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The Implied Reader: Patterns of Communication in Prose Fiction from Bunyan to Beckett
01 Jan 1974-
TL;DR: Iser as mentioned in this paper analyzed major works of English fiction ranging from Bunyan, Fielding, Scott, and Thackeray to Joyce and Beckett, and provided a framework for a theory of such literary effects and aesthetic responses.
Abstract: Like no other art form, the novel confronts its readers with circumstances arising from their own environment of social and historical norms and stimulates them to assess and criticize their surroundings. By analyzing major works of English fiction ranging from Bunyan, Fielding, Scott, and Thackeray to Joyce and Beckett, renowned critic Wolfgang Iser here provides a framework for a theory of such literary effects and aesthetic responses. Iser's focus is on the theme of discovery, whereby the reader is given the chance to recognize the deficiencies of his own existence and the suggested solutions to counterbalance them. The content and form of this discovery is the calculated response of the reader -- the implied reader. In discovering the expectations and presuppositions that underlie all his perceptions, the reader learns to "read" himself as he does the text.
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TL;DR: Sichel as discussed by the authors argues that these new "philanthropic romances" are written with a wider aim, in so far as it takes for its end the redemption of humanity instead of personal salvation.
Abstract: In an 1888 article titled “Two Philanthropic Novelists,” Edith Sichel identifies Walter Besant’s all Sorts and Conditions of Men (1882) as a specimen of a new genre of fiction: “We have had the Historical Romance, the Mystic Romance, the Social Romance, the Psychological Romance; it has remained for the present day to give us the Philanthropic Romance . . . [Though Dickens and Gaskell] described the poorer classes with master-pens, Dickens had little or no purpose of their mental improvement. ‘Oliver Twist’ was certainly not written to induce reform among thieves, [and Gaskell proposed] purely local and temporary answers to purely local and temporary questions” (506). These new “philanthropic romances,” she argues, are written with a wider aim. Besant advocates for “a [form of] modern asceticism [which] differs from medieval asceticism, in so far as it takes for its end the redemption of humanity instead of personal salvation” (506). Sichel suggests that Besant shows the ways in which interiority disconnects people from one another, even those living in a city:
6 citations
6 citations
Journal Article•
TL;DR: In this article, Johnson provides a demonstration for literacy teachers across tertiary, secondary, primary and early childhood classrooms of how multiple readings Libby Gleeson's (1992) picture book Mu m goes to work can be produced.
Abstract: This article provides a demonstration for literacy teachers across tertiary, secondary, primary and early childhood classrooms of how multiple readings Libby Gleeson's (1992) picture book Mu m Goes To Work can be produced. Specifically, Johnson explores four readings of the text, pausing at times defend particular reading strategies or practices used in the production different readings. The first three readings focus on the author, the text individual reader respectively. However, the central focus of the article fourth reading of the picture book, produced from a world context or critical literacy approach. Each approach offers readers further possibilities understanding texts.
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TL;DR: In this paper, the authors argue against criticisms of human rights discourse as another form of Western cultural imperialism and use the case of the Rwandan Paul Rusesabagina, especially his representations in Philip Gourevitch's We Wish to Inform You That Tomorrow We Will Be Killed with Our Families: Stories from Rwanda, Terry George's film Hotel Rwanda, and Rusesaagina's autobiography An Ordinary Man to illustrate this point.
Abstract: This article analyzes how the globalization of human rights discourse enables victims of rights violations to gain presence and influence on a global stage through the concept of network power. This article argues against criticisms of human rights discourse as another form of Western cultural imperialism. This article uses the case of the Rwandan Paul Rusesabagina, especially his representations in Philip Gourevitch’s We Wish to Inform You That Tomorrow We Will Be Killed with Our Families: Stories from Rwanda , Terry George’s film Hotel Rwanda , and Rusesabagina’s autobiography An Ordinary Man to illustrate this point.
6 citations