النص الأدبي في ضوء إبدالات النظرية الأدبية المعاصرة : إستراتيجيات التأويل ورهانات الدراسات الثقافية = Literary Texts in Light of the Transformations of Contemporary Literary Theory : Interpretative Strategies and the Promise of Cultural Studies

2018 ◽  
Vol 6 (23) ◽  
pp. 43-61
Author(s):  
أحمد الجرطي
Keyword(s):  
Cultural Studies ◽  
Literary Theory ◽  
Literary Texts

Bleibende Aufgaben einer phänomenologischen Literaturtheorie

2019 ◽  
Vol 23 (1) ◽  
pp. 265-273
Author(s):  
Eckhard Lobsien
Keyword(s):  
Literary Theory ◽  
Literary Text ◽  
Point Of View ◽  
Literary Texts ◽  
Radical Theory ◽  
Theory Of Reading ◽  
Phenomenological Point

Abstract What sort of object is a literary text? From a phenomenological point of view - phenomenology considered as both a radical theory of reading and a theory of radical reading - a range of answers arise, many of them tinged with deconstructive momentum. This paper aims at pointing out some basic issues in reading literary texts, offering ten theses on the enduring tasks of phenomenological literary theory.

Hopes for Reading in the Era of Globalization

2021 ◽  
Vol 21 (3) ◽  
pp. 505-520
Author(s):  
Cassandra Falke
Keyword(s):  
Effective Teaching ◽  
Literary Theory ◽  
Language Ideology ◽  
Literary Texts

Abstract This article identifies in contemporary literary theory a new optimism about the power of literary texts. The medium of this power is not language, ideology, or form but readers open to being changed. Drawing on phenomenology, the article discusses methods for making literary theory students open to and aware of such change, suggesting that hope is the grounding condition for any effective teaching act as well as an effective ground for reading in an era of globalization.

Afterlife

2019 ◽  
Author(s):  
Alice Bennett
Keyword(s):  
Cultural History ◽  
Literary Theory ◽  
Literary History ◽  
Literary Texts ◽  
Classical Antiquity ◽  
Ghost Story ◽  
Life After Death ◽  
The Past ◽  
Poetic Justice ◽  
Way Of Thinking

From classical antiquity onwards, writing about life after death has consistently served as a situation for questions of literary theory. The locations of the afterlife are hypotheticals and counterfactuals; they are the site of theory itself. Questions about authorship, for instance, have been articulated through the myth of Orpheus (in the forms recorded by Virgil and Ovid). The story of Orpheus tells of a poet who must go into the underworld to find the material for a tale of survivorship and loss, raising questions about the sources of creative inspiration, the art of trauma, and the suffering of the authentic artist. Dante’s imagined structures of an afterlife, in which punishments fit crimes with an apt poetic justice, have similarly been enlisted into one of the most important theoretical debates of the 20th century between formalists and historicists. The afterlife as a supplement to life’s time has also been used as a way of thinking about temporality and the implications for narrative as a literary mode that works with and through the philosophy of time. One of the most influential aspects of the literature of the afterlife to resonate in literary theory has been the ghost story. In its greatest manifestations, from Hamlet to The Turn of the Screw to Beloved, the ghost story forces its readers to acknowledge those elements of the past that refuse to be laid to rest, and it has therefore served as a vehicle for psychoanalytic questions about how processes of individual or collective memory are depicted in literary texts. In poststructuralist theory, the notion of the hauntological has also built its concepts in dialogue with earlier literary ghosts and become a way of thinking about language and its uncanny slippage between presence and absence. Subsequent critical work continued to develop hauntology into a way of understanding temporality and cultural history. Finally, the notion of prosopopoeia, or the voicing of the dead through writing, is perhaps the most far-reaching way of understanding the prevalence of dead voices as a literary trope, which reflects something of the processes of reading and writing themselves. The afterlife has therefore been a crucial source of generative metaphors for literary theory, as well as a topic and setting with an important literary history.

Narratology in the Twenty-First Century: The Cognitive Approach to Narrative

PMLA ◽  
2010 ◽  
Vol 125 (4) ◽  
pp. 924-930 ◽  
Author(s):  
Monika Fludernik
Keyword(s):  
Twentieth Century ◽  
Cultural Studies ◽  
Literary Theory ◽  
First Century ◽  
Close Reading ◽  
Reading Practices ◽  
New Criticism ◽  
Cognitive Approach ◽  
Literary Theories ◽  
The Waves

Literary theory in the twentieth century was heavily influenced by linguistics. The structuralist model that set the waves of literary theories in motion originated in Saussurean linguistics and its Jakobsonian elaborations. One could argue that until the 1980s all literary theory, and all linguistics for that matter, was based on an analysis of langue, or the system of language or literature or text, to the detriment of parole, the practices, contexts, and negotiations of speakers, writers, and readers. The structuralist model, with its theoretical expansion of close-reading practices, already entrenched in the wake of the New Criticism, generalized the frame of mind that was soon to become the bogeyman of poststructuralist and cultural studies attacks. The formula could be summarized as No history, no ethics, no themes, no aesthetics, and no context—period.

