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By M. Cornis-Pope

Ranging from a entire exam of present post-structuralist and socio-semiotic theories of narrative, this booklet formulates an interactive version of literary interpretation and pedagogy emphasizing procedure, serious self-awareness and techniques of re-reading/re-writing. A literary pedagogy premised at the notion of "rewriting", the writer argues, will permit readers to event the method of narrative and important development creatively. the sooner chapters discover the consequences of modern theories (reader-oriented, deconstructive, feminist and socio-semiotic) that financial institution on an interactive, recreative paradigm of feedback. The latter a part of the ebook argues some great benefits of a literary pedagogy that encourages severe reformulation and attention at the reader's personal articulatory options, thereby bridging severe conception and perform, creation and reception of texts. This theoretical and methodological argument is geared up round a cluster of post-structuralist readings of Henry James and experimental seminars that experience all foregrounded, although from diverse angles, the basic affinity among James' narrative and important perform, and a literary pedagogy emphasizing re-writing (refiguration).

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Extra resources for Hermeneutic Desire and Critical Rewriting: Narrative Interpretation in the Wake of Poststructuralism

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Have the disadvantage of being confining. My fiction is liberating. Stanley Fish, Is There a Text in This Class? (p. 134) 1 'A SUPERIOR FICTION': THE PLOT OF READABILITY IN PHENOMENOLOGICAL AND ANTI-FORMALIST CRITICISM The term 'reader-oriented criticism' has been loosely used to bracket a variety of approaches (phenomenological criticism, reception theory, reader-response, poststructuralist critiques of interpretation) that have foregrounded reading as a sociocultural, interested activity. In a more restricted sense, the term designates a characteristic Anglo-American direction in literary education, starting with the pioneering work of LA.

As Peter Brooks puts it, 'narratives both tell of desire - typically present some story of desire - and arouse and make use of desire as dynamic of signification. Desire is in this view like Freud's notion of Eros, a force including sexual desire but larger and more polymorphous, which (he writes in Beyond the Pleasure Principle) "seeks to combine organic substances into even greater unities"'. 91 Desire, in both its sexual, and its broader, structural sense, works 'its plastic and totalizing function' to overcome 'inert obstacles, set change in motion, reformulate the real' so as to make it 'readable' and gratifying for the reader.

34). 6 A fourth term, the reader's 'affective report', was lost in the process. But traces of this fourth term, however 'physiological' and 'vague', return to undermine the coveted impersonality and disinterestedness of the scholarly 'account'. Even a cautious shift in the direction of a real readership challenges the cognitive stability of the text-based model of interpretation. H. Abrams 'pragmatic': but it also questions the 'neutral unilateral geometry' of the hermeneutic model, introducing 'the subversive possibility that each term in the "total situation" is radically unstable or indeterminate, a product of the beholder's gaze.

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