacy” (any element of a text that requires the reader to decide on its meaning) concretized by the reader, i.e. filled in by an individual who is reading a work. Filling in the places of indeterminacy makes a work more concrete. <br />Concretization depends on the reader. An artistic object turned into an aesthetic object – the reader co-creates the aesthetic object. In the process of concretization the work can be overvalued or undervalued. Sometimes the place of indeterminacy is not concretized (main value of e.g. a lyrical poem: “Stepy Akermańskie”) <br />dr Turski lecture: <br />Intention of the reader is questionable, reader may read something in the text that is not there. <br />Reader gives the text a body. Reader fills the gaps in, some details that the author omitted. <br />Correct and incorrect concretization ; <br />Not only concretizations which reflect art’s content are correct but also innovative interpretations. The text can be differently interpret just like music. <br /> And here is some more <br /> The reception of a text is more important than the text itself, and even that a text doesn’t really exist until somebody reads it. A text without a reader has no meaning. It is the readers of a text that give it meaning. In a sense the reader creates the text as much as the author does. The role of the reader as creator was a new concept. <br /> The radical notion that a text without a reader doesn’t really exist was a reaction to formalism, to the idea that a text has a single meaning which it is our task as literary critics or interpreters to discover. It was a swing from one extreme to another, a swing away from the single minded preoccupation with the text, however sacred, to a concentration on its readers. <br />Stanley Fish, author of Is there a Text in this Class? put it this way: “meaning is what happens to readers during the reading process”. So to discover the meaning of a text, a new emphasis is required on the reading process and the interaction between reader and text. <br /> What do the readers make of the text? It is fundamental to reception theory that readers contribute something to the meaning of the text. They have a creative role in the process, parallel to that of the author, some say, more important than that of the author because in the case of most literature, we do not have access to the author’s mind except through the text which can only be perceived by its readers.</span></td> </tr> </table></td> </tr> <tr> <td colspan="2" height="1" class="spaceRow"><img src="http://picsrv.fora.pl/subSilver/images/spacer.gif" alt="" width="1" height="1" /></td> </tr> </table>
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