Thesis (M.A.)--West Virginia University, 2006. / Title from document title page. Document formatted into pages; contains vi, 88 p. : ill. Includes abstract. Includes bibliographical references (p. 85-88).

I uppsatsen tas en modell fram för skillnaden mellan den värld som gestaltas i en skönlitterär text och den vi upplever i vardagen, en skillnad som skulle kunna transformera en läsare. Modellen som presenteras baseras på Wolfgang Isers teori om läsupplevelsen och Nelson Goodmans teori om fiktiva världar. För att testa modellen appliceras den på en nyskriven utopisk roman där tekniken spelar en betydande roll.

Diss. phil-hist. Bern, 1987 (kein Austausch). / Jahr auf Titelblatt 1986.

Thesis (MA)--Montana State University--Bozeman, 2010. / Typescript. Chairperson, Graduate Committee: Robert Bennett. Includes bibliographical references (leaf 63).

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Este trabalho tem como objetivo propor um diálogo teórico entre as obras O Ato de Leitura: uma teoria do efeito estético (1996, 1999), de Wolfgang Iser, e O Prazer do Texto (2006), de Roland Barthes. Da primeira obra, interessa-nos particularmente a formulação teórica sobre o vazio que, a nosso ver, pode ser articulada a outras elaboradas por Barthes na sua referida obra, sobretudo à delicada distinção entre gozo e prazer. A partir do entretecimento de uma rede teórica fundamentada nesta inter-relação, poderemos propor um ponto de vista concatenador que permita observar o objeto literário simultaneamente sob algumas noções oriundas da Teoria do efeito e outras vindas do pensamento barthesiano. A nosso ver, é possível demonstrar que as noções barthesianas de texto de prazer e textos de fruição ou gozo podem se adequar à observação do texto literário, quando considerado em relação à forma e à abundância dos vazios que eclodem na sua relação dialética com o leitor / This research proposes a theoretical intersection between The Act of Reading: a theory of aesthetic response (1996, 1999), written by Wolfgang Iser, and The Pleasure of the Text (2006), by Roland Barthes. From the first book, our interests reside particularly at the concept of empty spaces, which can be articulated to another notional formulations conceived by Barthes, especially to the subtle distinction between enjoyment and pleasure. As from, we intend to interweave a theoretical net based upon this interrelation, a comprehensive point of view, which allows us to examine literature both under the notion of aesthetic response, and Barthess deconstructionist ideas. We think it is possible to demonstrate that some Barthess notions, such as text of pleasure and text of bliss can fit into the observation of literary texts, if we thought about them under the considerations of form and abundance of the empty spaces that emerge during the dialectic relation between the book and the reader

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Este trabalho tem como objetivo propor um diálogo teórico entre as obras O Ato de Leitura: uma teoria do efeito estético (1996, 1999), de Wolfgang Iser, e O Prazer do Texto (2006), de Roland Barthes. Da primeira obra, interessa-nos particularmente a formulação teórica sobre o vazio que, a nosso ver, pode ser articulada a outras elaboradas por Barthes na sua referida obra, sobretudo à delicada distinção entre gozo e prazer. A partir do entretecimento de uma rede teórica fundamentada nesta inter-relação, poderemos propor um ponto de vista concatenador que permita observar o objeto literário simultaneamente sob algumas noções oriundas da Teoria do efeito e outras vindas do pensamento barthesiano. A nosso ver, é possível demonstrar que as noções barthesianas de texto de prazer e textos de fruição ou gozo podem se adequar à observação do texto literário, quando considerado em relação à forma e à abundância dos vazios que eclodem na sua relação dialética com o leitor / This research proposes a theoretical intersection between The Act of Reading: a theory of aesthetic response (1996, 1999), written by Wolfgang Iser, and The Pleasure of the Text (2006), by Roland Barthes. From the first book, our interests reside particularly at the concept of empty spaces, which can be articulated to another notional formulations conceived by Barthes, especially to the subtle distinction between enjoyment and pleasure. As from, we intend to interweave a theoretical net based upon this interrelation, a comprehensive point of view, which allows us to examine literature both under the notion of aesthetic response, and Barthess deconstructionist ideas. We think it is possible to demonstrate that some Barthess notions, such as text of pleasure and text of bliss can fit into the observation of literary texts, if we thought about them under the considerations of form and abundance of the empty spaces that emerge during the dialectic relation between the book and the reader

