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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 ...
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.
Reader-response criticism developed in Germany and the United States as a reaction to New Criticism. It emphasises the reader's role in the development of meaning. [26] Reception theory is a development of reader-response criticism that considers the public response to a literary work and suggests that this can inform analysis of cultural ...
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.
A genre of arts criticism, literary criticism or literary studies is the study, evaluation, and interpretation of literature. Modern literary criticism is often influenced by literary theory, which is the philosophical analysis of literature's goals and methods. Although the two activities are closely related, literary critics are not always ...
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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.