Phenomenolological review v. cierer of reading proceedings in the context of its «litery anthropology»

2020 ◽  
Vol 1 (100) ◽  
pp. 64-70
Author(s):  
O.D. Lauta ◽  
◽  
S.M. Geiko ◽  
Keyword(s):  
Literary Theory ◽  
Literary Work ◽  
Philosophical Analysis ◽  
Reading Process ◽  
Aesthetic Object ◽  
Semantic Definition ◽  
Reception Aesthetics

The phenomenological review of V. Izer's reading process in the context of «literary anthropology» is analyzed. The philosopher makes a distinction between interpretation and reception. The first, in his opinion, gives the imagination a «semantic definition», and the second – a sense of aesthetic, object. The first passes within the limits of the «semantic orientations» of the literary theory, and the second – within the limits of the cultural and anthropological context. The article deals with the philosophical analysis of the reception aesthetics. For the supporters of this theoretical direction, there is an inherent shift of attention from the problems of creativity and literary work to the problem of its reception or, in other words, from the level of psychological, sociological or anthropological interpretation of the creative biography, to the level of perceived consciousness. Receptive aesthetics gives the reader privilege in the «text/reader» paradigm and gives him the cognitive and affective ability to create his own text from this text.

Phenomenology

2019 ◽  
Author(s):  
Horst Ruthrof
Keyword(s):  
United States ◽  
Literary Criticism ◽  
Literary Theory ◽  
Literary Work ◽  
The United States ◽  
Work Of Art ◽  
Jean Paul ◽  
Literary Work Of Art ◽  
Wolfgang Iser ◽  
Reception Aesthetics

Phenomenological literary theory has its roots in Edmund Husserl’s studies of the directional acts of consciousness in the first half of the 20th century and Roman Ingarden’s The Literary Work of Art and The Cognition of the Literary Work of Art, arguing that literary works can come into existence only in the act of reading. Under the influence of Martin Heidegger, phenomenology absorbed hermeneutic insights from Dilthey, Gadamer, and Ricoeur, as well as existentialist features, foremost from Jean-Paul Sartre, with Merleau-Ponty contributing a corporeal accent by reiterating Husserl’s distinction between the biophysical body (Körper) and the animate body (Leib). George Poulet of the Geneva school and the early Yale critics added an author-oriented form of literary criticism, while Ingarden’s work was taken up by the Konstanz school theorists Wolfgang Iser and Hans Robert Jauss, the latter challenging ontological approaches by a historically anchored form of reception aesthetics. In the United States, the idea of phenomenology in literature has been prominently pursued by Maurice Natanson. At the same time, phenomenological literary theory is undergoing a revival in the wake of the neo-phenomenology of Hermann Schmitz, notably in such writings as Rita Felski’s Uses of Literature.

scholarly journals Dynamic types of artistic image: Roman Ingarden’s phenomenology and literary theory

2020 ◽  
Vol 25 (3) ◽  
pp. 487-496
Author(s):  
Anastasia A. Aksenova
Keyword(s):  
Literary Theory ◽  
Literary Work ◽  
Actual State ◽  
Aesthetic Object ◽  
Image Structure ◽  
Dynamic Character ◽  
Fictional Entities ◽  
Literary Work Of Art ◽  
The Aesthetic ◽  
Artistic Image

The article is devoted to the question of some data obtained by Polish philosopher Roman Ingarden, and primarily to his study of the literary work of art. Development upon Ingardens ideas is associated with use of Russian authors which are rarely treated in phenomenological aesthetics. The dynamic types of the image structure is that appear as potential states and actualize themselves in the readers reception as problem of imageability of fictional entities. Thus the dynamic character of types of an image structure is a transition from non-thematic background into its actual state and back. To study the visual in fiction, one must understand that the readers encounter with the literary work actualizes potential types, which, according to R. Ingarden, sparkle and go out. The visual nature of the aesthetic object directly depends on which of these potential states are actualized.

