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Reader-response criticism is a school of literary theory that focuses on the reader (or "audience") and their experience of a literary work, in contrast to other schools and theories that focus attention primarily on the author, content, or form of the work.
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 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.
Iser is known for his reader-response criticism in literary theory. This theory began to evolve in 1967, while he was working in the University of Konstanz, which he helped to found in the 1960s. Together with Hans Robert Jauss, he is considered to be the founder of the Constance School of reception theory. In his approach to reader-response ...
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.
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.