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8/14/2019 Evoking the Poem by Rosenblatt
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The Readerthe Text
the Poem
The Transactional Theory of the
Literary Work
Louise M.Rosenblatt
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CHAPTER 4: EVOKING A POEM
Rosenblatt sketches some of the major
process involved in evoking the work
from the text.
There are different functions readers go
through as they read the text and how
this activities influence their response to
literature.
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CHAPTER 4: EVOKING A POEM
Through conscious and unconsciouschoice, the reader uses the verbal cluesgiven by the author ( diction, setting,
character development) along withpersonal circumstance and experience,to form his or her response to the work.
Through these activities, the readerbecomes part of the creative processalong with the author.
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CHAPTER 4: EVOKING A POEM
Through the readers evocation and
interpretation of a poem, actually has the
power to change the text.
Different readers have decidedly diverse
personal responses which become
woven into the texture of the
experienced poem (p. 65)
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CHAPTER 4: EVOKING A POEM
The author gives the examples of areaders cultural background, personalexperience and literary knowledge as
elements which can dramatically changea piece of literature for that reader.
There are no wrong response becausereader response is always the readerresponse. It is built out of logic andexperience of the reader.
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CHAPTER 4: EVOKING A POEM
So, teachers must not set boundaries for
interpretation of the text instead give the
students the freedom to be part of the
creative process and respond to the textaccording their personal experience.
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CHAPTER 4: EVOKING A POEM
Explains that the experience of evokingthe poem goes on as the reader getsfurther into the works.
The term poemhere refers to the artisticcreation that the reader constructs while
reading a literary work. (Rosenblatt is notdiscussing only poetry here but anyartistic work of literature)
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CHAPTER 4: EVOKING A POEM
The reader is immersed in a creative
process that goes on largely below the
threshold of awareness (p.52).
This process imposes the delicate task
of sorting the relevant from the irrelevant
in a continuing process of selection,
revision and expansion: (p.53)
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P.54
As one decodes the opening lines or sentences
and pages of a text, one begins to develop a
tentative sense of a framework within which to
place what will follow. Underlying this is theassumption that this body of words, set forth in
certain patterns and sequences on the page,
bears the potentiality for a reasonably unified
or integrated, or at the very least coherent,experience.
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P.54
One evolves certain expectations aboutthe diction, the subject, the ideas, thethemes, the kind of text, that will signal
certain possibilities and exclude others,thus limiting the arc of expectations.What the reader has elicited form thetext up to any point generates a
receptivity to certain kinds of ideas,overtones, or attitudes.
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P. 54
Perhaps one can think of this as an
alerting certain areas of memory, a
stirring-up of certain reservoirs of
experience, knowledge, and feeling. Asthe reading proceeds, attention will be
fixed on the reverberations of
implications that result from fulfillment orfrustration of those expectations.
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CHAPTER 4: EVOKING A POEM
This process itself is part of the appeal of
reading a work of literature.
P.54-55
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CAPTER 4: EVOKING A POEM
One potential objection to the reader-response
theory of literary criticism is that it suggests
that anyones reading of a work is just as valid
as any other reading.
Some readings are more informed than others
and that people can become better readers
through practice and experience:
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Extract from the book:
Past literary experiences serve as subliminal
guides as to anticipated, the details to be
attended to, the kinds of organizing patterns to
be evolved. (p.57)
Traditional subjects, themes, treatments, may
provide the guides to organization and the
background against which to recognize
something new or original in the text. (p.57)
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Extract from the book:
Awareness-more or less explicit-of
repetitions, echoes, resonances,
repercussions, linkages, cumulative
effects, contrasts, of surprises is themnemonic matrix for the structuring of
emotion, idea, situation, character, plot-
in short, for the evocation of a work ofart. (p.58)
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CHAPTER 4: EVOKING THE POEM
For the experienced reader, much of thishas become automatic, carried onthrough a continuing flow of responses,
syntheses, readjustment andassimilation.
The readers reading process allowscompatible associations into the focusof attention. (p.60)
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TO SUMMARIZE:
2 streams of responses involved in any
reading event:
# evocation
# interpretation
Cannot be separated.
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TO SUMMARIZE:
Rosenblatt argues the range of potential
responses and the gamut of degrees of
intensity and articulateness are infinitely
vast, since they depend not only on thecharacter of the text but even more on
the special character of the individual
reader (p.49)
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TO SUMMARIZE:
The readers role in evoking and
interpreting the poem can be quite
complex.
The texts involvement in this process is
of equal importance
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TO SUMMARIZE:
Each genre makes different demands of a
reader.
New meaning arrives on the scene concerningthe expectation the reader has of each
particular work.
Brings to work past associations and
experiences
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THE END
Presented by:
AZLINDA ZAFIRAH BINTI ASHAARY
AFIQAH AMANINANOOR HARMIMI BT ABDUL HALIM