Representasi Tokoh Cakraningrat dalam Sajarah Proza Begin Brawijaya

2020 ◽  
Vol 11 (2) ◽  
pp. 113
Author(s):  
Novarina Novarina ◽  
Mamlahatun Buduroh
Keyword(s):  
Structural Study ◽  
Literary Theory ◽  
Literary Work ◽  
Structural Theory ◽  
Content Structure ◽  
Philosophy Of Life ◽  
Historical Text ◽  
History Of ◽  
Main Figure ◽  
Theory Framework

This paper is the result of a study of the Nusantara manuscripts using the historical text sources of Madura. The object of this research is the transliteration of a manuscript from the collection of the Central Library of Indonesia entitled Sajarah Proza Begin Brawijaya (SPBB) code SJ.230 Novarina edition (2020). In examining the manuscript, the philological method and literary theory framework were used. From the field of literature, Jan van Luxemburg's structural theory, Julia Kristeva's intertextuality, and Teeuw's concept of literary representation are used. From the structural study, it can be seen that the SPBB text framework is composed of literary structures and content structures (history), which as a whole serve to legitimize the power of the 17-18 century Madurese king. Meanwhile, the results of the intertextual analysis showed that the elements built into the content structure (history) of the SPBB text were connected with M.C. Ricklefs and H.J. De Graaf in representing Cakraningrat as the main figure in the history of Java, Madura, and VOC based on the author's life view to raise one of the values of the Javanese philosophy of life in this text. This linkage results in the conclusion that as a traditional Javanese historical literary work, the SPBB text is representative of its creator's culture, one of which is as a representation of the philosophy of mikul dhuwur mendhem jero in the Javanese view of life.

scholarly journals Talking About the “Misunderstanding” in the Process of Literary Accepting

2008 ◽  
Vol 2 (2) ◽  
pp. 204
Author(s):  
Xu Junliu
Keyword(s):  
Error Correction ◽  
Literary Work ◽  
Reading Process ◽  
Main Body ◽  
Demarcation Line ◽  
Artistic Value ◽  
Original Meaning ◽  
Reading Text ◽  
Angle Of View ◽  
Fuzzy Regions

The “misunderstanding” in the process of literary accepting refers to the receiver in the reading text process with the creation main body, creation motive, the work implication, as well as between the works artistic value constitutes the situation which “the dialog” in the complex relations produces contradicts. But, in the concrete reading process, the “misunderstanding” may divide in “the error correction” and “instead harms” kind of situations. Although “the error correction” refers to reader's understanding in line with author's creation original meaning which produces contradicts, but the work itself actually has demonstrated reader’s understood connotation, thus causes this kind of the “misunderstanding” seems cuts with actual and persuasiveness. “Instead harms” refers to the reader unconscious determination to carry on the far-fetched cognition and the appraisal to the literary work, including to literary work non-artistic angle of view twisting. “The error correction” should advocate that “instead harms” should deny, this does not dispute. But, “the error correction” and “instead harms” between has certain fuzzy regions, between them the strict demarcation line, some literary work in such time, possibly has not had “the error correction” in such receiver, but in another time, possibly has the different understanding in other receivers, to “instead harms” direction transformation. The “misunderstanding” is the literature accepts the necessity, because just having the “misunderstanding”, the different sound, between the literature mutual exchanges and collides, the literature only then had prosperously, the vigorous development aspect.

De Man, Paul (1919–83

2018 ◽  
Author(s):  
Timothy Bahti
Keyword(s):  
Twentieth Century ◽  
Literary Theory ◽  
Literary Work ◽  
Literary Language ◽  
French Philosophy ◽  
Literature And Philosophy ◽  
Philosophic Texts ◽  
De Man ◽  
Rhetorical Reading

De Man’s work is among the most renowned and influential in American literary theory of the latter twentieth century, especially regarding literary theory’s emergence as an interdisciplinary and philosophically ambitious discourse. Always emphasizing the linguistic aspects of a literary work over thematic, semantic or evaluative ones, de Man specifically focuses on the figurative features of literary language and their consequences for the undecidability of meaning. His extension of his mode of ‘rhetorical reading’ to philosophic texts also participates in the blurring of generic and institutional distinctions between literature and philosophy, a tendency pronounced in French philosophy of the latter twentieth century.

scholarly journals ¿Es la ópera un género literario?

