Wolfgang Iser The Reading Process

To read like a writer means knowing in advanced type of writing will be assigned. This is beneficial, Bunn argues, because when reading like a writer, knowing the style assigned, allows one to look for specific techniques in writing that they could adopt in their own work. To understand how piece was written, or to look back on his architect analogy, it is important to ask questions, assessing what “construction” techniques were effective in building a text. Before reading, one should ask himself who the audience is and the author's purpose in writing. While reading the texts itself, Bunn recommends looking at the style of language used and the effectiveness of evidence as well as the parts that don’t work or are confusing. While reading like a writer and asking these questions, Bunn encourages students to look for whether aspects are appropriate and effective as well as the positive or negative effect they have on readers. Bunn, in recognizing that every word choice made in a text has a certain effect, encourages readers to look critically at that effect in order to decide what strategies work should be adopted in their own

1. Foster refers to “language of reading” as the set of rules readers used to analyze the piece of writing. He believes that readers must be alert of the real intentions of the writing by following three important items: memory, symbol, and pattern. As the word suggests memory means remembering information, for instance, professors have the ability to associate the reading to a previous work they had read. In the same way, readers have to be aware of a symbol in which they can “predispose to see things presented how they are but also simultaneously they can represent something completely different.” In the chapters devoted to the symbol, he selected motives such as food in the sense of communion or drowning, to train the reader to forecast by the appearance of these and other elements with the idea of encouraging their “symbolic imagination.” On the other hand, a pattern is a phenomenon that permits us to predict what will happen in the story by comparing it to other pieces of work. This last item, it is strictly related to “symbolic imagination”, because from this ability to detach of the story “and look beyond” the next pages it results pattern recognition. Overall, we can say that memory, symbol, and pattern are significant for the “language of reading” due to the increase these items caused for a better

The important thing in the reader response theory is the interpretive of the readers itself, rather than the author or even the text. The theory gives the competence to the reader to critic the text, however with the condition the readers have the evidence or research from other people toward the critic. The way of their interpretation may reveal their identity, because the reader gives the critic depends on their knowledge and experience (Philip Goldstein, 2005). Everyone has their own perspective toward anything, especially for the literary works. Each of people perspective is unique. That is why reader response was created. The theory is about the transaction between the writer and the reader. The writer composed a meaningful text, whereas the reader composed an interpreted meaning of the text. Reader response is not about destroying the writer’s idea, but it is more constructing the work itself (Louise M. Rosenblatt, 1988).

Along in with the author’s use of metaphors is the frequent use of imagery. In this reading, it is simple to envision the scenes as the different scenarios are explained and the audience can easily picture Staples in the places he is describing and also the people he comes across. Perhaps the most powerful and memorable imagery is provided in the author’s description of people’s different reactions and faces when they come into contact with him. Actions speak volumes and an immediate change of facial expression is possibly one of the

In chapter five, “When in Doubt, It’s from Shakespeare” talks about the reappearance of different well known figures in literature. Foster follows this by giving an idea that literature is made based on other literary stories. He states that one of the reasons why story borrowing occurs is because there is only one story and it’s the human experience. Book critics usually refer to the literary works and texts as ‘intertextually’. According to the author, intertextuality is sometimes used to challenge a reader. If the person reading the story can point out the similarities or repetitiveness in the text then the meaning will easily be revealed to them. In conclusion, being able to identify different meaning of literary text and analyze it gives

In the process of writing, regardless of the form it takes, thesis or narrative for example, the purpose of the piece has several lenses that shape how the reader perceives the material. Of the less important lenses that shape the piece, mood, word choice, and rhetoric are only a few. These elements of the work, while minimal in a relative sense, accomplish the same as other, more important components, they influence how the reader perceives the material, how it is understood. If one is to effectively convey the message of the piece, one must first look at how the any reader perceives any text. This idea of how the reader perceives is a culmination of all the devices employed by the author. The idea is for the author to craft an aggregate

The essay “ How To Tell a True War Story” written by O’Brien complexifies the idea of truth by furnishing readers divergent approaches on to tell how if a story is true or not, in which its readers had to utilize their own sense of understanding to interpret what O’Brien was emphasizing about truth. Interpretation is a psychological process, which requires a mental process to make meaning of a text. Stanley Fish, the author of “ How To Recognize a Poem When you See One”argues that the meaning of a text originated from the reader’s recognition and its interpretive communities. Fish, in his essay, I acquired the true meaning of a text originated from the act of reading and its interpretive communities.

