Byron, Conversation and Discord

2007 ◽  
Author(s):  
JANE STABLER
Keyword(s):  
English Verse ◽  
Role Of The Reader

This chapter focuses on the force of Byron as a ‘talker’ between poetry and conversation in English verse. It discusses the conversational mode of his poetry, which is noted to be often taken for granted. The chapter also explores Byron's mobile attention to the role of the reader and with the degree of dissonance or friction that the reader helps engender. It shows that the boundaries of both speech and poetry are both enforced and eroded by Byron.

THE ROLE OF THE READER IN THE HEPTAMÉRON

1989 ◽  
Vol XLIII (3) ◽  
pp. 271-278
Author(s):  
MARY J. BAKER
Keyword(s):  
Role Of The Reader

The Role of the Reader. Explorations in the Semiotics of Texts

1981 ◽  
Vol 76 (1) ◽  
pp. 142
Author(s):  
J. J. White ◽  
Umberto Eco
Keyword(s):  
Role Of The Reader

scholarly journals Metadiscourse as a Way of Achieving Persuasion in Literary Criticism Texts

2021 ◽  
Vol 21 (3) ◽  
pp. 245-263
Author(s):  
Dunya AlJazrawi ◽  
Zeena AlJazrawi
Keyword(s):  
Critical Theory ◽  
Literary Criticism ◽  
Virginia Woolf ◽  
Literary Genre ◽  
Linguistic Features ◽  
Persuasive Essays ◽  
Stanley Fish ◽  
Role Of The Reader

This study aims at examining the use of metadiscourse markers in literary criticism texts to identify the role of the reader and how these markers are used to produce more persuasive essays. The data of 72,727 words from 17 texts were written by three well-known authors, namely, T.S. Eliot, Virginia Woolf and Stanley Fish. Hyland’s (2005) model of interpersonal metadiscourse markers was used to analyze the data. The analysis revealed that metadiscourse markers are used by literary critics to create coherent and persuasive texts. It was found out that the theory of criticism adopted by the literary critics does not affect the use of metadiscourse markers only maybe in terms of relying more on logos, ethos or pathos. The results of this study comply with those of previous research showing that metadiscourse markers are frequently used in literary criticism texts. This study will contribute to both the literary genre and the genre of critical essays by identifying the linguistic features to be used to produce more effective and convincing literary criticism texts. It will also help future critics to write more persuasive texts by highlighting the means that enable them to influence their readers and to produce more coherent and convincing texts. Keywords metadiscourse; persuasion; literary criticism; essays; critical theory

Harold Monro, Poetry Anthologies and the Rhetoric of Textual Materiality

2017 ◽  
Author(s):  
Patrick Collier
Keyword(s):  
Complex System ◽  
Twentieth Century ◽  
Everyday Life ◽  
Modern Poetry ◽  
Literary Value ◽  
English Verse ◽  
Century Poetry ◽  
Textual Politics

This chapter meditates upon the role of the poetry anthology and its claims on literary value at the turn of the twentieth century. By sorting the output of poets, the anthology might seem to stabilize literary value; but like all print artefacts in the period, the anthology was overproduced, and therefore could also be seen as positing multiple, competing canons. The anthology form was in flux in these years as well, with such familiar conventions as tables of contents and the grouping of poems by poet not having emerged as norms. In this context, the textual materiality of anthologies became a complex system for intervening in debates about value. The chapter revisits the most popular anthologies of the era—Palgrave’s Golden Treasury and the Oxford Book of English Verse—to sketch out the emerging codes of the anthology form. Poet and publisher Harold Monro, the chapter argues, pursued a more egalitarian textual politics than these popular anthologies, particularly his underappreciated 1929 anthology, Twentieth Century Poetry. The chapter reads the content and the metatexts of Twentieth Century Poetry as asserting a catholic vision of modern poetry as vital to everyday life.

On gazers’ encounters with visual art: ekphrasis, readers, ‘iconotexts’1

2019 ◽  
pp. 237-256
Keyword(s):  
Visual Art ◽  
Visual Image ◽  
Literary Texts ◽  
Visual Medium ◽  
General Sense ◽  
Verbal Representation ◽  
Informed Reader ◽  
Role Of The Reader ◽  
Concise Definition

This chapter defines ekphrasis concisely as ‘the verbal representation of real or fictive configurations composed in a non-kinetic visual medium’. It rejects narrower definitions that exclude texts on non-representational visual configurations, including architecture, or restrict the discourse to literary texts representing works of art. But with its emphasis on the text the concise definition unduly reinforces the consideration of ekphrasis as a form of ‘intermedial transposition’ in contemporary discourse on intermedial relations. An ekphrastic text should be primarily approached as the record of a viewer’s interpretive encounter with a non-kinetic visual configuration, which may not actually contain anything that has been ‘transposed’ from the image. This viewer may be the persona of a poem, a figure in a prose narrative, or an art critic. It is the reader’s task to construct these viewers in the interpretation of any ekphrastic text. But the role of the reader has not received much attention. This includes the question of the immediate mental reception of ekphrastic texts. The critical construct of ‘iconotexts’, suggesting that such verbal texts spontaneously trigger a mental visual image for the informed reader, is problematic, and even in a more general sense the term may be of limited critical use.

The Role of the Reader and Poststructuralism

Poetry ◽  
2010 ◽  
pp. 140-149
Author(s):  
Richard Bradford
Keyword(s):  
Role Of The Reader
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