¤å¾Ç§åµû­º­¶   /  Reader Response ÅªªÌ¤ÏÀ³²z½×  /  ²z½×®a  /  Hans Robert  Jauss  º~´µ¡Dù§B¯S¡DÄ£´µ
Hans Robert  Jauss
º~´µ¡Dù§B¯S¡DÄ£´µ
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December 6, 2008

Hans Robert Jauss

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¥|­Ó¾Ç³N®É´Á: (1)     ¦Û1961¦~©l¡A®Â½Ã¤¤¥j®É´Á¤å¾Ç¡C

                      (2)     ¦Û1967¦~©l¡A®Â½Ã¥H¡u±µ¨ü¬ü¾Ç¡v¬°°ò¦ªº¤å¾Ç¥v¡C

                      (3)     ¦Û1972¦~©l¡A®Â½Ã¬ü¾Ç¸gÅç¡C

                      (4)     ¦Û1980¦~©l¡A®Â½Ã¤å¾Ç¸àÄÀ¾Ç¡C

Reference

Selected Bibliography

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º~´µ¡Dù§B¯S¡DÄ£´µ (Hans Robert Jauss, 1921-1997)¬°¼w°ê«n³¡¥±Ä˳ù(Württemberg)¦{ªº®æ¥­®Ú(Göppingen)¤H¡C¤G¦¸¤j¾Ô´Á¶¡´¿¨ìĬ«X«e½u°Ñ¾Ô¡A¾Ô«á´NŪ®ü¼w³ù(Heidelberg)¤j¾Ç±M§ðªk°ê¤¤¥j®É´Áªº¶Ç©_¤å¾Ç¡A®v©Ó®ü¼w®æ(Martin Heidegger)©M¥[¹FÀqº¸(Hans-Georg Gadamer)¡C1957¦~Àò±o³Õ¤h¾Ç¦ì¡A½×¤åÃD¥Ø¬°¡m°¨Áɺ¸¡D´¶¾|´µ¯Sªº¡Õ°l¾Ð¦ü¤ô¦~µØ¡Ö¤¤ªº®É¶¡»P¦^¾Ð¡n(Zeit und Erinnerung in Marcel Prousts “A la recherché du temps perdus,”or Time and Memory in Marcel Proust's Remembrance of Things Past)¡C

 

Ä£´µ¥ý«á´¿¥ô±Ð©ó¼w°ê¦h©Ò¤j¾Ç¡A¦ý¦Û1966¦~¨ü¸u©ó¨º®É­è¦¨¥ßªº±d´µ©Z¯ý(Konstanz)¤j¾Ç¡A1967¦~µoªí¡Õ¦V¤å¾Ç²z½×¬D¾Ôªº¤å¾Ç¥v(Literary History as a Challenge to Literary Theory)¡Ö¤@¤å«áÁn¦W¤j¾¸¡A¦Û¦¹¦³¨t²Î¦a¬ã¨s¡u±µ¨ü²z½×¡v¡A«á¨Ó¦¨¬°°ê»Úª¾¦Wªº¡uŪªÌ¤ÏÀ³²z½×¡v¤j®v¡C´¿¦Ü¬ü°ê­ô­Û¤ñ¨È¡B­C¾|¡B¬f§JµÜ¡B´¶ªL´µ¹y¡B«Â´µ±d¨¯µ¥¤j¾Ç»P¤Ú¾¤¯Á¨¹¤j¾Ç¾á¥ô«È®y±Ð±Â¡C

 

´Á«Ýµø°ì (horizons of expectation)

