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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. The approach avoids subjectivity or essentialism in descriptions produced through its recognition that reading is determined by textual and also cultural constraints. [ 3 ]
Sternberg's contribution in this book to Narratology, with its emphasis on the effects of the literary texts on readers, can be seen as part of Reader-response criticism. [2] [3] Sternberg is best known for his 1985 book The Poetics of Biblical Narrative. Sternberg argues that the Bible is a "foolproof composition": any reader who reads the ...
He was known as a major scholar of literary theory, primarily for having been one of the pioneers of reader-response criticism. [3] Holland's writings have been translated into Chinese, Dutch, Persian , French, German, Italian, Japanese, Korean, Hungarian, Polish, Russian, Spanish, and Turkish.
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.
David Bleich is an American literary theorist and academic. He is noted for developing the Bleich "heuristic", a reader-response approach to teaching literature. [1]He is also a proponent of reader-response criticism to literature, advocating subjective interpretations of literary texts.
Reader-response rejects New Criticism's attempt to find an objective meaning via the text itself; instead, it denies the stability and accessibility of meaning completely. It rejects ideological approaches to literary texts that attempt to impose a lens through which a text is to be understood. [21]
Reader response is certainly worth studying." However, Brooks tempers his praise for the reader-response theory by noting its limitations, pointing out that, "to put meaning and valuation of a literary work at the mercy of any and every individual [reader] would reduce the study of literature to reader psychology and to the history of taste." [10]
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.