Nevypovedané a nevidené. Mužské postavy z pohľadu personálneho rozprávača v prozaickom diele Juliana Barnesa

According to the theories of Wolf Schmid, Wolfgang Iser and Roman Ingarden, the presented paper follows the ways in which the reader is forced to reveal the logic of the story's selectivity in the reception process. Interest is mainly placed on different narrative gaps, the so-called places of indeterminacy, which trigger literary communication. Various theories of narrative gaps and text negations are demonstrated in Julian Barnes’s novel The Sense of an Ending (2011) depicting the story of four young men – old high-school friends – who have to deal with the death of their close one. The author chooses an interesting form of story composition and represents the literary text as a fraction which the reader concretizes and defines. This way the reader is able to decipher even those event components that are not explicitly present in the text and they call for different acts of reception.

Baśń i romans w ujęciu antropologii literatury. Życzeniowe myślenie o rzeczywistości jako źródło podobieństw między gatunkami

The aim of the paper is to analyse, within the paradigm of literary anthropology, the similarities between two literary genres: romance and tale. According to the assumptions provided by Wolfgang Iser and Northrop Frye the article considers fiction — taken as a building block of literature — the linguistic reflection of the natural world, and at the same time, the conceptual framework for the archetypes appearing in the literary work. What, in Frye’s view, both genres have in common is that they present the described world in the mode of comedy, essential to which is that an individual prevails by creating the new reality around him. The comparative analysis of both tale and romance allows one to discover the internal mechanisms of archetypes, which form the intrinsic “logic” of the world given in the literary work.

Demitefikasi Tokoh Rahwana dalam Kumpulan Puisi Kemelut Cinta Rahwana Karya Djoko Saryono: Tinjauan Estetika Resepsi

This research is motivated by the strengthening tendency of Indonesian literary works in the last five decades to use wayang stories as inspiration for their creation. One of the literary works that uses wayang stories as inspiration for its creation is the collection of poems Kemelut Cinta Rahwana by Djoko Saryono. This collection of poems is a poet's reception of the Ramayana, especially the story of the character Rahwana. Based on this context, this study aims to describe (1) the stereotypical form of the mythical figure of Rahwana in the collection of poems and (2) the counter-myth of the character of Rahwana in the collection of poems. To achieve this goal, this research uses reception aesthetic theory developed by Wolfgang Iser. This is a qualitative research with a descriptive design. The data for this research were obtained from the book collection of poetry Kemelut Cinta Rahwana by Djoko Saryono and Enslikopedi Wayang Indonesia Aksara D-E-F. The results of this study are (1) the poet still maintains the mythical stereotype of the character Rahwana which has been known to the general public such as a symbol of anger, greed, and arrogance; and (2) apart from maintaining mythical stereotypes, the poet also performs counter myths, which include (i) Rahwana as a character who accepts his destiny, (ii) Rahwana as a character who sincerely loves Sita, and (iii) Rahwana as a wise character. Keywords: demitefication, reception aesthetic, wayang poetry, Ramayana Abstrak: Penelitian ini dilatarbelakangi oleh menguatnya kecenderungan karya sastra Indonesia pada lima dekade terakhir yang menggunakan cerita wayang sebagai inspirasi penciptaannya. Salah satu karya sastra yang menggunakan cerita wayang sebagai inspirasi penciptaannya adalah kumpulan puisi Kemelut Cinta Rahwana karya Djoko Saryono. Kumpulan puisi tersebut merupakan resepsi penyair terhadap kitab Ramayana, khususnya kisah tokoh Rahwana. Berdasarkan konteks tersebut, penelitian ini bertujuan mendeskripsikan (1) bentuk stereotip mitos tokoh Rahwana dalam kumpulan puisi tersebut dan (2) kontra mitos tokoh Rahwana yang terdapat dalam kumpulan puisi tersebut. Untuk mencapai tujuan tersebut, penelitian ini menggunakan teori estetika resepsi yang dikembangkan oleh Wolfgang Iser. Penelitian ini merupakan penelitian kualitatif dengan desain deskriptif. Data penelitian ini diperoleh dari buku kumpulan puisi Kemelut Cinta Rahwana karya Djoko Saryono dan buku Ensiklopedi Wayang Indonesia Aksara D-E-F. Hasil penelitian ini adalah (1) penyair masih mempertahankan stereotip mitos tokoh Rahwana yang selama ini sudah dikenal khalayak ramai seperti sebagai lambang angkara murka, serakah, dan angkuh; dan (2) selain mempertahankan stereotip mitos, penyair juga melakukan kontra mitos yang antara lain (i) Rahwana sebagai tokoh yang menerima takdirnya, (ii) Rahwana sebagai tokoh yang mencintai Sita secara tulus, dan (iii) tokoh Rahwana sebagai tokoh yang bijaksana. Kata kunci: demitefikasi, estetika resepsi, puisi wayang, Ramayana