¦b±d´µ©Z¯ý¤j¾Ç®É¡AÄ£´µ(ù°Ò»y)´¿©M¨Ì­õ(Wolfgang Iser ­^¤å)¡BWolfgang Preisendanz (¼w»y)¡BManfred Fuhrmann (©Ô¤B¤å)¡BJurij Striedter (´µ©Ô¤Ò»y)¦@²Õ¡u±d´µ©Z¯ý¾Ç¬£¡v¡A¹ª§j¡u±µ¨ü¬ü¾Ç (Rezeptionsästhetik, the aesthetics of reception)¡v¡A¬ã¨sŪªÌ»P¤å¥»¤§¶¡ªº¤¬°Ê¡CÄ£´µ§l¦¬¤F¥[¹FÀqº¸¡uµø°ì (horizons)¡vªº·§©À¡A°Q½×¡u´Á«Ýµø°ì (horizons of expectation)¡v¡A·N«ü¤@³¡§@«~¥X²{®É¤H­Ì¹ï¥¦¹w¥ýªº§PÂ_»P¤ÏÀ³¡C[½sĶªÌ¡G¨Ò¦p§Ú­Ì¦b¾\Ū¤@³¡¸g¨å§@«~(§d©Ó®¦¡m¦è¹C°O¡n­ì¨å)©M¤@¥»º©µe®Ñ(¤é¥»º©µe®a§ï½sªº¡m¦è¹C°O¡n)®É¡A¹w³]ªººA«×¨Ã¤£·|¬Û¦P¡C]¦¹¥~¡AÄ£´µ¤]»{¬°¸àÄÀ»P¬ü¾Ç§PÂ_·|ÀHµÛ®É¶¡¦Ó§ïÅÜ¡C[½sĶªÌ¡G¨Ò¦p¤£¦P®É¥Nªº¤H¾\ŪÀ±º¸¹y(John Milton)¡m¥¢¼Ö¶é (Paradise Lost)¡n¸Ìªº¼»¥¹§Î¶H·|¦³¤£¦Pªº¸ÑŪ¡A¦]¦¹¬ã¨s¤å¾Ç­n¥[¤J¾ú¥vªº­±¦V¡C]

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¥|­Ó¾Ç³N®É´Á

Ormond Rush¦b¤@¥»¬ã¨sÄ£´µªº±MµÛ¡m±Ð¸qªº±µ¨ü(The Reception of Doctrine)¡n¤¤¡A´¿¤¶²ÐÄ£´µ¾Ç³N¥Í²Pªº¥|­Ó®É´Á¡A¨C¤@®É´Á¥L³£´¿¬°®Â½Ã¤@­Ó¤£¦Pªº»â°ì¦Ó§@¥ÓÅG (apologia)¡G

 

(1)     ¦Û1961¦~©l¡A®Â½Ã¤¤¥j®É´Á¤å¾Ç¡C

Ä£´µ»{¬°²{¥N¤H§Y¨Ï¨S¦³¤¤¥j®É´Áªº¾ú¥vª¾ÃÑ¡AÁÙ¬O¯à¦b¾\Ū¤¤¥j¤å¾Ç®É±o¨ì¬YºØ¬ü·P¸gÅç¡C¤£ºÞª½Ä±³ßÅw©Î¤£³ßÅw¤¤¥j¤å¾Ç¡A³oºØ¬ü·P¸gÅç¥D­n¨Ó¦ÛŪªÌ¹îı¨ì¤å¥»¤¤ªº¥@¬É»P²{¥NªÀ·|¦³¤@¨Ç®Ú¥»ªº®t²§¡C¹îı¨ì³o¨Ç®t²§«á¡AŪªÌ«K¯à³z¹L³o¼Ëªº¡u¥LªÌ©Ê¡v(alterity)ÂX®i¨Ã§ïÅܭ즳ªº¡u´Á«Ýµø°ì¡v¡A¦Ó¹F¦¨¥[¹FÀqº¸©Ò»¡ªº¡uµø°ì¿Ä¦X¡v(fusion of horizons)¡C

 

