The reader you wish to be

2014

English in Education, 2018

Women's Studies International Forum, 2001

Broadsheet, 2015

What does it take to be an ardent reader? Research on literacy and reading motivation has shown that one's upbringing and background, specifi cally the relationship between attitude and beliefs are crucial factors in shaping one's reading habits. With that as its basis, this paper captures signifi cant fi ndings from interview data of university students of differing backgrounds who are profi cient in English and more importantly, who share the love of reading. The researchers aim to better understand the reading experience of these Malaysian readers by listening to their accounts of early and current reading experiences. The researchers choose to analyze and understand the data from a qualitative approach because it accords these voices more depth. While each voice is regarded uniquely in its own historical context and construct, their voices when in concert, point to the construction of new insights in the researchers' stance on what it takes to be an ardent reader. To learn from these voices is to reiterate not how infrequently young Malaysians read, but how possible it is to shape young Malaysians into ardent readers.

Erik Robb Thompson. “Reader-Response Theory in Literature Circles: Arena for Discovering the Ideal Reader.” New Korean Journal of English Language and Literature 59.1 (2017): 91-110. Literature Circles, which are collaborative and student-centered reading groups, are becoming more popular as a teaching method that draws students into increasingly abstract and relevant discussions about literature. In classrooms structured around collaborative discovery of the ideal reader, the question of what role experts will play still needs to be adequately addressed. To that end, this article will explore and evaluate Wolfgang Iser’s and Stanley Fish’s approaches to reader-response theory as they apply to collaborative learning practices, particularly those informed by the “faith”-based teaching philosophy of Parker J. Palmer. Reader-response theorists, especially Iser, show how literary understanding emerges through the temporal process of reading rather than through a reader-expert translating the meaning that is already contained in a literary work. In a less technical and more spiritual pursuit of a similar process-based understanding of educational subjects, Palmer advocates for communitarian models of truth that are engaged with the indeterminate “otherness” of great things, and argues against objectivist models of truth that do not serve the interests of readers or the literature itself. (The Catholic University of Korea)

Editorial of El oído pensante 6 (1), 2018

Learning Material, 2022

This a short of writing from my thesis writing to give the learning materials for the students about good and poor readers in extensive reading subjects.

With its focus on the reader and reading process as well as historical interrelation of the reception of texts for the construction of meaning, reception theory has set its own norms of critical evaluation in an original way. In the theories preceding the reception theory such as the Formalism, Structuralism, and the New Criticism, readers’ position has been taken for granted. It is a departure from the New Criticism in which the reader is passive and the text is unified. The practitioners of the reception theory attempt to prove that rather than simply reading, readers reshape the text in the process of reading it: the text is no more a given. Unlike the earlier literary theories, reception theory tries to describe what happens in the reader’s mind while interpreting a work of fiction, and proposes that reading is a creative process like writing. Although, in essence, they share similar ideas on the pivotal place of the reader in the meaning making process, each exponent of this theory came up with a different concept of reader. The reader models of Robert Jauss, Wolfgang Iser, Stanley Fish, Wayne Booth, Gerald Prince, and Walker Gibson are going to be examined in this article. Key words: reader response theory, implied reader, mock reader, ideal reader, narrate

Literature: The quest to discover a definition for " literature " is a road that is much travelled, though the point of arrival, if ever reached, is seldom satisfactory. Most attempted definitions are broad and vague, and they inevitably change over time. In fact, the only thing that is certain about defining literature is that the definition will change. Concepts of what is literature change over time as well. What may be considered ordinary and not worthy of comment in one time period may be considered literary genius in another. Literature is a term used to describe written and sometimes spoken material. Derived from the Latin literature meaning "writing formed with letters," literature most commonly refers to works of the creative imagination, including poetry, drama, fiction, nonfiction, journalism, and in some instances, song. New Media: New Media is a 21 st Century catchall term used to define all that is related to the internet and the interplay between technology, images and sound. In fact, the definition of new media changes daily, and will continue to do so. New media evolves and morphs continuously. On the other hand Literature, in its broadest sense, is any single body of written works. More restrictively, it is writing considered as an art form or any single writing deemed to have artistic or intellectual value, often due to deploying language in ways that differ from ordinary usage. One of the things I am very interested in and study is the field of the reader – the how's and why's of reader meets text – when there is a notion of literature moving in a wholly new direction. In its novelty the medium runs the risk of eclipsing literature to perform its own song and dance making literature play second fiddle; when that happens literature cannot be said to occupy the site of a new medium in a beneficial collaboration. But slowly we are beginning to understand what the digital realm has to offer when we see it as nothing more or less than a partner. It is undeniable that a very big hindrance for the reader is in fact the media in which new literature is written; many readers will simply not have the adequate skills or knowledge of digital media to make use of it. So there is the possibility that there is forming an information gap between those who can and those who can't follow this progression. I must admit that a lot of the stuff I have been introduced to this semester is all new to me – somehow, much of the " new " electronic literature and experimental literature I now browse through has flown right under my radar most of the time. For myself I apologies that. But then again, with the entire information overflow that has characterized communications of sorts, it is sadly to be expected if you are not specifically looking for it. There needs to be more noise about this field without a doubt, because a non-progressive literature is an antiquated literature dripping with nostalgia without the ability to move or shake anything or anyone. New media have changed what it means to read and write, to consume and produce, and thus offer us new challenges in studying digital texts as well as printed ones. New media has changed our world. It has broadened our means of communication and allowed us to connect with people across spaces and time in unprecedented ways. For collective action such as activism, this has meant monumental shifts in the ways we can organize around shared goals. As recent events have demonstrated, new media activism can harness masses of people to bring about incredible societal change more easily than ever before. At this stage much of the literature around new media