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Literary Meaning: From Phenomenology to Deconstruction

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... Derrida employs the notion of différance as a conceptual definition of the process by which signs differ and defer to one another. The conclusion here is that the relational aspects between two signs is a significant source of meaning (Culler, 1979;Ray, 1984;Wood, 1979). The notion of the trace helps in deconstructing a text. ...
... In a Critical Theory perspective, the works of Michal Foucault, Claude Levi-Strauss, Jacques Derrida, Roland Barthes and Jacques Lacan bolstered the argument for the influence of myth on shaping a person's views concerning the political, economic and social order of things. In the context of textual analysis, these ideas helped challenge the conventional expectations of the authorial text and open it to new interpretations beyond orthodox and normative ones (Culler, 1983a;Eagleton, 1983;Ray, 1984;Rossi, 1983;Sturrock, 1979). ...
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KEY WORDS: textual analysis, structuralism, myth, television, Barthes, Derrida, Foucault, Lacan, Levi-Strauss This paper analyses mythic elements in a variety of texts using Roland Barthes' method of semiotic analysis and his definition of myth articulated in "Mythologies". The method also draws on the tenets of Critical Theory and ideas in the works of Marx, Foucault, Derrida, Lacan and Volnosinov. The paper moves away from my current focus on 'business' and 'China' to revisit and extend a project undertaken in a previous life as 'mass media and communication' postgraduate student undertaking a masters in communication. In this context, some content and references appear dated although I have drawn on primary sources to support the theoretical basis of the paper.
... illustrates the relationship between intent and phenomenology theory, source: -[20] ...
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Intention in architecture is a distinctive feature of architectural expertise in design, as it analyzes consciousness by providing us with a description of all the currents of architecture as simultaneous currents that support intellectual awareness. Where the architect intends to intentionally create that text through the use of the vocabulary of the language and the artistic form expressing his design ideas and thus the text embodies the image of life in the architectural consciousness and intentionality is the objective unit that gives harmony and interdependence to the parts of the architectural idea. The meaning of the architectural idea does not emanate from the outcome of the structural and semantic relationships of the expressive text of architecture, but rather is a clear presence on the textual units and its place is the architectural awareness and its reason is the intention of the architect as a whole, so that the research problem is (knowing the role of the architect's intention in analyzing the architectural text) and its goal It is (analyzing the architectural text according to the intention of the architect) by identifying its fields, factors and foundations, and the most important application to selected projects for the postmodern architecture stream.
... Even so, recognition of such oppositions is not suf- ® cient. Consequently, deconstruction seeks the term by which such oppositions may be if not reconciled then at least understood in a relation of tension (Ray, 1984). Sometimes this leads to the emergence of a third term that entails interests represented by each of the terms in opposition. ...
Article
This paper considers how a methodology's theory and practice shapes contexts for interpretation. With these two terms as starting points, we also address a paradoxical situation: any description of interpreting contexts is bound to leave something out. To address this, we propose deconstruction as a double strategy for critically interpreting contexts in each situation. This relies on terms of existing oppositions in conceptual frameworks but seeks to displace the limitations they impose on how we conduct inquiry. Since meaning is context-bound but contexts are boundless, we argue that inquiry should be conducted through critical perspectives, and we describe this in terms of a systems analyst's expertise in conceptual triangulation: the defining of an unknown point in relation to two known extremes.
... Introduction "Wnting can only occur because it bears within itself the possibility of reading, and vice-versa." (Ray, 1984) Eagleton (1983) argues that reading is diaIogic, that "there is no such thing as a literary work . . . which is valuable in itself' (p. ...
... (McLaren 1988, p. 3) This means, in turn, that there are significant social constraints to be reckoned into any account of agency and meaning, which throws into an extremely problematical and voluntarist light the mainstream rhetoric of the New English. More needs to be made of the politics of meaning (Ray 1984;Belsey 1984), in terms specifically of what can be called the problem of meaning-that is, meaning must be seen from the outset as necessarily problematized and, as Belsey (1984, p. 28) observes, 'plural, not fixed, not rooted in intention, experience, the world or the mind, not guaranteed by reason, science or law, but the material of ideology, produced in the interests of power and open to contest in the interests of politics'. Hence, there is a strong relationship to be observed between meaning and ideology, which suggests in turn the importance of contemporary notions of ideology and cultural politics for English curriculum discussion. ...
