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Reader-response criticism arose as a critical theory in response to formalist interpretations of literature. Unlike the latter, which stressed the primacy of the text and an objective interpretation of it based on established criteria, advocates of reader-response criticism focused on the importance of the reader and their individual, subjective response to the text.
In addition to Rosenblatt, other influential reader-response critics include Stanley Fish and Wolfgang Iser, both of whom argued against regarding literary works as objects.
In his essay on reader-response criticism, Steven Mailloux explains that Fish, Iser, and other reader-response critics actually had very different approaches to the critical study of literary texts.
Wimsatt and Monroe C. Beardsley in an influential essay in During the late s and s, reader-response criticism, influenced in part by trends in other disciplines, especially psychology and psychoanalytical theories, expanded to include a study of the reader as subject, a combination of various social practices, defined and positioned socially by his or her environment.
This shift from the relationship between reader and text, and their mutual impact, to a focus on self-knowledge and observation has been summarized in anthologies, including Jane Tompkins's Reader-Response Criticism: From Formalism to Poststructuralism Recent works by critics including David Bleich, Normal Holland, and even Stanley Fish, have also expanded the focus of reader-response theory to include the validity and significance of interpretations guided by the environments or communities inhabited by the readers.
This is a departure from their earlier-held position, which emphasized the primacy of the relationship between reader and text, regardless of environment. In his study of the history of reader-response criticism, Terence R. Wright explains that while the field has expanded its boundaries to include numerous approaches, the concern reader-response critics have with the act of reading remains constant.
What has changed is the awareness these theorists now have of the ways in which environment, history, politics, and even sexual orientation, can affect a reader's response to a text.
This expansion of criteria has led many contemporary critics to refer to this type of critical theory as reader-oriented criticism rather than reader-response criticism.Derrida Deconstruction essays examine the literary theory and philosophy of language that largely comes from French writer Jacques Derrida’s book Of Grammatology.
Brock’s English Department offers challenging academic study combined with practical experience in critical thinking and in writing. Our programs allow you to study contemporary and historical literary texts written in English within their cultural contexts, to gain strong writing and analytical skills and to improve your public speaking skills, through our small seminars.
DECONSTRUCTION IN FASHION Deconstruction was a revolutionary approach introduced by Frenchman Jacques Derrida in the study of literature. He applied his theory onto Western Metaphysics to expose its flawed nature and in an attempt to question the basic of the basic, the nuances (possibly unconscious to the author himself/herself) .
Literary Theory "Literary theory" is the body of ideas and methods we use in the practical reading of literature. By literary theory we refer not to the meaning of a work of literature but to the theories that reveal what literature can mean.
In this paper, I focus my studies on how philosophical theory of Deconstruction by Jacques Derrida applies to architecture design, specifically in museum settings. I have focused how deconstructivism theory has entered into the realm of architecture as well. Jacques Derrida (–) was the founder of “deconstruction,” a way of criticizing not only both literary and philosophical texts but also political institutions.