Imaginative Theory

2007 ◽  
Author(s):  
Nicolette Zeeman
Keyword(s):  
Middle English ◽  
Literary Theory ◽  
English Literature ◽  
Literary Texts ◽  
Middle English Literature ◽  
Theoretical Figure

The literary theory of the medieval schools, found in academic prologues or commentaries, is often articulated in an analytical and explicit language. However, in both Latin and vernacular literary texts literary self-theorization may also be expressed in figured and metaphorical form. An example would be Guillaume de Machaut’s “Prologue,” but other widespread and recognizable literary theoretical figures include the dream, the mirror, the reading of a book, or the conversation overheard. It is important for scholarship in Middle English literature to focus more on these “imaginative” articulations of literary theory. This article examines one particular literary-theoretical figure, the chanson d’aventure (“the song of adventure”), which, depending on how it is put together, can perform an array of literary self-commentaries.

Hausen außer Haus: Transitorische Räume in Marilynne Robinsons Housekeeping (1980) und Ernst Augustins Robinsons blaues Haus (2012)

2017 ◽  
Vol 52 (2) ◽  
pp. 301-319
Author(s):  
Annina Klappert
Keyword(s):  
Cultural Studies ◽  
Topological Analysis ◽  
Spatial Theory ◽  
Potential Change ◽  
Literary Texts ◽  
Spatial Turn ◽  
Pass Through

AbstractThe German figura etymologica ‘Hausen außer Haus,’ as ‘dwelling’ or ‘housing outside the house,’ is developed in this paper as a specific figure of thought in two contemporary literary texts in which the respective protagonists’ outside ‘housing’ contrasts with the space of the houses they pass through, thus transforming them into transitory spaces through the reflection of the outside. This dialectical movement challenges the concept of the house as a definable space. In terms of literary-spatial theory, the protagonists are examined as transitory figures; their transgressions of inside/outside and up/down are identified in a topological analysis, and finally the argument is presented that the imagination of the protagonists functions as a transitory modus as they move within the narrative. Both texts show the ability of literature to reflect on space and enable a link to the spatial turn of 1980 s cultural studies. The innovative contribution of my argument occurs in rethinking the concept of the house as a definable space with reliable boundaries and in proposing a conception of the outside as a potential change to the inside. By providing new insights into the concept of the house, literature itself can be seen as a space of thinking ‘outside the house.’

scholarly journals Litterær kompetanse - portrett av tre lesarar

2015 ◽  
Vol 9 (1) ◽  
pp. 12
Author(s):  
Hallvard Kjelen
Keyword(s):  
Literary Theory ◽  
Literary Texts ◽  
Literary Reading ◽  
Literature Teaching ◽  
Teaching Literature ◽  
Subjective Responses ◽  
Literary Responses ◽  
Reader Responses ◽  
Men I ◽  
Literature Theory

Artikkelen drøfter eit sentralt problemfelt innom litteraturdidaktikken, nemleg tilhøvet mellom litterær lesing som fagleg kompetanse og litterær lesing som oppleving. Problemfeltet er særleg knytt til Louise Rosenblatts arbeid. Ho viser ved hjelp av omgrepa efferent og estetisk lesing korleis det er ei utfordring for litteraturlæraren å utvikle ei litteraturundervisning som i tilstrekkeleg grad tek omsyn til kjensler og røynsler. I ein litteraturteoretisk kontekst er subjektive responsar på litterære tekstar irrelevante, men i ein litteraturdidaktisk kontekst er subjektive responsar høgst relevante. Denne artikkelen bidrar inn i diskusjon-en mellom anna ved å trekkje inn meir empirisk basert litteraturteori som referanseramme. Artikkelen presenterer tre lesarars litterære responsar, og viser korleis kunnskap om individuelle lesarresponsar kan vere utgangspunkt for ei litteraturundervisning som balanserer ei fagleg tilnærming til litteratur opp mot ei meir opplevingsbasert tilnærming.Emneord: Litteraturundervisning, litterær kompetanse, empirisk litteraturteori, lesarresponsAbstractThe article discusses a key issue in literature didactics, namely the relation between literary reading as an academic competence, and literary reading as an experience. The discussion draws heavily on Louise Rosenblatt’s work. By using the concepts efferent and aesthetic reading, she shows how it is a challenge for the teacher of literature to develop literature teaching that adequately takes emotions and experience into account. In a literature-theoretical context, subjective responses to literary texts are irrelevant; but in a didactics context, the subjective responses are highly relevant.  This article contributes to the discussion by bringing in a more empirically based literature theory as a frame of reference. The article presents three readers’ literary responses, and shows how knowledge of individual reader responses can be the basis for literature teaching which balances an academic approach to literature with a more experience-based approach.Key word: Teaching literature, literary competence, empirical literary theory, reader-response 

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