She is interested in studying English literature and its criticism to interpret the literary works. Reader-response theory shifts the critical focus from a text to a reader. It diverts the emphasis away from the text as the sole determiner of meaning to the significance of the reader as an essential participant in the reading process and the creation of meaning.
Thus, both explanations place a reader as an active participant along with the text in the production of interpretation of that literary work from the point of view of the reader-response theory. As a result, if teaching literature is to accommodate the students' role in making interpretation, it is supposed to place them as the active readers to interpret and shape the meaning of that particular literary works; it is not preaching or directing them into a specific meaning decided previously.
Reactions to the story as a literary piece and analysis of literary elements, communication techniques, and quality genre characteristics. Comparisons of the story to other pieces of the same genre, by the same author, or with a similar theme.
Other response characteristics in the Maturing Response category. Recognize the main character. Identify characters' moods happy, sad, angry, helping, mad Recognize that character's actions are related to their moods and personalities.
Identify personality traits of characters good, bad, selfish, greedy, mean, shy, friendly, caring, cooperative, Recognize main character in a story. Understand that the story is about the main character. Understand that the story's creator often uses feelings to describe the characters and make a more interesting story. Recognize that characters may change from the beginning to the end of a story.
Recognize characters' development may or may not be important for the story. Identify the feelings that characters are described as having. Recognize that characters are able to have all the characteristics a human can have and more. Recognize that characters may be created with any characteristic that a creator chooses weather it is real or imaginary. Recognizes that characters are developed by their actions, speech, appearance, comments, and other characters' actions and the author's choice of words.
Recognize and sympathize or empathize with the plight of the character. Recognize that characters usually change within the plot of the story. Recognize implied thoughts and feelings related to the characters. Recognize the beginning, middle, and end of a story. Recognize a problem and resolution within a story. Recognize the climax as the most exciting part of a story. Predict the outcome of a story using the clues provided by the creator.
Identify conflict and tension in a story. Recognize that creators use a variety of strategies and patterns to make stories interesting. Recognize that several conflicts can happen in a story and may or may not build toward the climax and resolution. Recognize that many stories have conflict caused by a struggle between characters a protagonist and antagonist.
Understand complicated plots. Recognize stories within stories. Recognize strategies that authors use to create suspense during the development of the plot. Recognize that most plots follow a general pattern. Recognize a variety of interactions or conflicts person vs. Can relate where the story happened. Can tell the time as day or night, winter, summer, fall, or spring, holiday. Identify where the story takes place.
Begin to understand that the selections of different kinds of settings are important for story and tone it was a dark and stormy night. Explain how the setting is or isn't important for the story and tone. Describe how the story and characters are affected by the setting.
Recognize all stories have settings. Recognize time can move steadily forward or jump forward or backward in leaps of time. Recognize that settings can be used to create tone and develop plot. Tell theme as a simple morale It's good to help. Its not nice to be mean. Recognize that stories have a main idea. Identify general explicit themes in some stories.
Begin to identify implicit themes in some stories. Understand that the story is about the theme. Recognize a variety of themes. Recognize that a story may have multiple themes. Understand implied themes. When asked who is telling the story will answer a character or creator author, writer Recognize first person narration.
Recognize that the author isn't always the story teller or main character. Recognize all points of view. Recognize that a point of view may change in a story. The female reader could simply misread the text. Or, the female reader could rebel against the text. She could see Mrs. Mitty as a woman who is trying to do her best to keep her husband well and cared for.
She could see Walter as a man with a fleeting grip on reality who daydreams that he is a fighter pilot, a brilliant surgeon, a gun expert, or a military hero, when he actually is a poor driver with a slow reaction time to a green traffic light. This, for most women, would cause anger at Mitty and indirectly Thurber for creating and promoting a society which believes that women need to stay subservient to men. From a male point of view, it becomes a battle of the sexes. I found myself initially wishing that Mrs.
Mitty would just let Walter daydream in peace. But after reading the story again and paying attention to the portrayal of Mrs. Mitty, I realized that it is imperative that women rebel against the texts that would oppress them. By misreading a text, the woman reader understands it in a way that is conventional and acceptable to the literary world.
But in so doing, she is also distancing herself from the text, not fully embracing it or its meaning in her life. By rebelling against the text, the female reader not only has to understand the point of view of the author and the male audience, but she also has to formulate her own opinions and create a sort of dialogue between the text and herself.
Rebelling against the text and the stereotypes encourages an active dialogue between the woman and the text which, in turn, guarantees an active and most likely angry reader response. I became a resisting reader. Elias, Robert H. Dedria Bryfonski.
Detroit: Gale Research, Fetterley, Judith. The Resisting Reader. Bloomington: Indiana UP, Hasley, Louis. Iser, Wolfgang. Baltimore: Johns Hopkins UP, Lindner, Carl M. Rosenblatt, Louise M. Literature as Exploration. New York: MLA, Thurber, James. William Vesterman. Fort Worth: Harcourt Brace, Tompkins, Jane P. Jane P. Skip to main content.
Module 4: Literary Analysis.
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