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2. Reader-Response Criticism
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Myriam Díaz-Diocaretz
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Chapters in this book
- Prelim pages i
- Table of contents vii
- Preface 1
- I. Verbal Interaction Framework 7
- 1. Translation as Sign 8
- 2. Reader-Response Criticism 13
- II. The Translator-Function 24
- 1. The Translator as Omniscient Reader 25
- 2. The Translator as Acting Writer 33
- III. Translating a Woman's Poetic Discourse 42
- 1. “A poem can begin/with a lie. And be torn up.” 49
- 2. Heterosocial versus Homosocial 54
- 3. From Text to Author-Function 58
- 4. The Intertextual Factor as Feminist Strategy 67
- IV. The Speech Situation in Female Identified Discourse 84
- 1. A Poet in a Woman's Body 85
- 2. Person Deixis and Gender Markers 89
- 3. Speaker and Addressee in Adrienne Rich 92
- 4. Speaker and Addressee in Female-Identified Discourse 105
- V. Prosody, Rhythms, Intonation, and the Acting Writer 117
- 1. “Re-scored for a different instrument” 118
- VI. Translation and Women's Studies 151
- References 158
Chapters in this book
- Prelim pages i
- Table of contents vii
- Preface 1
- I. Verbal Interaction Framework 7
- 1. Translation as Sign 8
- 2. Reader-Response Criticism 13
- II. The Translator-Function 24
- 1. The Translator as Omniscient Reader 25
- 2. The Translator as Acting Writer 33
- III. Translating a Woman's Poetic Discourse 42
- 1. “A poem can begin/with a lie. And be torn up.” 49
- 2. Heterosocial versus Homosocial 54
- 3. From Text to Author-Function 58
- 4. The Intertextual Factor as Feminist Strategy 67
- IV. The Speech Situation in Female Identified Discourse 84
- 1. A Poet in a Woman's Body 85
- 2. Person Deixis and Gender Markers 89
- 3. Speaker and Addressee in Adrienne Rich 92
- 4. Speaker and Addressee in Female-Identified Discourse 105
- V. Prosody, Rhythms, Intonation, and the Acting Writer 117
- 1. “Re-scored for a different instrument” 118
- VI. Translation and Women's Studies 151
- References 158