2011 ◽  
pp. 609
Author(s):  
Juan Carlos Pueo
Keyword(s):  
Literary Theory ◽  
Literary Work ◽  
Genre Theory ◽  
Specific Form ◽  
Literary Genre ◽  
Literary Genres ◽  
Semiotic Systems ◽  
Physical Presence ◽  
Language And Music

La ópera se considera comúnmente un género musical, pero su estatuto literario parece ser más bien dudoso. La intención de este artículo es poner en claro esta cuestión, tomando como referencia la teoría de los géneros literarios, la teoría teatral y la semiótica musical. La teoría literaria debe tener en cuenta la especificidad de ciertos géneros literarios cuya recepción ha sido destinada a ser acompañada por la música. Los géneros teatrales se definen por la presencia física de uno o más actores que representan sus personajes ante un público, de forma que dichos géneros pueden clasificarse por emplear o no el lenguaje y/o la música: esto significa que la ópera ocupa un lugar en la clasificación de los géneros literarios por su conjunción de lenguaje y música. Esta conjunción no es mera yuxtaposición, ha de ser pensada como simbiosis entre dos sistemas semióticos que colaboran para producir una forma específica de obra literario-musical que ha de considerarse un género literario y teatral con características especiales. Opera is generally considered a musical genre, but its literary statute seems to be rather uncertain. The aim of this article is to clarify this subject, taking as reference literary genre theory, theatrical theory and musical semiotics. Literary theory must take into consideration the specificity of certain literary genres whose reception is intended to be accompanied by music. Theatrical genres defines themselves by the physical presence of one o more actors that impersonate some characters for an audience, so this genres can be classified by the use or the disuse of language and/or music: this means that opera occupies a place in the classification of literary genres because of its conjunction of language and music. This conjunction is not mere yuxtaposition, it has to be thought as a symbiosis between two semiotic systems that collaborate to produce an specific form of musical-literary work that must be considered a literary and theatrical genre with special characteristics.

scholarly journals Re-looking at Robert Frost’s “Stopping By Woods on a Snowy Evening” through an Islamic Prism

2019 ◽  
Vol 6 (10) ◽  
pp. 331-339
Author(s):  
Md Alam
Keyword(s):  
Literary Theory ◽  
Critical Analysis ◽  
Literary Work ◽  
Roles And Responsibilities ◽  
Reluctant Readers ◽  
Religious Significance ◽  
Multiple Meanings ◽  
Religious Meaning ◽  
Ways Of Life

This paper presents a possible new religious meaning of Robert Frost’s well-known poem “Stopping by Woods on Snowy Evening”. This new meaning exploration is carried through an Islamic reading of the text. The study investigated how much correspondence the poem shares with Islam and what representation of Islamic themes and teachings is possible to exist in the text. To this end, a critical analysis was done to ferret out religious essence contained in the poem. The analysis was based on the post-structuralism literary theory which expostulates that a text has no fixed meaning; in a text, there can be multiple meanings. Based on this theory, the analysis shows that the poem exhibits a drawing of Islamic inspiration for search for Allah, articulates philosophy about Islamic ways of life, presents justification of the good and bad of life, Allah’s prohibitions and commandments, and Muslim roles and responsibilities. The poem is thus infinitely of more value as a piece of literary work and reluctant readers of Muslim tradition might consider reading the poem with new greater religious significance. This study, thus, adds a new value to the poem.  