Ä£´µ»{¬°§@«~©ÒÄݪº¤åÃþ(genre)»P©Ò´yøªº¥@¬Éºc¦¨§@«~ªº¡u¥LªÌ©Ê¡v¡C¤@¥¹¼ô±x¤F¤¤¥j¤å¾Çªº¡u¥LªÌ©Ê¡v¤§«á¡AŪªÌªº¬ü·P¸gÅç¤]³\´N¯à±q­¯¥Í¡B¤£¸Ñ¡B·P¨ìµL²á¦ÓÂà´«¦¨¤F¸Ñ¡BªY½à¨ÃÀò±o¾\Ūªº´r®®·P¤F¡C´«¥y¸Ü»¡¡A¡u´Á«Ýµø³¥¡v¸òŪªÌªº¡u¤¬¤å¡v(intertextuality)¸gÅ箧®§¬ÛÃö¡C§Ú­Ì¾\Ūªº©¹©¹¤£¬O³æ¤@ªº§@«~¡F¾\Ū¸gÅç¬O³æ¤@§@«~»P§Ú­ÌŪ¹Lªº¦PÃþ«¬¤å¥»¤§¶¡¶°Åé¸I¼²ªºµ²ªG¡C

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(2)     ¦Û1967¦~©l¡A®Â½Ã¥H¡u±µ¨ü¬ü¾Ç¡v¬°°ò¦ªº¤å¾Ç¥v¡C

Ä£´µ¹B¥Î¤Õ®¦(Thomas Kuhn)¡u¨å½dÂಾ¡v(paradigm shift)ªº·§©À¡A»{¬°1960¦~¥N«á´Á¦b¼w°ê²±¦æªº¤å¾Ç¬ã¨s¤èªk³£µLªk¦¨¥\³s±µ¬ü¾Ç©M¾ú¥v¡C°¨§J«ä¥D¸q¤Óª`­«§@«~¥~½tªº¾ú¥v¯ßµ¸¬ã¨s¡A«X°ê§Î¦¡¥D¸qªº¥D¬y«h¤Ó±j½Õ§@«~¤º¦b§Î¦¡¤ÀªR¡CÄ£´µ¥D±i·sªº¨å½dÀ³»EµJ¦b·sªº°ÝÃD¡A§Y°T®§ªº¡u±µ¦¬ªÌ (addressee)¡v¡A¨Ã¥²¶·±q¡uŪªÌ±µ¨ü (readerly reception)¡vªºÆ[ÂI­«¼g¤å¾Ç¥v¡A¥H¸É¨¬¤å¾Ç¬ã¨s¨å½dªº¤£¨¬¡C

 

§@«~ªº¡u¾ú¥v©Ê¡v(historicity)

Ä£´µ»{¬°§Ú­Ì¥i¥H±q¤T¤è­±À˵ø§@«~ªº¡u¾ú¥v©Ê¡v(historicity)¡G(1)¡u¾ú¥v¤¤ªº¤å¥» (the text within history)¡vÀ˵ø¤å¥»©M¥¦¸ò­ì¥»¾ú¥v¤å¤Æ¯ßµ¸¶¡ªº¤¬°Ê¡A±´°Q³ÌªìŪªÌªº±µ¨ü±¡§Î¡A§Y¡u¦@®É©Ê¡v(synchronical)ªº¬ã¨s¡F(2)¡u¬ï¶V¾ú¥v®ÉªÅªº¤å¥» (the text throughout history)¡vÀ˵ø¤£¦P¾ú¥v®É´Á¤¤¤£¦P¾\Ū¹ÎÅé¹ï¦P¤@¤å¥»ªº±µ¨ü«×¡A§Y¡u¾ú®É©Ê¡v(diachronical)ªº¬ã¨s¡F(3)¡u¤å¥»»P¾ú¥v (the text and history)¡v´N¾ãÅé¾ú¥v¡A§»Æ[°Q½×¤å¥»ªºªÀ·|¥\¯à(social function)¡C

 

