Greetings!!

First slide:

So, first, let me define reader response, which is the reader's reaction to
something, how he or she interprets, understands, or perceives a specific
text or issue

And criticism is a construction of judgement about the qualities of

someone or something, as well as a comparison, analysis and
interpretation or evaluation of work of literature.

So reader-response criticism is a school of literary theory that focuses

primarily on the reader (or "audience") and their experience of a
literary work. It allows the reader to interpret the meaning of the text to
bring personality traits and to remember memories and experiences in
life. It contrast or oppose to other criticism because they( other kind of
criticism) focuses primarily on the author or the context form of the text.

The reader-response criticism is both an advantage and a disadvantage

because as I previously stated, reader-response criticism, allows readers
to bring personality traits, and recollections of past and present events
to the text. It also recognizes that various people have different
perspectives on how things work and that people's views vary through
time. However, the problem or weakness of this approach is that it
makes interpretation too subjective. It does not provide enough criteria
for comparing one reading to another.

For the most basic level, reader response is a reaction-response of the

reader to the material he/she reading, the reaction to a literature that
vital in the interpreting of the text. So reader response allows reader-
response interpret text to bring personality traits, to remember
memories and experience in life. ( apilon pa ni or dlui)

Second slide:

(basaha ang quote)

Explanation: For example, abstract art ( tudloa ang art or ang example).

It has no meaning or the painter does not provide/ put meaning to the

art, but the audience or viewer believes it has meaning or
gives/adds meaning to it, which is where different opinions come in and
depending on how they perceive or interpret the art. Similarly, this
approach/criticism emphasizes that the text does not interpret itself; it
requires the reader's participation or interpretation.
Third slide :

And now I'm going to talk about the historical development of the reader
response criticism.

Although reader-response criticism emerged/ rose to prominence in

literary analysis in the early 1970s and continues to impact most
contemporary criticism, its historical origins may be traced back to the
1920s and 1930s. ( I slide dayun sa next)

Fourth slide:
Even the classical writers Plato and Aristotle were aware of and
concerned about the reader's or viewer's reactions:

For example, Plato claims that witnessing a play can arouse or stir an
audience's emotions to the point where they lose sight/ focus/track of
their rational nature and allow feeling/ emotion to guide their
behaviour.

Similar to this, Aristotle also expresses worry about how a play may
affect the audience's emotions. A question like, Will it inspire sympathy
or dread in the audience? Will the audience be enlightened/ refreshed
by these feelings? Many literary criticisms are dominated by this
concern for the reaction or response of the audience to the artistic work.

Underlying both Plato's and Aristotle's concerns about audience

response, and the concern of many critics who follow the path of both
Plato and Aristotle is the assumption that the audience or the reader is
passive. As if watching a play or reading a book were a spectator sport,
readers sit passively, absorbing the details and emotions of the story.

: . If you describe someone as passive, you mean that they do not take
action but instead let things happen to them.

Fifth slide :
Also, in early history, with the advent of new criticism, the text become
autonomous ( an objective entity that could be analysed and dissected. If
the studies were thorough, the new critics believed, that the text would
reveal its own meaning. Extrinsic ( not part of the essential nature of someone or
something;)factors like historical or social context mattered little. The text
itself contains what we need to discover its meaning. We need only
master the technical vocabulary and the correct techniques to unlock its
meaning. Also, new critic emphasizes that they believed that attention to
the reader's response confuses what the text is with what the text does.

New critic did acknowledge the effects of a text could have on its readers.
Studying the effect of literary works, they decreed ( to officially decide or
order that something must happen ) was not the same as studying the text itself

Sixth slides:

Just like what I said reader-response criticism emerged/ rose to

prominence in literary analysis in the early 1970s and continues to
impact most contemporary criticism. It maintain that the text is cannot
be separated from what it does.

Reader-response theorists share two beliefs:

 (1) that the role of the reader cannot be omitted from our
understanding of literature
- means that that our understanding of literature or the text or
the work cannot be complete without considering the role of the
reader.

(2) That readers do not passively consume the meaning presented

to them by an objective literary text

-means that readers don't just take in the meaning that is

conveyed to them by an objective literary work, rather they
actively make the meaning they find in literature: they need to
be an active participant.

Seventh slides

I.A. Richards or also known as Ivor Armstrong Richards, is a English

literature critic that write the principle of literary criticism or also called
new criticism.

