Reader-response criticism
From The Art and Popular Culture Encyclopedia
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Reader-response criticism is a school of literary theory that focuses on the reader (or "audience") and his or her experience of a literary work, in contrast to other schools and theories that focus attention primarily on the author or the content and form of the work.
Although literary theory has long paid some attention to the reader's role in creating the meaning and experience of a literary work, modern reader-response criticism began in the 1960s and '70s, particularly in America and Germany, in work by Norman Holland, Stanley Fish, Wolfgang Iser, Hans-Robert Jauss, and others. Important predecessors were I. A. Richards, who in 1929 analyzed a group of Cambridge undergraduates' misreadings; Louise Rosenblatt, who, in Literature as Exploration (1938), argued that it is important for the teacher to avoid imposing any "preconceived notions about the proper way to react to any work"; and C. S. Lewis in An Experiment in Criticism (1961).
Reader-response theory recognizes the reader as an active agent who imparts "real existence" to the work and completes its meaning through interpretation. Reader-response criticism argues that literature should be viewed as a performing art in which each reader creates his or her own, possibly unique, text-related performance. It stands in total opposition to the theories of formalism and the New Criticism, in which the reader's role in re-creating literary works is ignored. New Criticism had emphasized that only that which is within a text is part of the meaning of a text. No appeal to the authority or intention of the author, nor to the psychology of the reader, was allowed in the discussions of orthodox New Critics. The New Critics' position assumed an objective, fixed text that could be studied apart from any human being, and this assumption persisted even into postmodern criticism.
Because it rests on psychological principles, a reader-response approach readily generalizes to other arts: cinema (David Bordwell) or visual art (Ernst Gombrich) and even to history (Hayden White). In stressing the activity of the scholar, reader-response theory justifies such upsettings of traditional interpretations as, for example, deconstruction or cultural criticism.