Ä£´µ¨ü¨ì¤F¸àÄÀ¾Çªº¼vÅT¡A»{¬°¤å¾Ç§@«~¬O¤@­Ó¡u¨Æ¥ó (event)¡v¡A¤£¬O¤@­Ó¾ú¤[¤£ÅÜ¡B¯«¸t¤£¥i«I¥Çªºª««~¡A¤]¤£¶È¶È¬O¬Y¤@¦ì§@®aªº³Ð§@¡A¦Ó¬OŪªÌ¦b¾ú¥v¶iµ{¤¤»P¤å¥»«ùÄò¹ï¸ÜªºÁ`©M¡C°ß¦³¦b¤@¦ì¿n·¥²z¸Ñ»P¸àÄÀªºÅªªÌ¨­¤W¡A¤å¥»·N¸q¤~±o¥H¹ê²{¡A§Ú­Ì¤]¤~¯à§ä¨ì¤å¥»¦b¾ú¥v¤¤ªº¥ÃÄò©Ê¡C[½sĶªÌ¡G¤ñ¤è»¡¡A§Ú­Ì¥i¥H±´°Q¥xÆW¥»¦aŪªÌ¹ï©ó㺽¤p»¡©ÎªZ«L¤p»¡ªº±µ¨ü¾ú¥v¡G¦b¦U­Ó¤£¦P®É´Áªº¾P°â±¡§Î©M¸àÄÀ¨¤«×¡A¤]¥i¥H¥Ñ½Ķªº¨¤«×¨Ó°Q½×·í¥Nªº´Á«Ýµø°ì (horizons of expectation)¡G°Q½×¥»¦a½Ķ®a³Ì³ßÅw½Ķ­þ¨Ç¥~°ê§@®a¡A¦Ó­þ¨Ç§@®a«o«Ü¤Ö¦³¤H¤Þ¤¶¨ì°ê¤º¡C]

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(3)     ¦Û1972¦~©l¡A®Â½Ã¬ü¾Ç¸gÅç¡C

Ä£´µ¦b1972¦~¥Xª©¡m¬°¬ü¾Ç¸gÅç©Ò°µªº¤p¤pÅGÅ@ (A Small Apologia for Aesthetic Experience)¡n¤@®Ñ¡A¬ã¨s­«ÂI±qŪªÌªº¡u´Á«Ýµø°ì¡vÂಾ¦ÜÃÀ³Nªº¥»½è©M¬ü¾Ç¸gÅç¡C·|°µ³o¼ËªºÂàḀ̊ܳD­n¬O¬°¤F¤Ï¹ï·í®É¨ü¨ìÅwªïªº°¨§J«ä¥D¸q²z½×®aªü¦h¿Õ(Theodor Adorno)©Ò´£¥Xªº§_©w©Ê(negativity)¬ü¾Ç¡C

 

ªü¦h¿Õ¹L¥@«á¦b1970¦~¥Xª©ªº¡m¬ü¾Ç²z½×(Aesthetic Theory)¡n¤¤´£¨ì¡AÃÀ³N³Ì¤jªº¤Ý¸Þ¦b©ó¥¦»PªÀ·|¬J¨Ìªþ¤S¹ï¥ßªºÅGÃÒÃö«Y¡GÁöµMÃÀ³N¬OªÀ·|ªº¤@³¡¤À¡A¦b¥»½è¤W«o¬O¤ÏªÀ·|ªº¡C¥L»{¬°²{¥N¤j²³´CÅé©Î¡u¤å¤Æ²£·~(the cultural industry)¡v¥Í²£¥X¨Óªº³£¬O¥Î¨Ó¾Þ±±©M¤ä«ù¸ê¥»ªÀ·|²{ª¬ªº°Ó«~¡C¦]¦¹­Ó¤H¥²¶·ºûÅ@¨ä¦Û¥D©Ê(autonomy)¤~¯à©è§Ü¥ô¦ó¾Þ±±¡C¹ïªü¦h¿Õ¦Ó¨¥¡A¯u¥¿¦³»ù­ÈªºÃÀ³N«~¤]¦³³o¼Ëªº¦Û¥D©Ê¡A¯u¥¿ªºÃÀ³N«~¤£¨ã¥ô¦óªÀ·|¥Øªº¡A¤£¥Nªí«~¨ý¡A¤]¤£Åý¤H·P¨ì´r®®(pleasure)¡F¦ý¤]¥¿¦]¦p¦¹¡A¤~¯à´¦ÅS·NÃѧκAªº¾Þ±±¡A«ü¥X¥¼¨Ó¦p¦ó³z¹L¤Ï§Ü²{¹ê¦ÓÀò¦Û¥Ñ (Rush 47)¡C

 

