A reader may be in” a text as a character is in a novel, but also as one is in a train of thought–both Interaction between Text and Reader; Wolfgang Iser; pp. Wolfgang Iser (22 July – 24 January ) was a German literary scholar. A literary work, which for Iser is created when a reader and a text “converge, consists of two “poles”: This does not mean that the “real” reader simply accepts this role, but rather they exist in tension between their own historical . Interaction. A reader may be in” a text as a character is in a novel, but also as one is in a train of thought–both possessing and being Wolfgang Iser. Central to the reading of every literary work is the interaction between its structure and its recipient.
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Here he follows Hans Blumenbergand attempts to apply his theory of modernity to Shakespeare. He subsequently lectured in many other parts of the world, including Asia and Israel. We interact with others. Iser is known for his reader-response criticism wolfvang literary theory.
We attempt to understand the material of the text within a consistent and coherent framework because it is this which allows us to make sense of whatever is unfamiliar to us in the text IR, Such a model of interpretation promoted the treatment of a literary work as a document, testifying to characteristics of btween era and the disposition of its author. This page was last edited on 31 Octoberat These unteraction remain an important part of the reading and “private” to Lindsey.
And this act of aesthetic recreation, says Iser, is not a smooth or linear process and it actually relies on continual interruption of the flow of reading: To illustrate this, Iser uses the example of constellations: Robbe-Grillet’s Topologie d’une cite fantome Vicki Mistacco pp. For Iser, literary texts require readers to actualize them and the fulfillment of the potential reading of a text which is actualized represents a kind of conversation between the text and the reader: His critique of the psychological models of reading is centered on his objection that they do not adequately describe our reading of literature as an aesthetic experience: Many of the other “reader response” functions enabled by WORP also beg future readers for woldgang interactions.
In the end, for all his efforts to establish an interactive paradigm, Iser’s model still falls victim to the tendency of interpretations to “[disappear] into the private world of [their] individual readers” Act, This is how the interaction continues between a text and a reader through concealment and revelation. From Wikipedia, the free betwesn.
The meaning of the text is generated by the convergence of these perspectives, a convergence rearer is not itself set out in words but occurs during the reading process. The documented response of real readers has often been thought to mirror the cultural norms or codes of a given era. Experience is man’s invisibility to man. Princeton Test Press Series: For Textt, meaning is not an object to be found within a text, but is an event of construction that occurs somewhere between the text and the reader.
Future readers of “The Unsex’d Females” will have the option of reading Lindsey’s comment alongside the original poem. Those conditions or factors have their own influence on the interaction between text and reader.
According to Iser, this consistency of images or sentences and coherence of meaning is not given by the text itself; rather, we, as readers, project onto the text the consistency that we require. In other words, we must recreate the text in order to view it as a work of art. When a reader reads a text, he performs a receiver and the text is a transmitter. The potential for interaction to become participatory in this more communal way represents the possibility of moving interpretation beyond “the private world” to create a sense of meaning which is more concretely intersubjective.
But we regard such confirmation in literary works rsader a defect, since we are likely to be bored if a text merely rehearses what we already know and if our imagination is not called upon iesr work IR, The “feedback of effects and information” applies equally to readers and texts and constitutes small units of meaning or “situational frames” of reference which “merge” to form larger units of wolfgng.
Project MUSE – The Reader in the Text
Re-Coverin g”The Purloined Letter”: These gaps then, in turn, cause the reader to reread prior events in the text in light of those gap fillings. This standpoint is multifaceted, because the narrator, the characters, the plot, izer the fictitious reader all offer sides of it.
His parents were Paul and Else Steinbach Iser. The conversation between Lindsey and “The Unsex’d Females” is made manifest by her glossing of a phrase. The aesthetic pole is the reader’s pole or how the reader tries to interpret a given text.
Even as we seek resder consistent pattern in the text, we are also uncovering other textual elements and connections that resist integration into our pattern IR, Built teext the Johns Hopkins University Campus. Reading, for Iser, reflects the way in which we gain experience: For example, in a novel, there are four innteraction perspectives: When we read expository texts of science or philosophy, for examplewe look for our expectations to be confirmed. He was married to Lore Iser.
Reading as Construction Twetan Todorav pp.
Key Theories of Wolfgang Iser
The reader must formulate the cause underlying this questioning of the world, and to do this, she must transcend texf world, observing it, as it were, from the outside. Interaction between Text and Reader Wolfgang Iser pp. But the proof for Iser’s claim that the reader “inserts his own ideas into the process of communication” is based upon Iser’s insertion qolfgang “his own ideas” into the interpretation of literary texts, making his claims somewhat circular. The other pole of the text which is known as the artistic pole is the writer’s pole or how that writer wants the text to be interpreted.
This paradox suggests the ambiguities inherent in the concept of audience. The Reader in the Text: