{"id":74,"date":"2015-11-23T13:26:44","date_gmt":"2015-11-23T13:26:44","guid":{"rendered":"https:\/\/courses.candelalearning.com\/englishcomp2x74x2\/?post_type=chapter&p=74"},"modified":"2018-06-05T02:34:00","modified_gmt":"2018-06-05T02:34:00","slug":"reader-response-criticism-suggested-replacement","status":"publish","type":"chapter","link":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/chapter\/reader-response-criticism-suggested-replacement\/","title":{"raw":"Reader-Response Criticism In Brief","rendered":"Reader-Response Criticism In Brief"},"content":{"raw":"Reader-response criticism<\/b> 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 or the content and form of the work.\r\n\r\n\"Person<\/a>Although literary theory has long paid some attention to the reader's role in creating the meaning and experience of a literary work, modern reader-response criticism began in the 1960s and '70s, particularly in the US and Germany, in work by Norman Holland, Stanley Fish, Wolfgang Iser, Hans-Robert Jauss, Roland Barthes, and others.\r\n\r\nReader-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. It stands in total opposition to the theories of formalism and the New Criticism.","rendered":"

Reader-response criticism<\/b> 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 or the content and form of the work.<\/p>\n

\"Person<\/a>Although literary theory has long paid some attention to the reader’s role in creating the meaning and experience of a literary work, modern reader-response criticism began in the 1960s and ’70s, particularly in the US and Germany, in work by Norman Holland, Stanley Fish, Wolfgang Iser, Hans-Robert Jauss, Roland Barthes, and others.<\/p>\n

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. It stands in total opposition to the theories of formalism and the New Criticism.<\/p>\n\n\t\t\t

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Candela Citations<\/h3>\n\t\t\t\t\t
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