Lee's Lecture Notes:
--Close reading skills--with Pynchon; with Chopin; with Gilman

Reader Response theories--how transactional reader response is a more reasonable New Critical approach (the reader does have some say in the meaning);

Your reactions to Plath's "Daddy" poem? There are a lot of ambiguities, indeterminacies, and gaps that the reader has to fill in, but the text also supports a lot of what we fill in;

Social RR might say that one of our pop culture 1950's Utah interpretive communities would suggest that Daddy should be a poem about nice fathers who we love, and thus this poem fails...but a literary interpretive community would suggest that this is a cliche that should be avoided, and thus this poem succeeds...

Affective Stylistics--very slow reading based on word by word expectations for Plath; for the party scene in the Gatsby film...

The meta qualities of Reader Response (the act of foregrounding how we read and interpret).

 

Rosenblat's (the mother of Reader Response?) "aesthetic mode"--the reader's emotional connections to ambiguous connotations in the text create the "poem"--but the reactions must be supported by close reading of the text

Affective Stylistics--noticing the reader's expectations and their fulfillments or violations with each closely read word of a text...

--in class? Handout: Gass's "And" essay (an excerpt on lists) demonstrating very close reading but also affective stylistics (what are his ideological or theoretical perspectives?).

Ideal Readers--experienced readers, or theater goers, have certain expectations based on a myriad of texts they bring with them...

Indeterminacies and Gaps (Indeterminacy--Linda Loman in Salesman--does she know or not know what's really going on? Is she in denial?; why does Tom hit Myrtle pos. 507 Kindle?; the huge GAP when Nick ends up standing over McKee in his underwear pos. 516 Kindle)

film analysis--film vocabulary; film studies vocabulary; and Genette; film studies analysis more clearly defined