The Reading Process ISER
The Reading Process ISER
The Reading Process ISER
Sat on a tuffet,
Eating her curds and whey;
Along came a spider,
Who sat down beside her
And frightened Miss Muffet away
The Reading Process: A
Phenomenological Approach
Wolfgang Iser
Wolfgang Iser
• Professor of English & Comparative Literature,
University of Constance, Germany
• He along with his colleague Hans Robert Jauss
are considered exponents of Rezeption-
aesthetik (Reception Theory)
• His school of thought is based on Edmund
Husserl‘s Phenomenology, Roman Ingarden‘s
Aesthetics and Hans-Georg Gadamer‘s
Hermeneutics.
Hermeneutics
• The art of interpreting
• In this sense Freudian psychoanalysis can be
called hermeneutics.
• In fact Freud called it a Deutungskunst (art of
interpretation).
• Martin Heidegger called his philosophy
‘hermeneutical phenomenology‘, because it
was concerned with interpreting experience
Aesthetics
• branch of philosophy that deals with the
principles of beauty and artistic taste.
Phenomenology
• Study of structures of experience, or consciousness.
• Literally, phenomenology is the study of
“phenomena“: appearances of things, or things as
they appear in our experience, or the ways we
experience things, thus the meanings things have in
our experience.
• Phenomenology studies conscious experience as
experienced from the subjective or first person
point of view.
Part I
• A literary work has two poles: the artistic and
the aesthetic.
• A Literary work exists only when it is read.
• “The work is more than the text, for the text
only takes on life when it is realized, and
furthermore the realization is by no means
independent of the individual disposition of
the reader ـthough this in turn is acted upon
by the different patterns of the text. The
convergence of text and reader brings the
literary work into existence“
• “. . . no author, who understands the just boundaries
of decorum and good-breeding, would presume to
think all: The truest respect which you can pay to the
reader‘s understanding, is to halve this matter
amicably, and leave him something to imagine, in his
turn, as well as yourself. For my own part, I am
eternally paying him compliments of this kind, and do
all that lies in my power to keep his imagination as
busy as my own.“
------- Laurence Sterne in Tristram Shandy
Part I
• Reading is a pleasure only when it is active
and creative and boredom & overstrain form
its boundaries
• “unwritten part“ of the text acts as the
stimulant of the reader‘s creative
participation.
• “Jane Austen is thus a mistress of much deeper emotion than
appears upon the surface. She stimulates us to supply what is
not there. What she offers is, apparently, a trifle, yet is
composed of something that expands in the reader‘s mind and
endows with the most enduring form of life scenes which are
outwardly trivial. Always the stress is laid upon character. . . .
The turns and twists of the dialogue keep us on the
tenterhooks of suspense. Our attention is half upon the
present moment, half upon the future. . . . Here, indeed, in this
unfinished and in the main inferior story, are all the elements
of Jane Austen‘s greatness.“
------- Virginia Woolf in her study of Jane Austen
• Finnegans Wake is a work of comic fiction by Irish author
James Joyce, significant for its experimental style and resulting
reputation as one of the most difficult works of fiction in the
English language. The entire book is written in a largely
idiosyncratic language, consisting of a mixture of standard
English lexical items and neologistic multilingual puns and
portmanteau words, which many critics believe attempts to
recreate the experience of sleep and dreams. Owing to the
work's expansive linguistic experiments, stream of
consciousness writing style, literary allusions, free dream
associations, and its abandonment of the conventions of plot
and character construction, Finnegans Wake remains largely
unread by the general public.
• Source: Wikipedia
Part II
• Analyse how sequent sentences act upon one
another.
• A literary text is constructed out of Intentional
sentence correlatives
• A literary text must leave room for the
reader‘s imagination because without an
active participation from the audience, the
text remains dormant.
• There is a continuous process of expectation
and modification or anticipation and
retrospection
• What we read is ‘foreshortioned“ in our
memory which help the text to reveal
multiplicity of connections
• Act of reading is a kaleidoscope of
Perspectives, pre-intentions & recollections
• When sentences cease to have tangible
connections boredom sets in
• Story will gain dynamism only through
inevitable omissions thereby giving the reader
the opportunity to fill in gaps
• “Whenever the flow is interrupted and we are
led off in unexpected direction, the
opportunity is given to us to bring into play
our own faculty for establishing connections
for filling in the gaps left by the text itself“