Iser, a follower of Ingarden, is more ambiguous about this controversial question regarding the primacy of the reader or text in formulating a concretization. 在具体化过程中,究竟是读者占首位,抑或文本占首位,对于这个有争议的问题,英伽登的追随者伊瑟尔所持的观点更为模棱两可。
Following the German tradition, a more moderate proponent of this type of criticism is Wolfgang Iser. 此类批评中依循德国传统的一个较为温和的代表是伊瑟尔。
Although Iser brings the reader more fully into the interpretive process, he does not find the locus of meaning to inhere in the reader. 虽然伊瑟尔更彻底地将读者带入解释过程,他并没有将意义重心置于读者之中。
I think that the distinction Iser is making between reading and interpretation can be understood in much the same way. 我想伊瑟尔想指出的,阅读与诠释之间的差异也基本上也可以这样理解。
Iser studies literary and literary text from the point of view of the readers, not from the literary itself. 伊瑟尔摈弃了单纯从文学自身出发去探讨文学的研究模式,转而从读者角度去研究文学及文学本文。
Probing the theoretical base for Iser's reception theory is very important for studying his aesthetical thought. 探索伊瑟尔接受美学的理论基础,对于深入研究其美学思想具有重要作用。
( Jauss, 1982: 21) Iser follows the phenomenological train of thought to expound the relationship between the text and the reader in the process of reading. (Jauss,1982)伊塞尔则始终沿着现象学的思路,深入的探索了阅读过程中本文与读者的关系。
Then the Criticism, especially the approach proposed by Wolfgang Iser, is employed to analyze in detail the most disputable "indeterminacy" and "gaps" in the text of Light in August, as a typical example. 然后以《八月之光》为例运用读者反应批评主要是伊瑟尔的观点,针对读者对文本最富争议的不确定性与空缺的反应展开讨论;
Wolfgang Iser, a scholar of aesthetic response, presents a concept of "the implied reader" after studying the other models carefully. 读者反应批评大师沃夫冈·伊泽尔在研究了这些理论的优、缺点之后,推出了“隐含读者”这个概念。
The crisis of literary theory led by multiple culture context in 20th century and the economic crisis early in the 1960s, offers a beneficial environment and proper opportunity for Iser 'stheory of aesthetic response. 20世纪西方文论的多元化语境及60年代初德国由于政治、经济危机所引发的文论危机,为伊瑟尔阅读审美响应理论的产生提供了良好的环境和适当的时机。
As a leading scholar of this theory, Wolfgang Iser builds all his theories on the interaction between reader and text. 他把自己的全部理论建基于文本&读者的交流结构之上。
After that, Iser makes a thorough inquiry about the intrinsic compose of literary& repertoire and strategies. 在这之后,伊瑟尔对文学本文的内在构成&剧目与策略进行了具体而详细地探究。
A comment on Wolfgang iser's Literary Anthropology 评沃尔夫冈·伊塞尔的文学人类学
Therefore, Iser sets up a viewpoint on dynamic development of text meaning and literature zwei-pole-Theorie. 由此,伊瑟尔建立了两个理论逻辑支点&本文意义动态生成观和“文学作品两极理论”。
Iser literature of four factors ( Authors, Readers, The world, and Work). 伊瑟尔将文学的四要素(作者、读者、世界、作品)有机整合在了一起。
Iser has established an acceptance theory established by text processing center, the authors and readers two-way interactive dynamic study of new ideas. 伊瑟尔建立的接受理论确立了一种以文本处理为中心、作者和读者双向互动动态研究的新思路。
In this paper, different academic research on Wolfgang Iser later transformation of the positioning, the author thinks that Wolfgang Iser has always read later research activities for gravity, reflect the integrity and systematic theory. 在此,不同于学界对伊瑟尔学术研究后期转型的定位,笔者认为伊瑟尔前后期研究始终以阅读活动为重心,体现出理论的完整性和系统性。
From reading esthetic response theory to literature anthropology., Iser follow this academic principles: To create a new solutions to her problems. 从阅读审美响应理论到文学人类学,伊瑟尔都遵循这样的学术原则:对问题的解答创造出新的问题。
German 'literature theorists Wolfgang Iser has been known as a representative figure of Aesthetic of reception. 德国文学理论家沃尔夫冈·伊瑟尔一直是作为接受美学理论的代表人物为人们所熟知的。
In the fiction and imagination, Iser mainly creative as a "crossing" behavior, The specific use "fiction" this cross behavior, The creation of the concrete. 在《虚构与想像》中,伊瑟尔主要将创作作为一种越界行为。作者具体运用虚构这一越界行为,对创作作了具体的阐述。
Iser have the knowledge of literary texts from the perspective of hermeneutics. 伊瑟尔从阐释学的视角来认识文学文本。
Wolfgang Iser holds that only the reader can fill the "blanks" of the literary text. 伍尔夫冈·伊塞尔认为,只有读者才能填上文学文本中的空白。