À partir des postulats théoriques de l'École de Constance et spécialement de Wolfgang Iser, sur la base de la phénoménologie husserlienne, nous affirmons, à l’inverse des théories littéraires «immanentes» qui ont prédominé durant des décennies, que tout texte littéraire est nécessairement produit par l'auteur dans l'intention d'être lu par un destinataire, en l'occurrence le lecteur. En prenant comme référence le concept de sujet cognitif de W. Iser, nous soutenons que le récepteur, n’approche pas le texte d'une manière neutre et passive, mais qu’il incorpore toujours ses connaissances et ses coordonnées sociales, historiques, culturelles, idéologiques, d'identité et de sexe. Par conséquent, le principal objectif de notre travail est d’expliquer et de démontrer comment, en nous appuyant sur les structures discursives de la narration, une lectrice dotée de savoirs théoriques féministes et forte de sa propre optique en tant que femme dans le monde, peut re-construire certains personnages féminins du roman galdosien depuis une perspective féministe.À partir des postulats théoriques de l'École de Constance et spécialement de Wolfgang Iser, sur la base de la phénoménologie husserlienne, nous affirmons, à l’inverse des théories littéraires «immanentes» qui ont prédominé durant des décennies, que tout texte littéraire est nécessairement produit par l'auteur dans l'intention d'être lu par un destinataire, en l'occurrence le lecteur. En prenant comme référence le concept de sujet cognitif de W. Iser, nous soutenons que le récepteur, n’approche pas le texte d'une manière neutre et passive, mais qu’il incorpore toujours ses connaissances et ses coordonnées sociales, historiques, culturelles, idéologiques, d'identité et de sexe. Par conséquent, le principal objectif de notre travail est d’expliquer et de démontrer comment, en nous appuyant sur les structures discursives de la narration, une lectrice dotée de savoirs théoriques féministes et forte de sa propre optique en tant que femme dans le monde, peut re-construire certains personnages féminins du roman galdosien depuis une perspective féministe. / From the theoretical postulates of the School of Constance and especially of W. Iser, based upon the Husserlian phenomenology, we hold that all literary text is not necessarily produced by the author with the intention of being read by a receptor, in this case the reader. In acoordance with the W. Iser's concept of cognitive subject, we argue that the reader, against the inmanents literary theories that have prevailed for decades, does not read the literary text in a neutral and passive way but that always incorporates their knowledge and social, historical, cultural, ideological, identity and sexual coordinates. Therefore, the aim of our work is to explain and demonstrate how a female reader, substantiated by the discursive structures of the narration and due to her feminist theoretical contents and her woman's point of view in the world, can re-build to certain female characters of the galdosian roman —only to those who have an important narrative unit and a subversive elements— from a feminist perspective. / A partir de los postulados teóricos de la Escuela de Constanza y especialmente de W. Iser, con base en la fenomenología husserliana, sostenemos que todo texto literario es necesariamente producido por el autor en la intención de ser leído por un destinatario, en este caso el lector. Tomando como referencia el concepto de sujeto cognitivo de W. Iser, afirmamos que el receptor, contra las teorías literarias inmanentistas que han predominado durante décadas, no se acerca al texto de una manera neutra y pasiva sino que siempre incorpora sus conocimientos y coordenadas sociales, históricas, culturales, ideológicas, de identidad y de sexo. Por ello, el principal objetivo de nuestro trabajo es explicar y demostrar cómo, apoyada en las estructuras discursivas de la narración, una lectora, por sus contenidos teóricos feministas y su propia óptica como mujer en el mundo, puede re-construir a determinados personajes femeninos de la novela galdosiana —solamente aquellos dotados de una importante entidad narrativa y de elementos subversivos— desde una perspectiva feminista.