The main research method presented in this article is through a phenomenological strategy; which Stanford University defines phenomenology as, “The study of structures of consciousness as experienced from the first-person point of view. The central structure of an experience is its intentionality, its being directed toward something, as it is an experience of or about some object” (2015). Through this strategy, the authors were able to collect their data at a much more in-depth measure of the individual participants lived experiences. The authors also utilized a, Participant Sampling Strategy to successfully maximize the representation of

When a novel is revealing, witty and whimsical it unlocks the hidden truths about literature as discussed in the book How To Read Literature Like a Professor by Thomas Foster. This book is written in second person so the reader can experience Foster’s personality that is directed towards them. A reader is given a fresh and clear perception on literature to understand what is being read. Foster clarifies the way writers uses symbols and themes. He believes by analyzing the deeper meaning in literature will help foster a better reader.

First, it should be mentioned that the author divided the text into subtitles that guide a reader through reading. The fact that the author analyzes

In novels, the particular way in which information is disseminated dictates the delineation of plot and the reader’s perception of action. For example, Albert Camus’ The Outsider often reads as a newspaper article, as the terse and objective style is detached and journalistic. In contrast, the narrator’s voice in Franz Kakfa’s The Trial is witty and more personal. Furthermore, in Giuseppe di Lampedusa’s The Leopard, the style is elaborate and romantic, which aggrandizes and animates certain actions and objects. However, the styles of these novels also dictate what is expressed altogether. In The Trial, K.’s incessant need to ask questions without answering them overlooks information and forsakes clarity. Likewise, the unemotional and limited language in The Outsider omits Meursault’s thoughts and emotions. In contrast, The Leopard’s grandiose and convoluted style overwhelms the reader with information and minute details. While the novels are diverse in their use of language, all three styles nonetheless dictate what is presented, rather than how it is presented, and challenge the reader to discern fact or meaning from either the absence or excess of information.

According to Iser, any literary text which is a product of the Writer’s intentional acts part-ly controls the response of a reader; however, this includes an abundance of gaps. In order to comprehend more clearly, the reader must take action in active participation in attempting to cre-atively fill these gaps with the given information of the test put before him; Thereby allowing the Reader and the text to undergo a transactional process.

the whole novel: “the linguistic pattern of choices realizes a primitive pattern of cognition, which in turn is the key to the tragic vision of the novel.”(Leech & Short, 2001: 32) Halliday being the widely acknowledged precursor of functional stylistics, the eminent German linguist-critic Leo Spitzer (1887-1960), is likewise father of literary stylistics. In his insistence that the smallest detail of language can unlock the “soul” of a literary work, he maintains the task of stylistics is to provide a hard-and-fast technology of analysis: I would maintain that to formulate observation by means of words is not to cause the artistic beauty to evaporate in vain intellectualities; rather, it makes for a widening and deepening of the aesthetic taste. It is only a frivolous love that cannot survive intellectual definition; great love prospers with understanding. (Leech & Short, 2001: 2) A question which is often asked in this connection is “At which end do we start, the aesthetic or the linguistic?” The image used by Spitzer of the “philological circle”, the circle of understanding, however, seems to suggest there is no logical staring point. Spitzer argues that the task of Linguistic-literary explanation proceeded by the movement to and fro from linguistic details to the

Any literary work is unique. It is created by the author in accordance with his vision and is permeated with his idea of the world. The reader’s interpretation is also highly individual and depends to a great extent on his knowledge and personal experience. That’s why one cannot lay down a fixed “model” for a piece of critical appreciation. Nevertheless, one can give information and suggestions that may prove helpful.

Fish’s Reader Response Criticism is composed of two interdependent ideas: first, that the meaning of texts is shaped by the reading experience itself, and second, that these meanings cannot be judged to be correct or incorrect, but merely belonging to one “interpretive community” or another. The first idea may be identified as the executive aspect of Reader Response Criticism because it analyzes the act of reading, while the second idea is the epistemological aspect of the theory because it circumscribes the knowledge we can acquire about a text to the merely relative. Studied independently, each aspect of Reader Response Theory offers by itself strong arguments countervailing the formalist stance of the New Critics. But as we will see,