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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.
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. He has published research on language and its use in social contexts as well as postsecondary pedagogy. [2]
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. The research and focus on cognitive poetics paves way ...
For the reader's part, he or she must pay close attention to every detail of the text and pay equal attention to his or her own responses. This process exemplifies not only reader-response criticism but also close reading. This inclusion of Rosenblatt's "transactional" theory within the designation "reader-response," however, needs to be contested.
[2] A postcritical reading of a literary text might instead emphasize emotion or affect, or describe various other phenomenological or aesthetic dimensions of the reader's experience. At other times, it might focus on issues of reception , explore philosophical insights gleaned via the process of reading, pose formalist questions of the text ...
The First Modern Comedies (1959), the first of Holland's major publications, is a New Critical study of the three major writers of Restoration comedy. [8] This publication was followed by The Shakespearean Imagination (1964), [9] a guide to reading Shakespeare's works and Holland's New Critical analyses of thirteen major plays of Shakespeare.
Fish is best known for his analysis of interpretive communities — an offshoot of reader-response criticism. His work in this field examines how the interpretation of a text is dependent upon each reader's own subjective experience in one or more communities, each of which is defined as a 'community' by a distinct epistemology.
Reading the Romance is a book by Janice Radway that analyzes the Romance novel genre using reader-response criticism, first published in 1984 and reprinted in 1991.The 1984 edition of the book is composed of an introduction, six chapters, and a conclusion, structured partly around Radway's investigation of romance readers in Smithton (a pseudonym) and partly around Radway's own criticism.