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The paper explores the nature of the New English as ideology, in providing a curriculum-historical account of English teaching in the post-Dartmouth era. It does with specific reference to the ‘modernism-postmodernism’ debate, with particular reference to poststructuralist theory and philosophy, regarding notions of discourse, language and subjectivity. It argues that the ‘rhetoric of meaning’ associated with the New English is best understood as one among several competing rhetorics, and that rethinking English along critical-postmodernist lines requires due consideration of notions of agency and freedom. In this way, post-Dartmouth English teaching offers distinct possibilities for a renewed curriculum praxis.
... En el tratamiento de cuestiones generales de teoría literaria en que hubiera sido muy útil fijarse en lo que se hace en el estudio de la Biblia, esto no ha sido así. Es chocante, por ejemplo, el que en obras generales, como las de William Ray (1984) sobre el significado litera rio o K. M. Newton (1990) sobre la interpretación del texto, no haya prácticamente ningún eco de lo que se hace en hermenéutica bíblica. ...
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This research deals with the rhetorical standards that Andalusians relied on based in their critical discourse, and their impact in Ibn Al-zaqqaq Al-balansi poetry from the informative view, in terms of their approval his psychological and emotional stamina. and the faces of their impact on the receiver. The study has relied on the descriptive an analytical method to reveal these criteria and their impact on the poetic formation of ibn al-zaqqaq. The research concluded that the authentication of ibn al-zaqqaq with the rhetorical criteria in their formal frame has caused a big loss of rhetorical value of his poetry in terms of influencinc the receiver as emotion and interaction with all of his imaginative discourse as well as a sincere expression from the intersecting emotional and psychological dimensions with his emotional experience, so a part of his poetry stayed restricted with in the prospects of Tendencies Public that era, and emulating the standards of rhetoric in its formal dimension without genuine prejudice in the truth of the expeience.
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Ker nimamo avtorskih didaskalij, je celoten svet drame (vključno s psihično in materialno realnostjo) predstavljen izključno z besedami, ki jih govorijo dramski liki. Roman Ingarden imenuje takšen način predstavljanja shematična reprezentacija: na ta način predstavljeni predmeti so namreč samo skicirani, nešteta nedoločena mesta v njihovi predstavitvi vabijo bralca, da jih v procesu konkretizacije ali rekonstrukcije zapolni z intelektualnimi in domišljijskimi operacijami in se pri tem opira na svoje znanje in izkušnje. Tako konkretizacijo kot rekonstrukcijo je treba ločevati od literarnega dela samega; ker ju oblikuje bralec s svojo domišljijsko dejavnostjo, predstavljata oviro pri spoznavanju dela samega. Ingardnovo teorijo so kritizirali prav zaradi tega, ker daje bralcu preveč manevrskega prostora pri konstituiranju in tudi pri rekonstrukciji literarne umetnine (Ray, Kos, Holub, Calinescu). Zdi se, da te kritike temeljijo v nekoliko poenostavljenem razumevanju Ingardnove izredno kompleksne analize, v kateri se kaže, da je vloga bralca sicer omejena s tekstom, a vendarle vitalnega pomena za sekundarno eksistenco literarne umetnine. V članku so obravnavani neverbalni dejavniki motivacije v Sofoklovi tragediji; razdeljeni so v tri skupine: značajske poteze, dramska klima in čutne izkušnje. Članek se zaključi z analizo Odisejeve neverbalne motivacije v tragediji Ajant, ki predstavlja poseben primer, saj je tu odločilni dejavnik motivacije Odisejeva izkušnja numinoznega.