Autoria, assinatura coletiva e jogo na narrativa jornalística: um diálogo com o documentário Voyeur

O artigo se propõe a discutir a autoria na narrativa jornalística, como perspectiva de abertura dos seus horizontes à compreensão e à experiência na mediação social. Com base nas noções de texto como jogo, de Wolfgang Iser, de “função autor”, em Michel Foucault, e de assinatura coletiva, em Cremilda Medina, propõe um diálogo com o documentário Voyeur – que aborda as polêmicas envolvidas na produção e publicação do livro-reportagem O Voyeur, de Gay Talese, que narra a as aventuras do norte-americano Gerald Foos, um ex-dono de motel que, durante décadas, espiou a intimidade de seus hóspedes e foi alvo de várias polêmicas envolvendo não apenas a veracidade do que foi narrado, mas a relação entre jornalista e fonte – com o objetivo de ensejar uma reflexão sobre questões como: a quem pertence a história que se narra? Quem a conta? Quem é seu autor, quando os horizontes autorais, hermenêuticos e, de modo mais amplo, simbólicos têm seus alicerces em questão?

Pemunculan Unsur Tradisi Dalam Novel Al-Lawn Al-Ãkhar Karya Ihsan Abdul Quddũs (Kajian Fenomenologi Sastra Konsep Wolfgang Iser)

Penelitian ini membahas tentang unsur-unsur tradisi dalam novel Al-Lawn Al-Akhar karya Ihsan Abdul Quds. Novel ini menceritakan tentang perpisahan yang dilatarbelakangi oleh perbedaan budaya antara Mesir dan Sudan. Tokoh utama dalam novel tersebut adalah Mirfat, seorang gadis Mesir yang menikah dengan Hasan Babakar Faqi, seorang pemuda Sudan yang belajar di Universitas Kairo, Mesir. Dan muncul tokoh lain seperti Yasir dan Khadum. Tujuan penelitian ini adalah mendeskripsikan teks novel Al-Lawn Al-Akhar untuk memberikan gambaran skematis tentang tradisi dan konkretisasi ilustrasi skema tradisi. Sastra yang digunakan dalam penelitian ini adalah pendekatan fenomenologi sastra konsep Wolfgang Iser untuk menganalisis fenomena tradisi yang terdapat dalam novel. Kata kunci: fenomena tradis; novel arab; perkawinan; unsur tradisi.

História e ficção

O artigo busca aprofundar as relações entre História e ficção a partir do cruzamento entre categorias de funcionamento dos dois campos, jogando luz a aspectos poucas vezes refletidos sobre o campo historiográfico. Conjugando elementos de teóricos da História − como Hayden White e Frank Ankersmit – com autores que buscam refletir sobre o ficcional – Wolfgang Iser, Luiz Costa Lima e Jacques Rancière −, desemboca-se em uma reflexão sobre a História e a ficção que dialoga com concepções contemporâneas da ciência. A partir de um resgate do ficcional, recusa-se tanto uma abordagem exclusivamente cientificista da História, bem como uma perspectiva demasiado relativista.

Ausencia del padre y orfandad masculina: Notas Sobre Pedro Páramo

Pedro Páramo es una novela fundamental de la literatura contemporánea en el ámbito hispanoamericano. El inicio de la novela proporciona la clave del periplo del hijo abandonado que va a buscar al padre ausente; el hombre cuya única claridad es su ausencia, su abandono. Es una búsqueda transformada en historia de un duelo no resuelto, un dolor que el hijo acumulará sin entender que la ausencia del padre es la presencia de la misma muerte. Me centraré en el ejercicio de interpretar la obra literaria desde le creación y recreación del lenguaje y de los temas, para seguir escudriñando “rutas de interpretación” en el sentido propuesto por Wolfgang Iser. El comentario con respecto al tema de Pedro Páramo lo haré en clave de los estudios de género, particularmente de aquellos planteamientos de la estudiosa chilena, Sonia Montesinos