Ä£´µ¤Ï¹ïªü¦h¿Õ³oºØªñ¥G¸T¼¤¥D¸q¦¡ªº¥D±i¡C¥L»{¬°§Ú­Ì¦bªY½àÃÀ³N®ÉÀò±oªº´r®®·P¥Nªí¤@ºØ³Ì¬ü¦nªº¬ü·P¸gÅç¡C¬ü·P·½¦Û¥DÅ餧¶¡ªº¤¬°Ê¡A­Y­ÓÅé»PªÀ·|²¨Â÷¦Ó§¹¥þ¦Û¥D¡A¬ü·P¸gÅç´NµLªk²£¥Í¤F¡C¦Ó¨Æ¹ê¤W¡A­n±o¨ì¬ü·P¸gÅç¡A±µ¨üªÌ/ŪªÌ¥²¶·¥D°Êªº°Ñ»P¸ò§@«~¤§¶¡ªº¹ï¸Ü¡A¬Æ¦ÜÁ٨㦳§Ü©Ú¾Þ±±ªº¯à¤O¡A¦]¦¹µ´«D³Q°Êªº°Ó«~®ø¶OªÌ¡C

 

¦¹¥~¥L¤]»{¬°ÃÀ³N¿W¥ß¦Û¥Dªº·§©À¡A¨Æ¹ê¤W¬O­«ªð19¥@¬ö¡u¬°ÃÀ³N¦ÓÃÀ³N¡vªº¸^¦Ý¡A¾¨ºÞ¯à¥Î¨Ó¸ÑÄÀ20¥@¬öªº«e½ÃÃÀ³N¡A«oµLªk¥R¤À¸Ñ»¡²{¥N¤§«eªºÃÀ³N¡A¨Ò¤¤¥j®É´Áªº¥v¸Ö¡C°£¤F§_©w»P¬D¾ÔªÀ·|³W½d¥~¡AÃÀ³NÁÙ¦³«Ü±jªº¾ã¦X¥\¯à¡CÄ£´µ´N´¿¥H¤å¾Ç§@«~¤¤ªº¡u­^¶¯¡v§Î¶H¬°¨Ò¡A»¡©úÃÀ³N¦p¦ó¯à¨Ï±µ¨üªÌ/ŪªÌ¦]²£¥ÍªÀ·|»{¦P(identification)¡A¬Æ¦Ü±a¨Ó§ïÅÜ¡C

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(4)     ¦Û1980¦~©l¡A®Â½Ã¤å¾Ç¸àÄÀ¾Ç¡C

1960¦~¥N«á¡Aµ²ºc¥D¸q©M«áµ²ºc¥D¸q¿³°_¡A±´°Q¥DÆ[·Pª¾¸gÅ窺¸àÄÀ¾Ç¤@¤U¤l¦¨¬°²³¥Ú¤§ªº¡C¹ï¸àÄÀ¾Çªº§åµû¥D­n¦³¤TÂI¡G¸àÄÀ¾Ç (1)°¾Â÷¤F¤èªk½×¥D¸q(methodologism)»P«ÈÆ[©Ê(objectivity)¡F(2)¤Ó¨Ì¿à¶Ç²Î¡A®e©ö²_¬°±Ð±ø¥D¸q(dogmatism)¨Ã¯Ê¥F§å§P¤O¡F(3)¤Ó°õµÛ¦a¬Û«H²³¤H¨ã¦³·Q­n²z¸Ñ¡B¹F¦¨¦@ÃÑ¡B»{Ãѯu²zªº·NÄ@¡C

 

