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From epic theater to literary weblogs: Reader participation in twentieth and twenty-first century literature.

机译：从史诗剧院到文学博客：读者参与20世纪和21世纪文学。

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This dissertation examines the ways in which twentieth and twenty-first century literature invites the reader to participate in the creation of the work. My discussion of reader participation is informed by Wolfgang Iser's reception theory, which attempts to define the communicative structure of literature. According to Iser, literature of the twentieth century is characterized by an increase in discursive and narrative "gaps," which cause the text to be indeterminate. More than in previous epochs, readers in the modern era have to actively search for meaning.;I have chosen four texts that overtly and self-consciously aim to trigger the reader's participation through their openness not only in terms of content but also in terms of the textual strategies they deploy, strategies that spur the reader into action. Chapter 1 discusses Bertolt Brecht's radio play Der Flug der Lindberghs (1927). The play had been printed in program guides before its first broadcast, and listeners at home were encouraged to say Lindbergh's lines out loud, forming a collective of many "Lindberghs." Chapter 2 deals with Julio Cortázar's novel Rayuela (1963), which can be read either linearly or by "hopscotching" through the chapters in an order specified by the author. Chapter 3 is concerned with Michael Joyce's hyperfiction Afternoon (1987). Digital technology enables the readers to create their own paths through the work by clicking links. Chapter 4 examines Alban Nikolai Herbst's literary blog Die Dschungel/Anderswelt. I present a reading of Herbst's blog narrative Die Fenster von Sainte-Chapelle (2010), a "travel narrative" which was published in real-time, day by day, on his blog. Readers commented on Herbst's posts and influenced the course of the narrative.;My analyses demonstrate the possibilities and limits of reader participation as well as the consequences that a high degree of reader activity has for a literary text. I examine features of the medium as well as the texts themselves and arrive at deeper insights into the medium through detailed readings of the texts. I also discuss the four works in the context of the transition from modernism to postmodernism.

机译：本文探讨了二十世纪和二十一世纪文学邀请读者参与作品创作的方式。我对读者参与的讨论是基于沃尔夫冈·伊塞尔（Wolfgang Iser）的接受理论的，该理论试图定义文学的传播结构。根据伊塞尔（Iser）的说法，二十世纪文学的特点是话语和叙事“间隙”的增加，这导致文本不确定。与前一个时代相比，现代读者更需要积极地寻找意义。我选择了四种文本，这些文本公开和自觉地旨在通过其开放性不仅在内容方面而且在内容方面都激发读者的参与。他们所采用的文字策略，促使读者采取行动的策略。第1章讨论Bertolt Brecht的广播剧《 Der Flug der Lindberghs》（1927年）。该剧在首次播出前已印在节目指南中，并鼓励在家中的听众大声说出林德伯格的台词，从而构成许多“林德伯格”的集合。第2章讨论了朱利奥·科尔塔扎尔（JulioCortázar）的小说《 Rayuela》（1963年），可以线性阅读，也可以按作者指定的顺序在各章中“跳房子”阅读。第三章与迈克尔·乔伊斯的小说《午后》（1987）有关。数字技术使读者可以通过单击链接来创建自己的作品。第4章介绍了奥尔本·尼古拉·赫伯斯特（Alban Nikolai Herbst）的文学博客Die Dschungel / Anderswelt。我将介绍Herbst博客叙事Die Fenster von Sainte-Chapelle（2010）的阅读内容，这是一篇“旅行叙事”，该故事每天都实时发布在他的博客上。读者评论了赫伯斯特的帖子，并影响了叙事的过程。我的分析表明了读者参与的可能性和局限性，以及高度读者活动对文学文本的影响。我研究了媒体的功能以及文本本身，并通过对文本的详细阅读来对媒体进行更深入的了解。我还将在从现代主义向后现代主义过渡的背景下讨论这四部作品。

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作者
Schroeder, Bianca.;
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作者单位

The Johns Hopkins University.;

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授予单位 The Johns Hopkins University.;
学科 Literature Modern.;Literature Latin American.;Literature American.;Literature Germanic.
学位 Ph.D.
年度 2012
页码 229 p.
总页数 229
原文格式 PDF
正文语种 eng
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From epic theater to literary weblogs: Reader participation in twentieth and twenty-first century literature.

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