FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W241493874> ?p ?o ?g. }

• W241493874 startingPage "470" @default.
• W241493874 abstract "However problematic interpretation is, it remains essential, even if close reading is now too often only a prelude some more distant kind of reading. I will not quite argue here, with Rob Pope, that best way understand how a text works ... is change it: play around with it, intervene in it in some way (large or small), and then try account for the exact effect of what you have done (1), but I will argue that text-alteration is at least one of the best ways understand how a text works. Because of this, it is also an excellent strategy for teaching literature, close reading, and interpretation. The kinds of focused and extensive text-alteration I propose and demonstrate below are novel and unusual, but text-alteration itself is not new. Paraphrasing a text might be considered a minor type of alteration, and critics often demonstrate the effectiveness of a turn of phrase or figure of speech by presenting alternative versions. Richard Ohmann alters texts more extensively, rewriting paragraphs of Ernest Hemingway, William Faulkner, Henry James, and D. H. Lawrence. His syntactic alterations manifestly alter the styles of the passages and confirm the commonsense truth that style exists in and through a text's linguistic characteristics, though Stanley Fish, in his famous but largely unsound attack on stylistics, rightly rejects any claims about necessary or universal connections between specific textual characteristics and literary effects (73-77). Jonathan Culler also recommends altering texts investigate the reading process, though without demonstrating it (28). Geoffrey Leech and Mick Short alter prose texts effectively and extensively, typically at or below the sentence level (see especially chapters 5-7). Robert Scholes, attributing the technique Roland Barthes, also alters texts explore point of view (110-26), as does Paul Simpson (especially chapter 3). As Willie van Peer has shown, even readers with quite different experiences respond some aspects of literary style much more consistently than has been supposed (see also Martindale). He replaces highly foregrounded language in short lyric poems with lines of similar meaning without marked foregrounding and asks groups of informants to rate the lines on a number of semantic differential scales, such as poetic/prosaic, strong/weak, and surprising/expected (139). The surprising unanimity he finds shows that there are limits the subjectivity of literary response. Rob Pope, who also emphasizes the use of text-alteration as pedagogy, suggests that it works best as creative and de-centering group play. And Jerome McGann uses deformance as a kind of performative criticism that destabilizes interpretation and opens texts up imaginative commentary and response (105-35), though the effects of his deformations are sometimes bizarre rather than illuminating, as I have pointed out (Hot-Air, End of the Irrelevant Text). His Ivanhoe Game (209ff) provides one provocative answer Pope's question: What are we playing at? (13). My own practice accepts the value of creative play but focuses the play so that it continually returns the text deepen our understanding and enhance our appreciation. For example, my alteration of William Golding's The Inheritors tests two consequences of my claim have isolated the chief textual features responsible for the novel' s unusual style: (1) without those features, its style should be radically different, and (2) the style of any text with a very similar constellation of features should seem similar (Language and Style 155). Removing the characteristic features of The Inheritors destroys its Neanderthal style, and inserting them in even so uncongenial a text as Edith Wharton's The Age of Innocence creates a style suitable for a sequel The Inheritors (156-68). More recently, I have argued that the absence of ordinary or expected features is sometimes even more important than the presence of unusual features, especially when the world of the text is an alien one (Altered Texts, 105-10). …" @default.
• W241493874 created "2016-06-24" @default.
• W241493874 creator A5072356600 @default.
• W241493874 date "2008-12-22" @default.
• W241493874 modified "2023-09-24" @default.
• W241493874 title "Text-Alteration as an Interpretive Teaching Strategy: The Case of The Snow Man" @default.
• W241493874 hasPublicationYear "2008" @default.
• W241493874 type Work @default.
• W241493874 sameAs 241493874 @default.
• W241493874 citedByCount "0" @default.
• W241493874 crossrefType "journal-article" @default.
• W241493874 hasAuthorship W241493874A5072356600 @default.
• W241493874 hasConcept C124952713 @default.
• W241493874 hasConcept C138885662 @default.
• W241493874 hasConcept C142362112 @default.
• W241493874 hasConcept C2776224158 @default.
• W241493874 hasConcept C2776445246 @default.
• W241493874 hasConcept C41895202 @default.
• W241493874 hasConcept C527412718 @default.
• W241493874 hasConcept C554936623 @default.
• W241493874 hasConceptScore W241493874C124952713 @default.
• W241493874 hasConceptScore W241493874C138885662 @default.
• W241493874 hasConceptScore W241493874C142362112 @default.
• W241493874 hasConceptScore W241493874C2776224158 @default.
• W241493874 hasConceptScore W241493874C2776445246 @default.
• W241493874 hasConceptScore W241493874C41895202 @default.
• W241493874 hasConceptScore W241493874C527412718 @default.
• W241493874 hasConceptScore W241493874C554936623 @default.
• W241493874 hasIssue "4" @default.
• W241493874 hasLocation W2414938741 @default.
• W241493874 hasOpenAccess W241493874 @default.
• W241493874 hasPrimaryLocation W2414938741 @default.
• W241493874 hasRelatedWork W1541903610 @default.
• W241493874 hasRelatedWork W1968741355 @default.
• W241493874 hasRelatedWork W1995581429 @default.
• W241493874 hasRelatedWork W2043623151 @default.
• W241493874 hasRelatedWork W2054191318 @default.
• W241493874 hasRelatedWork W2071514851 @default.
• W241493874 hasRelatedWork W2094612076 @default.
• W241493874 hasRelatedWork W2238596756 @default.
• W241493874 hasRelatedWork W2318582537 @default.
• W241493874 hasRelatedWork W2476256015 @default.
• W241493874 hasRelatedWork W2488450722 @default.
• W241493874 hasRelatedWork W250213783 @default.
• W241493874 hasRelatedWork W2506629358 @default.
• W241493874 hasRelatedWork W2566140566 @default.
• W241493874 hasRelatedWork W2613232944 @default.
• W241493874 hasRelatedWork W27575788 @default.
• W241493874 hasRelatedWork W287697730 @default.
• W241493874 hasRelatedWork W331240183 @default.
• W241493874 hasRelatedWork W339835203 @default.
• W241493874 hasRelatedWork W164298759 @default.
• W241493874 hasVolume "42" @default.
• W241493874 isParatext "false" @default.
• W241493874 isRetracted "false" @default.
• W241493874 magId "241493874" @default.
• W241493874 workType "article" @default.