°w¹ï³o¨Ç§åµû¡AÄ£´µ¥H¤å¾Ç¸àÄÀ¾Ç¬°¨å½d¡A«ü¥X¸àÄÀ¾Ç±j½Õ¹ï¸Ü(dialogism)¡B¸ó»â°ì(cross-disciplinary)©M¾ã¦X(integrative)¥\¯à¡A¨ä¹ê¤~¬OÁקK±Ð±ø¥D¸qªº³Ì¨Î¨}¤è¡C¡u¹ï¸Ü¡v¶}±Ò¤F¦@¨É·N¸q(shared meaning)ªº¥i¯à¡A·N¸q¤£¦A¥uÄÝ©ó­ì³Ðªº§@ªÌ¡A¦Ó¥²¶·¥Ñ§@ªÌ¡B§@«~©MŪªÌ¦@¨É¡C¦¹¥~¡u¹ï¸Ü¡vªº·§©À¤]¦J¥¿¤F¸Ñºc¥D¸qªÌ¹ï¤å¥»ªº¬Ýªk¡A¡u¹ï¸Ü¡vµ²ªG©Ò²£¥Íªº¦@¦P·N¸q­­¨î¤F¡u²Å¼xªº¹CÀ¸(the play of the signifier)¡v¡Aªý¤î·N¸qµL¤î¹Ò¦a®i©µ¦Ó¨«¦V¬Û¹ï¥D¸qªºµêµL¡C

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Reference

 

Rush, Ormond. The Reception of Doctrine: An appropriation of Hans Robert Jauss'

        Reception Aesthetics and Literary Hermeneutics. Rome, Italy: Gregorian UP,

        1997. 11-64.

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Selected Bibliography

 

“Hans Robert Jauss.” Philweb. http://www.phillwebb.net/history/twentiethcentury/Continental/Phenomenology/Jauss/Jauss.htm

                ´£¨ÑÄ£´µ§@«~¬Û·í§¹¾ãªº­^¤å®Ñ¥Ø¡C

Iser, Wolfgang (¥ì­õ)µÛ¡C³æ¼w¿³Ä¶¡C¡qŪªÌ¤ÏÀ³§åµûªº¦^ÅU¡r¡C¡m¤¤¥~¤å¾Ç¡n19¡G

12¡]1991.5¡^¡G85-100¡C

Jauss, Hans Robert. Toward an Aesthetic of Reception. Trans. Timothy Bahti.

        Sussex, UK: Harvester, 1982.

                ¦³¬ü°ê­C¾|¾Ç¬£²z½×®a«Où¡D¼w°Ò(Paul de Man)ªº¤Þ¨¥¡C¤å¤¤¼w°Ò©áÀ»

                Ä£´µ©¿²¤¤å¦r§@¬°¶H¼x¨t²Î¨ã¦³¦Û§Ú©µ²§¡B³y¦¨·N¸q¤£½T©w©Êªº¯à¤O¡A

        ¦Û¦¹¶}±ÒÄ£´µ»Pµ²ºc¥D¸qªÌ¤§¶¡¤@³s¦êªºÅG½×¡C

---µÛ¡CÅU«Ø¥ú¡BÅUÀR¹ç¡B±i¼Ö¤ÑĶ¡C¡m¼f¬ü¸gÅç»P¤å¾Ç¸ÑÄÀ¾Ç (Aesthetic Experience

and Literary Hermeneutics)¡n¡C1982¡C¤W®ü¡G¤W®üĶ¤å¥Xª©ªÀ¡A1997¡C

---»PRobert C. Holub¦XµÛ¡C©P¹ç¡Bª÷¤¸®úĶ¡C¡m±µ¨ü¬ü¾Ç»P±µ¨ü²z½×¡n¡CÂn¶§¥«¡G

¿ñ¹ç¤H¥Á¥Xª©ªÀ¡A1987¡C

¡Õ°¨§J«ä¥D¸q»PŪªÌ·NÃÑ¡Ö¡Chttp://zd.54yjs.cn/zhengzhilunwen/20080423-36256.html

¹ï©ó¤¤°ê¤j³°¤Þ¤¶¡uŪªÌ¤ÏÀ³²z½×¡v»P¡u±µ¨ü¬ü¾Ç¡vªº±¡§Î¦³¸ÔºÉ¤¶²Ð¡C

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¥xÆW³ÕºÓ¤h½×¤åÀ³¥Î¹ê¨Ò

 