Um dos últimos textos a ser publicado em vida pelo autor, Le Voyage d\'hiver, de Georges Perec, teve um destino diverso no âmbito da crítica literária perecquiana e do OuLiPo. Essa disparidade de tratamento parece estar vinculada ao tipo de análise que o papel do leitor suscitou na crítica até então. O objetivo dessa dissertação é realizar uma análise alternativa deste papel de modo a explicar a diferença apontada. Tentando evitar as aporias que a crítica perecquiana enfrenta na compreensão da obra do autor, esta dissertação traz também a análise de alguns aspectos do manuscrito preparatório de Le Voyage d\'hiver. / Le voyage d\'hiver - one of the last texts to be written and published by Georges Perec- has drawn different levels of attention to itself. Not having been frequently analysed by the critics, it has been used by the literary group known as the OuLiPo as a springboard for the production of a series of texts that repeated and expanded the themes dealt in Perec\'s text. This difference of approach seems to be related to the way the role of the reader is viewed by the critics. Therefore, the aim of this dissertation is to propose an alternative approach to the study of the role of the reader in Le Voyage d\'hiver. Moreover, in order to deal with some of the problems that the critics face when studying the work of Georges Perec, this dissertation analyses certain aspects of the Le Voyage d\'hiver manuscript.

This essay examines how the meaning of an absurd play may be affected by how the reader understands the text. To address this problem I have turned to Wolfgang Isers theory of reception. Primarily I have taken on that the creation of meaning comes about when the reader fills in blanks in the text. I have also used Martin Esslins work on the theater of the absurd. I have mainly studied his research on Harold Pinter. Based on these two theories I have suggested a interpretation model that focuses on the interaction between reader and text. The interpretation model contains how the reader analyses blanks through observing the wandering view alternatively understanding the implied reader. The interpretation model also discusses how the reader can fill in blanks by using the relationship between character and environment, the final junction, turning points and uncertainties. I tested this interpretation model on Harold Pinters play A kind of Alaska. In my ideation of the play I realized it was about the loneliness of ageing and changing. I used these results to evaluate the usefulness of the interpretation model. / Denna uppsats undersöker hur läsarens uppfattning av en absurdistisk pjäs påverkar dess betydelse. För att angripa det här problemet har jag dels vänt mig till Wolfgang Isers receptions teori. Jag har främst tagit fasta på hur meningskapande sker när läsaren fyller i luckor i texten. Jag har även vänt mig till Martin Esslins forskning om den absurdistiska teatern. Där har jag främst studerat hans undersökning av Harold Pinters dramatik. Utifrån dess två teoretiska ingångar la jag fram ett förslag till en tolkningsmodell som utgår från läsarens interaktion med texten. Tolkningsmodellen innehåller bland annat hur man kan analysera luckor utifrån läsarens rörliga perspektiv alternativt utifrån en underförstådd läsare. Tolkningsmodellen tar också upp hur läsaren kan fylla i luckor genom att använda sig av karaktärens relation till rummet, knutpunkter, vändpunkter och osäkerheter. Jag har testat tolkningsmodellen på Harold Pinters pjäs A kind of Alaska. I min ideation av pjäsen kom jag fram till att den handlade om ensamheten i åldrande och förändring. Jag använde resultatet av analysen för att utvärdera tolkningsmodellens användbarhet.

Um dos últimos textos a ser publicado em vida pelo autor, Le Voyage d\'hiver, de Georges Perec, teve um destino diverso no âmbito da crítica literária perecquiana e do OuLiPo. Essa disparidade de tratamento parece estar vinculada ao tipo de análise que o papel do leitor suscitou na crítica até então. O objetivo dessa dissertação é realizar uma análise alternativa deste papel de modo a explicar a diferença apontada. Tentando evitar as aporias que a crítica perecquiana enfrenta na compreensão da obra do autor, esta dissertação traz também a análise de alguns aspectos do manuscrito preparatório de Le Voyage d\'hiver. / Le voyage d\'hiver - one of the last texts to be written and published by Georges Perec- has drawn different levels of attention to itself. Not having been frequently analysed by the critics, it has been used by the literary group known as the OuLiPo as a springboard for the production of a series of texts that repeated and expanded the themes dealt in Perec\'s text. This difference of approach seems to be related to the way the role of the reader is viewed by the critics. Therefore, the aim of this dissertation is to propose an alternative approach to the study of the role of the reader in Le Voyage d\'hiver. Moreover, in order to deal with some of the problems that the critics face when studying the work of Georges Perec, this dissertation analyses certain aspects of the Le Voyage d\'hiver manuscript.