To what degree is convenient to carry out the analysis of a poetic text. What degree of technicality must give the language to achieve accreditation, and thus not to underestimate the achievement of a particular style, not without competition, to interpret a text in itself difficult to communicate its essential form.
We are obliged to resort to the language as the best tool to analyze and interpret the poem through the crumbling of its components, syntactic, morphological and semantic.
These questions raise the academic when cease to be readers and become amateur investigators required to respond with arguments about how and why he says what he says the literary text, if not: what it is.
The first instance in which we find is the recipient of the text, text reader, in the diachronic study of the literature to identify the rhetorical devices used over time and well known literary styles.
regard, Hans Robert Jauss finds that at the time that the historical study of the literature leaves the research method used in the social sciences and natural sciences, the history of literature takes freedom to understand literature in its causes without having to explain the methodology employed under investigation.
Historicity is made from the reader provides a direct link with the text. This renewed historical concepts immovable classic, valid and tradition.
The reader searches for the criteria of the literature to describe the perception of the literary experience of gender, the subject of previously unknown works.
Reconstruction a horizon of expectations of a work possible to understand the extent and form of its effect on an audience. Given this horizon of expectations can have different perceptions, or changing horizon. Reactions can be clarified through the public and critical opinion.
The combination of diachronic and synchronic studies than diachronic model. This alternation allows you to select a dominant structure in the literature to serve as a reference model for the historic moment.
Using a methodology that part of literary history we can analyze the literary language, and give an assessment of the poem without losing sight of the reader.
But on the other hand, Wolfgang Iser believes that the interpretation of the text to extract meaning is a common method assumed that the same text. The method led to the neutralization of the materials made in a theoretical framework that allowed readers to have standard criteria for easy understanding. That is, it gives the reader interprets the meanings naked without the opportunity of the reader to consider for yourself the different readings of the text. Since a text comes alive when read. It is possible to follow the text from the reading.
then speaks of the reading process as establishing communication scheme: emitter or speaker (text)>> receiver (reader)>> decoding.
says that the form of reinterpretation has grown to be a reading experience. However, the meaning is a form of individual experience that is generated between text and reader.
reading is done in the interaction between the structure of the literary and the receiver. The literary work has two poles: the artistic and aesthetic pole. On one hand the artistic pole is the one created by the author. While the aesthetic is the realization pole made by the reader: the text is realized with the reader. So the text becomes a work.
The virtual nature of the work is the convergence of text and reader. The text as such work leads to a formation of consciousness, hence the work is to develop your character in the reading process. The relationship between text and reader becomes a priority concern. This polarization should not divide the study of the work in the technical resources used by the author, or the psychology of the reader.
should not divide the study because the realization of the literary text an important part of the reader. Although we talk about particular structures of literary texts, "they do not function in the text, but in the emotions of the reader."
This is an aspect of the fictional texts that show some linguistic structure and emotional structure. "The emotional aspect is the realization of what was structured in the language of the text."
"neo-academic critic has much of an apostle . In the six-monthly work asks students about Pedro Páramo puts as an obligation quote Tzvetan Todorov, Lucien Goldmann, Julia Kristeva and twenty other critics of today, and quote them so that the event is properly patched at work. As each adventure rides his very personal (and perhaps episodic), the least awful account feat is the personal reading of Pedro Páramo . The star student, which promises to be more 'professional', is the most closely identified himself with that kind of substitute for the literary experience. " [1]
This affection is unnoticed in the linguistic analysis of the poem where the main interest focuses on a detailed break down the language. However, this level of analysis allows us to glimpse the overlapping of the structure of the poem which emphasize the meanings of the language.
The study poetry (J. Tinianov) define the terms used and gain an exact proportion to specify the use and designation of the functions found in the rhetorical (phonic, syntactic, semantic, figures of thought).
There is no symmetry of the elements of composition, since each serves as a reinforcement, remember the function of the image as a reinforcing element for automatization.
The dynamism of the work is manifested in the notion of construction. The dynamic is manifested in the interaction the words and the development of a set of factors over others. Establishing a relationship of subordination and distortion.
theory construction is based on traditional structures automated renewal. The principle of interaction between the traditions and evolution allows this new form. The metro will relieve the discovery of alliteration and awaken new possibilities constructive. The material, language, subject to the principle of subordination, so we have the beginning of construction ng.
So much for the theory of perception and construction The causes are draining the paradigm shift, l to issue that warning Alatorre is the kind of critical analysis that the neo-academic.
"In the critical analysis of neo-academic classes and subclasses swarm, the levels and sublevels, axles, bodies, nuclei, polarization, graphics, formulas, case with exponents, signs quasi-logical-mathematical, the arrows, the hatched solid line and dotted line, all of which is the vacuum Gigantification, since everything is done (not forget) at the expense of experience literary. "
This type of analysis is on alert us Antonio Alatorre. We clear the importance of studying metric, rhythmic study, the study of rhetorical devices, the study of the horizon of perspectives, the relationship of the series, the paradigm shifts.
But what about the linguistic scientism applied to the study of the poem as a distant phenomenon of the emotional aspect that raises, of intuition, to strip the words in their structural aspect, which certainly is specialized work that requires impressive amount of time.
So I wonder what is the appropriate level of analysis when addressing a poem, if the reception of that we bring to readers, opening expectations, provide clues to address the poem, not alienate.
Antonio Alatorre devotes a chapter of his Essay on Criticism literature addressing 'traditional literary criticism and Criticism neo-academy "which runs on ways of perception of a poem that deviate neo-academic analysis concluding with the following reflection:
Throughout the history of culture has been constantly episodes like this. I feel a little heir of those humanists of the Renaissance, typically Erasmus, who took the pen to convince his contemporaries of the need to end esterelizantes mechanized systems. [...] Can not deny the greatness of a Hjelmslev, of Jacobson, but I am convinced that, as regards the study of literature, systems derived from them are causing 'more harm than good. "
[...] So, as well as the two penultimate chapters Sapir warned the reader against roads are not those of authentic linguistic knowledge, and I tell young people who aspire to professional careers in the language: Watch out! Open your eyes. Wasting time is serious. See if the path that offers the New Academy leads to something.
Bibliography
Rall, Dietrich (1986). Raiders of the lost text. Theory of literary reception. Mexico: UNAM. 161 pp.
Todorov, Tzvetan (1995). Theory of Literature of the Russian formalists . Mexico: Siglo Veintinuno editors. 325 pp.
Alatorre, Antonio (1993). Essays on literary criticism. Mexico: CONACULTA. 188 pp.
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