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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 their own, possibly unique, text-related performance.
According to Ousby, 'Among modern critical uses of psychoanalysis is the development of "ego psychology" in the work of Norman Holland, who concentrates on the relations between reader and text' [14] – as with reader response criticism. Rollin writes that 'Holland's experiments in reader response theory suggest that we all read literature ...
The story takes place in an English department, and the reader is led through the text using reader-response theory to understand the characters and the crime. Know Thyself: Delphi Seminars (2009) [19] by Holland and Schwartz provides an overview of the Delphi Seminar teaching style and lays out the seminar's findings.
The reader-response theory associated with Bleich emerged from hermeneutics or the study of how readers respond to literary and cultural texts. [5] Bleich is one of the subjective reader-response critics who consider the reader responses as the text since there is no literary text beyond the readers' interpretations. [6]
Cognitive poetics is a school of literary criticism that applies the principles of cognitive science, particularly cognitive psychology, to the interpretation of literary texts. It has ties to reader-response criticism, and also has a grounding in modern principles of cognitive linguistics.
The outer-directed theory argues forms can't be taught because how writers choose language may be different depending on the rhetorical situation of the writing task or objective (social process). According to Bizzell, students participate in a variety of discourse communities, and writers are limited by the writer's ability to define the rules ...
Reception theory is a version of reader response literary theory that emphasizes each particular reader's reception or interpretation in making meaning from a literary text. Reception theory is generally referred to as audience reception in the analysis of communications models.
The concept of affective fallacy is an answer to the idea of impressionistic criticism, which argues that the reader's response to a poem is the ultimate indication of its value. It is the antithesis of affective criticism, which is the practice of evaluating the effect that a literary work has on its reader or audience.