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لا يفتأ الموروث النقدي العربي بطروحاته وقضاياه حاضرًا في فضاء الخطاب النقدي المعاصر، حضور يفرضه سياق تاريخي ثقافي معقد في ظل هيمنة غربية جارفة، مما دفع بالنقاد العرب المعاصرين إلى التموضع في مساحة بينية يتقاسمها التراث والحداثة، من خلال الحرص على مواكبة منجزات النظرية الأدبية الغربية المعاصرة من جهة، والعمل على رصد أشكالها الجنينية في التراث النقدي العربي، من جهة ثانية. فإلى أي مدى استطاعت هذه المحاولات خلق دينامية نقدية حوارية، وتحقيق مثاقفة معرفية مثمرة مع المنجز الغربي، في ظل ما يعترض ذلك من تعثرات وعوائق؟
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Las perspectivas sobre el consumo mediático y los procesos de apropiación de la significación tienen su fundamento en los planteamientos y debates sobre la cuestión de la relación prima entre interpretación y poder
Thesis
This thesis proposes an account of the effects achieved by the poetic use of rhetorical tropes and schemes in the light of recent developments in pragmatic theory. More specifically it discusses and attempts to develop the relevance theory account of poetic effects. Much recent debate in literary studies has centred on the question as to whether literary communication is best explained in terms of text-internal linguistic properties or socio-cultural phenomena. This thesis considers such views in the light of the theories of language and communication they assume. It then proposes an alternative theoretical account of literary communication grounded in cognitive pragmatic theory. It argues that the relevance theory account of poetic effects may make a significant contribution to such an account. A brief outline of relevance theory is followed by a more detailed analysis of metaphor and a brief consideration of epizeuxis and various verse effects, insofar as they contribute to poetic style. it is natural for pragmatic theory to concentrate on the communication of assumptions, propositional forms with a logical structure over which inferences can be performed. Although the account of poetic effects and poetic thoughts developed here will be partially characterised in such terms, an attempt will also be made to account for the communication of affective and other non-propositional effects. Any theory of stylistic effects in general, and poetic style in particular, must, it will be argued, include such an account. This will necessitate a broader philosophical discussion of issues having a bearing on the question of what it is that is communicated non-propositionally. More particularly it will require some discussion of emotion, phenomenal experience and aesthetic experience. This discussion will lead to a characterisation of poetic thought or poetic representation. The thesis aims, then, to make a contribution to literary studies by characterising a new theoretical notion of literariness in terms of mental representations and mental processes. It also aims to make a contribution to pragmatic theory, specifically to the pragmatics of poetic style and rhetoric within a relevance theory framework.
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The paper attempts to cast some light on a moment of transition from the discourse of phenomenology, regarded as the very source of Patočka’s and Derrida’s works, to its peculiar antithesis or negation that consists in the act of dislodging from belief in the omnipotent human ratio. In order to unveil an extra-ordinary similitude between the comportments of both the thinkers, the crucial terms of concealment, derived from the essays of the Czech philosopher, and of Derrida’s famous différance are to be juxtaposed, and subsequently explored and eventually commented in the paper. In accordance with such a gesture, the paper tends to indicate a hidden foundation of being that reveals itself as a phenomenon impossible to define, or capture in some other, non-lingual modes, since its representation, however necessary, always turns out to be inaccurate. Instead of the so-called final explication, the paper, making a visible usage of Heidegger’s manner of writing “under erasure”, will focus on a secret existence of concealment and of difference due to examine their manifestations, henceforth comprehended as their necessary work or action. Thus both the thinkers are to be considered as the precursors of the post-phenomenology, or “phenomenology above lights”, to quote the quasi-transcendental Lévinas, who devote themselves to the elliptical realm of the hidden. DOI: 10.5901/mjss.2013.v4n9p579
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The empirical study of literature as a whole covers a significantly broader domain of knowledge than the socio-psychological study of literature. Nevertheless, the major areas where social psychology is relevant are quite important. These areas comprise studies of the relation between authors and their works, the interaction between literacy and social or psychological cognition, the reception and impact of a literary work.In this paper, we shall concentrate on some fundamental problems involving assignment of meaning to a literary work, social perception of a literary character, and the linkage between cognitive and emotional processing. Fictitious characters and their interactions present a special case in regard to social cognition, the reader's manoeuvers with the character, and the perception of the meaning of the text. Conversely the perception of the meaning is inseparable from understanding the character. In view of these functions and conventions of literary processing, we shall examine the complexity of literary text, the reader's freedom and constraint, the differences between such a reader and the subject of a projective test, the self-relevant information processing and the unity both of cognitive and emotional interest, and of analytical and experiential understanding.
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Proefskrif (DLitt (Afrikaans))--Universiteit van Pretoria, 1989.
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México El libro presenta un análisis del cine, desde una visión integral que comprende el análisis de la imagen (construida en una relación cultural con sus observadores); de las concepciones fílimicas (específicamente el ámbito de la imagen cinematográfica exponiendo las principales concepciones del trabajo artístico de producción del cine); de la semiología del cine (donde se hace un especial énfasis en las dimensiones del relato y la imagen); de la recepción estética (fruición fílmica); de la interpretación social (que propone tender un puente entre la perspectiva sociológica del consumo cultural y la teoría de la recepción sobre la experiencia estética) y finalmente; de la misma interpretación fílmica. En el texto se privilegia el análisis de la dimensión icónica.
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