Principles of Literary Criticism is an important contribution to the

rehabilitation of English criticism perhaps because of its sustained
nature, the most important contribution yet made. with an account of
the present chaos of critical theories and follows with an analysis of the
fallacy in modern aesthetics.' - Herbert Read, Criterion
Richard's text is predicated on the idea or his assumption that science—
rather than poetry or any other literary form—leads to truth, that
science's interpretation of reality is more accurate or the correct one. On
the other hand, poems can only make "pseudo claims" about the nature
of reality. But, Richards also asserts/ claimed/ declares that such claims
are crucial/ important for each person's total psychological well-being.

He claimed that the poetry itself has all the information needed to reach
or arrive the "correct" or "more appropriate" reading. Richards thinks a
reader can reach a better or more accurate understanding of a poem by
textual analysis-textual analysis means closely examining the poem's
diction, imagery, and overall unity, than depending solely/ relying on
personal responses to a text.

Richards recognized the contextual element of reading poetry because

he acknowledged that readers bring a wide range/vast of ideas to the
text that they have accumulated/ collected through their life
experiences, including past literary experiences, and then apply those
ideas / such information to the text. By doing this, the reader becomes
an active participant in the meaning of the text rather than just a passive
recipient/receiver of information.

Eighth slides :

So, in the following slides, I'll discuss about Louise Rosenblatt's

contribution, her ideas on reader response criticism. But first, who is
Louise Rosenblatt? She is an American university professor who is well-
known for her study on the teaching of literature.
Ninth slides:

So one of his study, is the transactional readers theory, it is also known

as reader-response theory,

According to Rosenblatt, the reader and the text must collaborate/ work
together in order to create/ produce meaning, and they both( which is
the reader and text) play an important role in the interpretation
process.

There is interaction or a shared transaction between the reader and the

text. The text serves as a stimulus to extract from the reader a variety of
past experiences, thoughts, and ideas, both those encountered The text
serves as a stimulus to extract from the reader a variety of past
experiences, thoughts, and ideas, both those encountered The text
simultaneously affects the reader's experiences by deciding which
concepts to include, how to include them, and in what sequence they
should appear. Through this interaction, the reader and the text create a
new work of art, a poem.

A poem is now defined as the outcome of an event that occurs

throughout the reading process, which Rosenblatt refers to as the
aesthetic transaction. Instead of being synonymous with the term text, a
poem is produced each time a reader engages with a text, whether it is
for the first time or one of the countless times.

For Reader-oriented critics, the reader + the text = the Poem, the poem,
which is another term for the reader's interpretation or meaning of the
text.
Tenth slides:

For Rosenblatt, readers can and do read in one of two ways: efferently or
aesthetically.

So, what is efferent reading, for my understanding, efferent reading is

"take away" or taking away particular bits of information. The reader is
not interested in the rhythms of the language or the prose style but is
focused on obtaining a piece of information.

-Reading for information

For example,

When we read information - for example, when we read the directions

for cooking a dish- we are engaging in efferent reading. During this
process we are interested only in gained information, not the actual
words themselves.

The other way is to read aesthetically or aesthetic reading, aesthetic

reading in which the focus is on the feelings, sensations, and emotions
evoked during the reader's transaction with the text.

Reading while trying to connect to the text

In a more simple definition, in aesthetic reading, the reader's attention
is centered directly on what he is living through during his relationship
with that particular text."]

When we engage in aesthetic reading we experience the text. We note its

every word, its sounds, its patterns, and so on. In essence, we live
through the transactional experience of creating the poem.

In conclusion, the reader now becomes an active participant along with

the text in creating meaning. It is from the literacy experience (an event
that occurs when a reader and print interact) they believe that meaning
evolves.

The concerns of reader - response critics can be best summarized in one

question: What happens during the reading process? The answer to this
question is perplexing, for it involves investigating such factors as:

 The reader, including his or her worldview, background, purpose

for reading, knowledge of the world, knowledge of the words, and
other such factors;
 The text, with all its various linguistic elements;
 Meaning, or how the text and the reader interact so that the reader
can make sense of a printed material.

READER- The following are some terms you'll see applied to the reader
of a text: readers, students, the educated reader, the ideal reader, the
optimal reader, the implied reader, and the intended reader.
Reader-response theorists recognize that texts do not interpret
themselves. Even if all of our evidence for a certain interpretation
comes from the work itself, and even if everyone who reads the text
interprets it in the same (as improbable as that might be) it is still we,
the readers, who do the interpreting, assigning meaning to the text.
Reader response criticism not only allows for, but even interests itself in
how these meanings to change from reader to reader and from time to
time.