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PL
Artykuł stanowi omówienie rozmaitych modeli podejścia czytelnika do tekstu literackiego w procesie nauczania języka obcego. Akcent zostaje położony na strategie pozostawiające czytelnikowi większą swobodę interpretacyjną czy nawet podnoszące go do rangi współtwórcy, jako że stanowią one bodziec do budowania własnych wypowiedzi w języku docelowym. Przeanalizowano najważniejsze czynniki wpływające na recepcję tekstu przez indywidualnego odbiorcę i poruszono problem konkretyzacji dzieła, a także jego otwartości. Postulowaną metodą pracy z tekstem literackim na zajęciach języka obcego jest jego nadinterpretacja. Mowa tu także o znaczeniu odpowiedniej motywacji studenta–czytelnika.
EN
This article is a review of various approaches readers can take toward a literary text in a foreign language. Of all the many and varied ways of reading a text, some critics put special emphasis on the reader’s autonomy (sometimes even more than the author’s autonomy) in defining what a text means. They stress the context of the reader’s literary experiences. It is Bredella’s interactive model of interpreting a text which seems to be the most valuable one in the glottodidactic process. Considering a text an open form (U. Eco), which contains the so-called “areas of blindness”, also seems to be a valuable approach. We also refer to J. Culler’s and R. Rorty’s demand to use the text in order to say something interesting, giving up the in-depth analysis. We mention the question of motivating through reading a literary text in the process of learning a foreign/second language.
EN
The article relates to selected issues in the reception of the works by Tadeusz Dołęga-Mostowicz in recent Polish literary research. The text is a reflection on what made the author of Trzecia płeć [The Third Sex] a subject of intense scrutiny by researches. It proposes that the popularity of Dołęga-Mostowicz stems not only from the fact that his works relate to topics which can attract contemporary readers. The article highlights that the biography of the author (as a witness of, and a participant in, his times), is so fascinating, that it becomes worthy of a separate reflection for readers and scholars, which is not a common occurrence for authors of popular literature. In the present article, the consideration of a position occupied by the author of Profesor Wilczur [Professor Wilczur] on the map of Polish literature is related to the exploration of the issue of over-interpretation of popular texts. It is also connected to the attempts at inscribing ‘the third one’ into the sphere of interpretative readings, to which the text does not entitle one. The article also discusses this in relation to the issue of anachronism in literary research, as well as to attributing a creative intention to an author of a literary text, which was not part of their original concept.
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