Liquid Meaning in Sanskrit Poetics

2021 ◽  
pp. 37-44
Author(s):  
E. H. Rick Jarow
Keyword(s):  
Literary Theory ◽  
Silent Reading ◽  
Literary Work ◽  
Work Of Art ◽  
Sanskrit Poetics ◽  
Indian Aesthetics ◽  
Literary Work Of Art ◽  
Poetic Work

Chapter three surveys classical Indian literary theory and looks at how rasa (liquid meaning) became considered to be the goal of the literary work of art. The chapter considers a vision of the poetic work of art that is radically different from the models of private, silent reading that most Westerners have been brought up with. The text discusses how rasa is achieved through resonant suggestion, and how the meaning of a poem is understood in terms of its taste. The production of rasa is viewed through classical Indian aesthetics as well as though works of Western literary critics who have put forth resonant ideas. The Meghadūta is seen as an exemplary work in this regard.

scholarly journals PERKEMBANGAN SASTRA DI ERA BANI UMAYYAH (ANALISA KRITIS STRUKTURALISME-GENETIK)

2011 ◽  
Vol 1 (1) ◽  
Author(s):  
Akhmad Muzakki
Keyword(s):  
Literary Theory ◽  
Human Life ◽  
Literary Work ◽  
Social Condition ◽  
Literary Works ◽  
Culture Environment

Sociologically, literature is a reflection of culture environment and as a dialectical text between the author and his social condition. Due to this fact, to understand and interpret literary works, we not only need to know the literary theory but also the external problems, such as, those of religion, society, and politics. In other words, it can be said that a literary work is a very complicated work because basically it is the reflection of human life with various dimensions that influence it.

scholarly journals Estetika Resepsi Dan Intertekstualitas : Perspektif Ilmu Sastra Terhadap Tafsir Al-Qur’an

2015 ◽  
Vol 1 (1) ◽  
pp. 13
Author(s):  
Otong Sulaeman
Keyword(s):  
Literary Theory ◽  
Close Relation ◽  
The Other ◽  
Literary Studies ◽  
Pragmatic Approach ◽  
Reception Aesthetics

<p><strong>Abstract</strong> <strong>:</strong> The Quranic interpretation is an effort to explain the meaning of the Quranic verses. In literary studies, the Quranic interpretative attempt is an interpreter’s reception aestethics towards the Quranic verses. In another side, the interpreter (mufasir) is, during his effort of interpreting the Quran, necessarly influ-enced by the other texts he or she has ever read. The process of the interpreter’s being influenced by the other texts while interpreting the Quran is, in the literary theory, called intertextuality. Thus, there is a very close relation between the Quranic interpretation and literary sciences.</p><p><strong><em>Keywords : </em></strong><em>literary science, structuralism of science, pragmatic approach, reception aesthetics, intertextuality, the Quran, interpretation, hadith, history.</em></p><p> </p><p><strong>Abstrak</strong> : Tafsir al-Qur’an adalah upaya untuk menjelaskan maksud dari ayat-ayat al-Qur’an. Dalam perspektif ilmu-ilmu sastra, upaya untuk menafsirkan al-Qur’an adalah bentuk estetika resepsi mufasir (penafsir) ter-hadap ayat-ayat al-Qur’an. Di sisi lain, saat menafsirkan ayat-ayat al-Qur’an, mufasir pastilah dipengaruhi oleh teks-teks lain yang pernah menjadi sumber bacaannya. Proses dipengaruhinya mufasir oleh teks bacaan lain saat menafsirkan al-Qur’an ini dalam konteks ilmu-ilmu sastra disebut intertekstualitas. Dengan demikian, ada hubungan yang sangat erat antara tafsir al-Qur’an dengan ilmu-ilmu sastra.</p><p><strong><em>Kata-Kata Kunci : </em></strong><em>ilmu sastra, strukturalisme ilmu, pendekatan pragmatik, estetika resepsi, intertekstualitas, al-Qur’an, tafsir, hadis, sejarah</em></p>

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