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So, teachers must not set boundaries for interpretation of the text instead give the students the freedom to be part of the creative process and respond to the text according their personal experience.
Explains that the experience of evoking the poem goes on as the reader gets further into the works.
The term poem here refers to the artistic creation that the reader constructs while reading a literary work. (Rosenblatt is not discussing only poetry here but any artistic work of literature)
The reader is immersed in a creative process that goes on largely below the threshold of awareness (p.52). This process imposes the delicate task of sorting the relevant from the irrelevant in a continuing process of selection, revision and expansion: (p.53)
P.54
As one decodes the opening lines or sentences and pages of a text, one begins to develop a tentative sense of a framework within which to place what will follow. Underlying this is the assumption that this body of words, set forth in certain patterns and sequences on the page, bears the potentiality for a reasonably unified or integrated, or at the very least coherent, experience.
P.54
One evolves certain expectations about the diction, the subject, the ideas, the themes, the kind of text, that will signal certain possibilities and exclude others, thus limiting the arc of expectations. What the reader has elicited form the text up to any point generates a receptivity to certain kinds of ideas, overtones, or attitudes.
P. 54
Perhaps one can think of this as an alerting certain areas of memory, a stirring-up of certain reservoirs of experience, knowledge, and feeling. As the reading proceeds, attention will be fixed on the reverberations of implications that result from fulfillment or frustration of those expectations.
This process itself is part of the appeal of reading a work of literature. P.54-55
One potential objection to the reader-response theory of literary criticism is that it suggests that anyones reading of a work is just as valid as any other reading. Some readings are more informed than others and that people can become better readers through practice and experience:
Past literary experiences serve as subliminal guides as to anticipated, the details to be attended to, the kinds of organizing patterns to be evolved. (p.57) Traditional subjects, themes, treatments, may provide the guides to organization and the background against which to recognize something new or original in the text. (p.57)
Awareness-more or less explicit-of repetitions, echoes, resonances, repercussions, linkages, cumulative effects, contrasts, of surprises is the mnemonic matrix for the structuring of emotion, idea, situation, character, plotin short, for the evocation of a work of art. (p.58)
For the experienced reader, much of this has become automatic, carried on through a continuing flow of responses, syntheses, readjustment and assimilation. The readers reading process allows compatible associations into the focus of attention. (p.60)
TO SUMMARIZE:
Cannot be separated.
TO SUMMARIZE:
Rosenblatt argues the range of potential responses and the gamut of degrees of intensity and articulateness are infinitely vast, since they depend not only on the character of the text but even more on the special character of the individual reader (p.49)
TO SUMMARIZE:
The readers role in evoking and interpreting the poem can be quite complex. The texts involvement in this process is of equal importance
TO SUMMARIZE:
Each genre makes different demands of a reader. New meaning arrives on the scene concerning the expectation the reader has of each particular work.
THE END
Presented by: AZLINDA ZAFIRAH BINTI ASHAARY AFIQAH AMANINA NOOR HARMIMI BT ABDUL HALIM