KONSEP BUDAYA BATAK DALAM FILM MURSALA SUTRADARA VIVA WESTI (ANALISIS SEMIOTIKA)

<p><em>Penelitian ini bertujuan untuk mengungkap konsep budaya batak pada masyarakat </em><em>dalam film Mursala</em><em> serta mengungkap pandangan masyarakat </em><em>khususnya masyarakat batak </em><em>terhadap film Mursala karya Viva Westi. Metode yang digunakan dalam penelitian ini berbentuk kualitatif. Kerangka teoritis dibangun berdasarkan data yang di dapat dari lapangan kemudian disesuaikan dengan objek penelitian yaitu film Mursala. Untuk melihat kesesuaian antara realitas yang ada pada masyarakat maka digunakan teori Semiotika Roland Barthes yang mengungkap berdasarkan penanda, petanda dan mitos serta teori resepsi Hans Robert Jauss dam Wolfgang Iser untuk mengetahui pandangan masyarakat terhadap film Mursala. Hasil yang diperoleh dalam penelitian bahwa terdapat mitos-mitos pada masyarakat Batak sehingga membuat masyarakat tersebut mengikuti tradisinya. Konsep </em><em>budaya </em><em>dimunculkan dalam film Mursala melalui penanda dan petanda dan membentuk mitos yang bermakna pewarisan tradisi. Tradisi tersebut menggambarkan sistem kekerabatan pada masyarakat Batak yaitu Dalihan Na Tolu. Kekerabatan tersebut </em><em>seperti</em><em> </em><em>larangan menikah semarga </em><em>pada masyarakat Bat</em><em>ak</em><em> dan telah diwariskan secara turun temurun.</em></p>

LEITORES EM DIFERENTES TEMPOS: A RECEPÇÃO DO CONTO FELICIDADE CLANDESTINA, DE CLARICE LISPECTOR

O artigo trata da recepção de “Felicidade clandestina”, de Clarice Lispector, considerando certas representações dos leitores especializados (professores e alunos de Letras, por exemplo) em diferentes épocas e circunstâncias que vêm sendo confrontadas pelos novos leitores (alunos da educação básica). As observações foram colhidas nas atividades docentes na Universidade de São Paulo, e o referencial teórico, além da fortuna crítica relativa ao conto, é composto pelos autores que tratam da Estética da Recepção, especialmente, Hans Robert Jauss e Wolfgang Iser, ao mesmo tempo em que se adota parte da interpretação do conto feita por Y. Rosenbaum (2006). PALAVRAS-CHAVE: Recepção Estética. Leitora Ideal. Clarice Lispector. Felicidade Clandestina.

The Concretization of the Literary Work of Art: Elements for a Comparison between Roman Ingarden and Wolfgang Iser

The notion of concretization introduced by Roman Ingarden in his seminal work The Literary Work of Art makes the reader the one responsible for the creation of the literary work of art as an aesthetic object. Prior to the act of reading, “the work itself,” in Ingarden’s analysis, is a structure of various strata: the stratum of verbal sounds, the stratum of meaning units, the stratum of schematized aspects, and the stratum of represented objectivities. The reader concretizes the work, turning the schematic formation into an accomplished aesthetic object. Concretization is accomplished by adding determinations to the schemata of the text on all strata. By way of their psychic operations readers fill in places of indeterminacy and establish the world of the literary work of art. Wolfgang Iser takes up Ingarden’s concept of places of indeterminacy to develop his own position. Iser recasts the concept of indeterminacy in the form of gaps or “blanks” which allow for more functions and forms than those stated in Ingarden’s analysis. For Ingarden, the process of reading moves in one direction: from the real world to the imaginary (intentional) world. For Iser the process of reading is two-directional: the reader fills in the blanks of the imaginary world using the memory traces collected in his or her mind that derive from the life-world. An attempt to clarify the main points of Ingarden’s phenomenology of reading, may, therefore, elucidate Iser’s contribution. In addition, the notion of concretization has seen many criticisms (R. Wellek, G. Poulet, S. Fish, D. Barnouw among others), and the topic deserves renewed attention.