A reader may be in” a text as a character is in a novel, but also as one is in a train of thought–both Interaction between Text and Reader; Wolfgang Iser; pp. Wolfgang Iser (22 July – 24 January ) was a German literary scholar. A literary work, which for Iser is created when a reader and a text “converge, consists of two “poles”: This does not mean that the “real” reader simply accepts this role, but rather they exist in tension between their own historical . Interaction. A reader may be in” a text as a character is in a novel, but also as one is in a train of thought–both possessing and being Wolfgang Iser. Central to the reading of every literary work is the interaction between its structure and its recipient.

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The other pole of the text which is known as the artistic pole is the writer’s pole or how that writer wants the text to be interpreted.

It was established by a Scottish psychology named R. Robbe-Grillet’s Topologie d’une cite fantome Vicki Mistacco pp. The interaction between a text and a reader stands in a sharp contract to it. Iser sees his own project as emerging from a more modern constellation of approaches which rejected the idea that art somehow expresses or represents truth and which focused more on the connections between the text and either its historical context or its audience AR, Iser draws attention to two important features of the reading process.

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Following Poulet, Iser insists that in reading, it is the reader, not the author, who becomes the subject that does the thinking. The production of interacttion in literary texts not only entails our discovering unformulated or unwritten elements of the text; it also gives us the chance to formulate our own deciphering capacity, to formulate ourselves and to expand our experience by incorporating the unfamiliar IR, According to Iser, this consistency of images or sentences and coherence of meaning is not given by the tex itself; rather, we, as readers, project onto the text the consistency that we require.


Iser mentions that the reader’s role becomes very important in the interaction. These blanks and negations, says Iser, refer to an unformulated background: Lindsey most likely also underwent additional recursive processes of interaction and assessment as she read “The Unsex’d Females” or moved through the WORP project.

As readers, we cannot absorb even a short text in a single moment, nor does the fictional world of the text pass in linear fashion before our eyes IR, A receiver has no capacity to transmute and the same way a transmitter has no capacity receive.

The Reader in the Text: This gloss function, however, represents only one level of interaction facilitated by the WORP project. Built on the Johns Hopkins University Campus. A more performed reader can interact better than an average reader. Future readers of “The Unsex’d Females” will have the option of reading Lindsey’s comment alongside the original poem. When we read expository texts of science or philosophy, for examplewe look for our expectations to be confirmed.

Project MUSE – The Reader in the Text

Each annotation is placed within the original text in the form of a hypertextual link shown in the left-hand frame as underlined phrases. Again, we might object: Still, the interactions are in large part determined by the subjectivity of the reader. According to Iser, all of the models cited above are restricted in their general applicability. These gaps then, in turn, cause the reader to reread prior events in the text in light wolfang those gap fillings.


Hence as readers we have recourse to the wolggang values of symmetry, harmony, and totality, values that enable us to construct a frame of reference against which we can make unfamiliar elements accessible. He refers ti the Tavistock school of Psychology which was very popular in s and s.

These paperback editions preserve the original beyween of these important books while presenting them in durable paperback editions. Reading as a Personal Transaction Norman N. Who, moreover, defines this standard?

Key Theories of Wolfgang Iser

Essays on Audience and Interpretation. To demonstrate his model of reading based on recursive interaction between readers and text, Iser constantly refers to his own readings of literary texts.

For example, in a novel, there are four main perspectives: Project MUSE promotes the creation and dissemination of essential humanities and social science resources through collaboration with libraries, publishers, and scholars worldwide. The aesthetic pole is the reader’s pole or how the reader tries to interpret a given text. It hasn’t necessarily fundamentally altered that process, only enhanced the ways of articulating it.

The richness of meaning derives partly from the fact that there are no rigid criteria of right and teader, but this, according to Iser, does not mean that meaning is purely subjective: