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• W1580451003 abstract "are you still doing here? Her tone wasn't harsh, but it wasn't kindly, either; Sylvie was indignant. Where should I be? Irena asked. Home! You mean this isn't my home anymore? Milan Kundera's novel Ignorance (2002) opens with this short dialogue (3). We are thrust into the midst of a conversation, into the midst of a very confrontational, tense situation, into the midst of two interpretations of the word home, determined by two different deictic pronouns and two rigid designators. We know nothing else. But as readers we must somehow comply with his entrance to the novel, if we are to read on. The operation we carry out is subconscious and automatic: from the maze of our cognitive frameworks we simply activate the one that allows us to go on reading. We try, at least in the short terra, to make sense by invoking our previous experience of the word home. But what does this concept mean? The beginning of Kundera's novel is based precisely on destabilizing it. What point is there, then, in such an operation? Introduction One of the constantly recurring questions of literary theory is that of the role of the subject in the understanding of literary works. How complex and problematic this topic is will appear by a mere overview of the fundamental theoretical works that touch on it in one way or another. We find traces of the subject in all theoretical approaches that address literary works and the conditions of their existence, interpretation, and identity; and, very significantly, the vast majority of such approaches falls into two sharply divided groups. The first, taking the concept seriously, inquires into the role of the subject, author, or reader in the construction of meaning and plot in a literary work and verges towards embracing psychological concepts; in an extreme form, it breaks down the identity of the work in favor of specific interpretations by empirical readers. The second group of literary theories explicitly distances itself from considering subjects existing outside literary works, restricting its inquiries completely to works as text. It also considers a certain type of subject (as is the case in Prague structuralism) but connects its existence completely with the world that is realized fully through the text of the literary work. In this way, it is possible to define not only the semantic gesture as the central idea of Prague structuralism, and the implicit reader as the key concept of the aesthetics of reception, but also the abstract author and abstract reader as concepts specific to narratology. The present study aims to revisit the role of the subject in the light of mimesis theory and the urgency of the questions it raises in the theory of fictional worlds, mainly following the model that Lubomir Dolezel has canonized, after many years' reflection, in his essential book Heterocosmica (1998). He measures the shift within this theory that has occurred under the influence of the subject, sketches the complex of problems that it raises, and shows how the subject itself, conversely, demands redefinition in the light of the theory of fictional worlds. As this area is very wide, the present study is limited to that part of it defined by the pairing of subject and mimesis as literary categories. The Problem of Mimesis Dolezel's criticism of mimesis proceeds from his clash with the ideas of Wolfgang Iser. In this connection, Dolezel writes: Having escaped from the suprasubjective control of the text through the gaps, the Iserian reader reconstructs the fictional world guided by his or her life experience, that is, by his or her communion with complete objects and worlds. The filling in, which was claimed to be an exercise of imagination, is in fact an act of Gleichschaltung: the diversity of fictional worlds is reduced to the uniform structure of the complete, Carnapian world. Mimesis, which was jettisoned by modernist and postmodernist world makers, returns with a vengeance to normalize the reader's world reconstruction (171). …" @default.
• W1580451003 created "2016-06-24" @default.
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• W1580451003 date "2006-09-22" @default.
• W1580451003 modified "2023-09-26" @default.
• W1580451003 title "Mimesis and the Subject in the Light of the Cognitive Impulse and the Theory of Fictional Worlds" @default.
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