摘要:

This paper provides a conspectus and critique of current reader response theory by focusing on one of its central terms ‐ what may be called “the critical we”. This term is meant to designate the use of the first person plural in critical statements such as “we pity Gretchen because…” or “the text forces us to recognize that neither of these perspectives is adequate…” Such statements are frequently encountered in criticism dealing with the reader's response to a text, but the interpretive agreement they imply has only recently received serious attention from theorists. By examining the views of Norman Holland, Wolfgang Iser, Jonathan Culler, Stanley Fish, and other writers currently concerned with this problem I attempt to arrive at a clearer understanding of the issues involved and to show that the “critical we” is ultimately part of aprescriptiverather than a

ISSN:0105-7510    

DOI:10.1111/j.1600-0730.1980.tb00766.x

出版商:Blackwell Publishing Ltd    

年代:1980

数据来源: WILEY

摘要:

Contrary to the reiterations of long‐established critical stance, theRacinian tragicis the prescriptive resultant of anon‐transparent, polyvalent operation of fusion and depolarization, geared to produce and sustain anidiolect of measured distortionand adialectic of disorientation. Whilemetaphoricityis a central component of this poetic network, its patterns and sequences, encoded functions as both mechanism of unification and agent of disjunction and primary role as non‐literal “anti‐communicant” can be adequately decodedonlywithin the context of their integral systematization. Thus, commonly‐practiced modes of restrictive metaphorical breakdown/interpretation almost necessarily engender faulty exegesis and textual disfiguration. As reaffirmation and exemplum of the foregoing premises, the present study proposes an examination of the manipulatory, quasisemiotic status of sensorial/non‐sensorial phenomena in Racine's tragedies, with due emphasis accorded to the delicate integration of this “sphere” of expression into the larger plexus

ISSN:0105-7510    

DOI:10.1111/j.1600-0730.1980.tb00767.x

出版商:Blackwell Publishing Ltd    

年代:1980

数据来源: WILEY

摘要:

Partant de l'hypothěse que, jusqu'à nos jours, il n'existe guère, en littérature, d'amant infidèle traité sur un registre sérieux, nous constatons que, dansle Fils naturel, Diderot décrit des changements subits des sentiments amoureux (des inconstances), changements qui sont pourtant annulés par le recours aux coups de théǎtre, aux quiproquos et aux conversions motivées par la valeur qu'est la vertu. Dans sa correspondance, examinée ensuite, Diderot s'occupe assez souvent du problème soulevé par l'instabilité des sentiments. Vers la fin de sa vie, dans ≪Ceci n'est pas un conte≫ il aborde encore une fois le problème de l'inconstance. Cette fois, le problème est explicitement formulé, mais Diderot se dérobe encore aux dernières conséquences en faisant coïncider inconstance spontanée et inconstance motivée par l'ambition. Néanmoins, il a posé, de faon assez radicale, le problème de l'identité de la personnalité. Le thème de l'inconstance, ainsi que les nombreuses manières de l'esquiver, sont étudiés dans une perspective narratologique qui doit faire voir comment Diderot se débat pour se libé

ISSN:0105-7510    

DOI:10.1111/j.1600-0730.1980.tb00768.x

出版商:Blackwell Publishing Ltd    

年代:1980

数据来源: WILEY

摘要:

This study is the attempt to elucidate the modern perception of comedy by means of an analysis of the impact of the notion of the sublime on Romantic aesthetics. The early essays of Friedrich Schlegel provide a model example of the transition from a neoclassical adulation of antiquity to a strictly Romantic perception of art and reality. A central contention of this paper is that the rejection of the traditional division of drama into two mutually exclusive genres occurred during the rise of Romanticism and was constitutive to its development.Schlegel begins one of his earliest essays on classical Greek culture by asserting that “pure” comedy is the true touchstone of all aesthetic judgements and by condemning his contemporary dramatists because they mix the two dramatic genres. Yet Schlegel's own first definition of comedy is permeated with ambivalence. He asserts that comedy must actually humanize by ridiculing, it must produce aesthetic harmony out of ugliness. Schlegel is concerned with how “pure” comedy is possible since it of necessity must live from the “impurity” of its subject matter. Schlegel concludes the essay with extreme scepticism as to the very possibility of such comic purity and admits that a mixture of the tragic and the comic may after all produce a viable work of art. In ensuing essays Schlegel not only approves of the “tragicomedy” as an admissible work of literature, but even defends the grotesque as an essential element in Romantic aesthetics. The grotesque and the sublime become the encompassing poles of Romantic art.A careful analysis of the Kantian notion of the sublime provides a valuable key to explain the rise of the grotesque tragicomedy. While Kant can still see the sublime as an affirmation of man's dignity in the face of the enormity of the cosmos, modern comedy (e.g. Beckett'sGodot) can be seen as the inversion of Kant, as the grotesque underside of man's purp

ISSN:0105-7510    

DOI:10.1111/j.1600-0730.1980.tb00769.x

出版商:Blackwell Publishing Ltd    

年代:1980

数据来源: WILEY

摘要:

Thomas Mann ist ein seiner Wirkung bewußter, ein Wirkungen planender Künstler. Dieses Wirkungsbewußtsein ist ihm selbst gelegentlich moralisch verdächtig, erscheint ihm, gesehen unter der Optik der Wagnerkritik Nietzsches, als demagogisches Inszenieren von Effekten, als pharisäisches Gesehenwerdenwollen. Es lenkt den Blick vom Kunstwerk ab auf den beifallheischenden Künstler. Thomas Mann ist Ästhetizist mit dem Willen zum Moralischen. Im Frühwerk bis zumZauberbergverfällt jedoch alles Moralische der Kritik des Ästheten, der schopenhauerianisch die Moral als diejenige Art entlarvt, in der der Intellekt dem jeweiligen Willen dienstbar ist: Auch das Moralische ist nichts als ein Reiz, eine besonders sublime Art ästhetischen Genießens. Erst seitJoseph und seine Brüdergibt es vorbildhafte Moralität im Roman, gibt es eine Art ≪narrative Ethik≪. Ihr ästhetizistisches Dementi, also ihre Reduktion auf einen bloßen Effekt, wird in die Tagebücher abgedrängt. Der Aufsatz schließt mit einer Interpretation des Verhältnisses von Tagebuch und dichterischem Werk: die Tagebücher sind das ästhetizistische Therapeutikum zur Ermöglichu

ISSN:0105-7510    

DOI:10.1111/j.1600-0730.1980.tb00770.x

出版商:Blackwell Publishing Ltd    

年代:1980

数据来源: WILEY

摘要:

Books review in this article:Auch der zweite Band: Thomas Mann, Tagebiicher 1935–193

ISSN:0105-7510    

DOI:10.1111/j.1600-0730.1980.tb00771.x

出版商:Blackwell Publishing Ltd    

年代:1980

数据来源: WILEY

摘要:

Reinhold Grimm: Nach dem Naturalismus.

ISSN:0105-7510    

DOI:10.1111/j.1600-0730.1980.tb00772.x

出版商:Blackwell Publishing Ltd    

年代:1980

数据来源: WILEY