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“The Figure in the Carpet” as Theoretical Tool

100%
Kaplický M.
Eidos. A Journal for Philosophy of Culture
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2019
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vol. 3
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issue 4(10)
21-31
EN
This study is based on the assumption that literary interpretations are explicitly or implicitly influenced by some philosophical system as a general system of thought. In this way, different literary interpretations often hide more general philosophical ideas. Nevertheless, this study tries to show that the interpretation of the given work of art need not be conceived only as application of the general philosophical approach; interpretation of the work of art, as argued in this essay, can in significant ways also show the philosophical approach itself. The subject of this study is the case of Henry James’s short story “The Figure in the Carpet.” This essay includes an analysis of how Tzvetan Todorov, Joseph Hillis Miller, Wolfgang Iser and of Pascale Casanova interpret the story and how they use its dominant image of a “figure in the carpet” for illustration of their own theoretical and philosophical approach.
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Joanna the Wife of Chuza by Lesya Ukrainka as a New Model of Communication in Modern Ukrainian Literature

86%
Haleta O.
Przestrzenie Teorii
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2021
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issue 36
291-309
EN
This article examines the drama Joanna the Wife of Chuza (1909) by Lesya Ukrainka, who is one of the defining figures in the history of modern Ukrainian literature. This work is considered an example  of creating a new communicative model, introducing the poetics of an open work in the Ukrainian literature and establishing a new relationship between writer and audience. The incompleteness of the central image of this work, and therefore of the corresponding behavioral model and worldview, leads to the absence of a plot ending which would be the final solution to the conflict. In this way, Ukrainka establishes a new reading practice, not limited to experiencing the ‘life world’ of the author’s work. As reference to the history of thetext shows, it corresponds to the author’s conscious instruction, with which the composition of the work agrees: the events take place in a special period of time, when the previous story has already ended and the new one has not yet begun (after the crucifixion of Christ, but not after the resurrection). At the same time, the spatial organization of the work emphasizes the position of readers, turning them from interested witnesses to active searchers. The example of Joanna is all the more telling because it undermines the hegemony of the novel in twentieth-century literature and draws attention to literary forms that correspond to a particular literary situation, especially that of ‘submerged population groups’ (Frank O’Connor). The change introduced by Lesya Ukrainka at the level of a separate work is also a change within the genre as a way of communicating between an author and a reader; it is also a change in the very notion of literature as a certain type of aesthetic experience and as a culturally established way of cognitive and rhetorical response to a certain type of situation.
3
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Reader-Response Theory and Literature Discussions: a Springboard for Exploring Literary Texts

86%
Mart C. T.
The New Educational Review
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2019
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vol. 56
78-87
EN
Reader-response theory is based on the assumption that a literary work takes place in the mutual relationship between the reader and the text. According to this theory, the meaning is constructed through a transaction between the reader and the text within a particular context. Readers assume multiple roles when responding to a variety of forms of literature. The process of developing responses facilitates active and meaningful reading and increases emotional and intellectual participation in the text, which ultimately provides learners with better comprehension and awareness of the text. The potential value of classroom discussions helps learners to express their emotional reactions, to elicit their responses, to nourish their perspectives for furthering depth of their interpretation, to corroborate their opinions and share their responses for building a social relationship. It is crucial that learners are directed to perform more adequately in response to texts and actively engage in dialogues to pose literal and inferential questions, to explore a range of possible meanings and to foster cognitive development and comprehension.
4

Kryminalny teatr teorii Normana Hollanda

81%
Skubaczewska-Pniewska A.
Annales Universitatis Paedagogicae Cracoviensis. Studia Poetica
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2019
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vol. 7
179-187
EN
This paper focuses on Death in a Delphi Seminar: A Postmodern Mystery (1995) by Norman N. Holland and the relationship between the novel and Holland’s version of the reader-response theory. What makes the novel interesting is its intertextual structure, theatralization of academic life and various incarnations of the author who plays with his own identity. The text is a combination, an amalgam of other texts, such as police tape transcripts, fragments of a diary, letters, newspaper articles, student’s essays, etc. The author rewrites the conventions of crime fiction in the style of an academic novel. The protagonist, Holland by name, is an artificer of an unconventional teaching method called “Delphi Seminar”, based on the analysis of students’ narrative responses to literary texts, just like the author himself. In the novel, the method, presented by real Holland in cooperation with Murray M. Schwartz in the Know Thyself: Delphi Seminars (2008), is used as a murder investigation method. The author of this paper poses a question if Holland’s novel is mainly an advertisement of “Delphi Seminar” or an interesting academic mystery novel, or a serious voice in the theoretical debate on readerresponse criticism, deconstruction and psychoanalysis in literary criticism.
PL
Artykuł skupia się na Death in a Delphi Seminar: A Postmodern Mystery (1995) Normana N. Hollanda oraz na relacjach między tą powieścią i Hollandowską wersją reader-response theory. Tym, co czyni powieść interesującą, jest jej intertekstualna struktura, teatralizacja życia akademickiego i różne wcielenia autora, który igra własną tożsamością. Tekst stanowi mozaikę, zestawienie różnych tekstów, takich jak zapisy przesłuchań, fragmenty dziennika, listy, artykuły prasowe, prace studentów, itp. Autor “przepisuje” konwencje kryminału w stylu powieści akademickiej. Główny bohater, nazwiskiem Holland, podobnie jak sam autor, jest twórcą niekonwencjonalnej metody nauczania zwanej “Delphi Seminar”, polegającej na analizie studenckich interpretacji tekstów literackich. Metoda, którą “prawdziwy” Holland, wraz z Murrayem M. Schwartzem, zaprezentował w książce Know Thyself: Delphi Seminars (2008), w powieści wykorzystana została w śledztwie w sprawie morderstwa. Autorka artykułu zastanawia się, czy powieść Hollanda jest głównie reklamą “Delphi Seminar”, czy raczej interesującym kryminałem akademickim, czy wreszcie ważnym głosem w teoretycznej dyskusji na temat reader-response criticism, dekonstrukcji i psychoanalizy w badaniach literackich.
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