³¯ÀR©yµÛ¡C¡m»®°Ò£»»®¶ëªºÅªªÌ¤ÏÀ³¤Î¥DÃD¡u¦Û§Ú°l´M¡v: ¥H¡Õ¶m·T¡Ö¡B¡Õ¨®½ü¤U

¡Ö©M¡Õ·K´a¤Ö¦~®É¡Ö¬°¨Ò (Hermann Hesses Rezeptionsgeschichte und

“Selbstfindung” als Thema in seinen Werken am Beispiel von Peter Camenzind,

Unterm Rad und Demian)¡n¡C»²¤¯¤j¾Ç¼w»y¨tºÓ¤h½×¤å¡A2002¡C

 

ÁöµM¨S¦³ª½±µ¤Þ¥ÎÄ£´µ¡A¦ý¥DÃD»P¬ã¨s¤èªk³£ÄÝ©óŪªÌ±µ¨ü¬ü¾Çªº¨å«¬½dÃ¥¡C½×¤å¤¤¦³¤@³¡¤À°Q½×¨ì¬°¦ó¦b20¥@¬ö«á´Á»®¶ë(Hermann Hesses)¦b¼w°ê¨üŪªÌÅwªïªºµ{«×¨Ã¤£¦p¬ü°ê¼ö¯P¡A¦Ó»®¶ë¦b¥xÆW¤]»·¤ñ¦b¤¤°ê¤j³°¡B­»´ä©M·s¥[©Yµ¥¦a§ó¨ü¨ìŪªÌ©M¾ÇªÌ³ß·R¡C

 

¸­¥É¼zµÛ¡C¡m·s¥[©YµØ¤å§@®a¶À©s¤å§@«~¬ã¨s (The Research on Singaporean Writer

Wong Meng Voon's Complete Works)¡n¡C²H¦¿¤j¾Ç¤¤¤å¨tºÓ¤h½×¤å¡A2000¡C

 

¹B¥ÎÄ£´µ»P¥ì·æº¸(Wolfgang Iser)¨â¦ì²z½×®aªº±µ¨ü¬ü¾Ç²z½×¡A¤ÀªR¦¹½×¤å§@ªÌ¥»¨­¦b½Ķ¹Lµ{¡A¦p¦ó§êºt¤@¦ì¡uÁô§tªºÅªªÌ¡v¡]Implied Reader¡^¡v¡A¹B¥Î¦Û¤vªº¡u´Á«Ýµø³¥¡v¸ÑŪ¨Ã½Ķ·s¥[©Y§@®a¶À©s¤å©Ò¦³µÛ§@¡C±j½Õ¥»½×¤å¡u©Ò§e²{ªº¤ÀªR¦¨ªG»Pµû½×¤Î¨ä¥LŪªÌªº½àªR»Pµû½×¬O«Ø¥ß¦b¤@­Ó¦@¦Pªº°ò¦¤W¡C¡v

 

Á§²Mà±µÛ¡C¡m¥H¡uŪªÌ¤ÏÀ³¡v²z½×¸àÄÀĬ¥±§J¨½¯÷¤§©³¤ñ´µ¤T¼@ (A Reader-response

        Interpretation of the Three Theban Plays by Sophocles¡n¡C¤å¤Æ¤j¾Ç­^¤å¨tºÓ¤h

        ½×¤å¡A1992¡C

 

¥HÄ£´µ»P¥ì·æº¸(Wolfgang Iser)ªº²z½×¬°¨Ì¾Ú¡A°Q½×¤¤°êŪªÌ¦p¦ó¸ÑŪ³o¤T­Ó§Æþ´d¼@¤¤¥ì©³©¬´µ(Oedipus)³o­Ó¨¤¦âªº¾D¹J¡A¤×¨ä¬O¨ä¤¤·I¤÷°ù¥À¦³®¯­Û±`ªº¦æ¬°¡C½×¤å¤¤§@ªÌ¥H¦Û¤v¬°¨Ò¡A±´°Q¼ô±x¤¤°ê¶Ç²Î¸g¨å¡]¦p¡G¡m¥|®Ñ¡n¡B¡m§µ¸g¡n¡^ªºÅªªÌ¥i¯à·|¦p¦ó¬°³o¼Ëªº±¡¸`´£¨Ñ»P¦Û¨­¤å¤Æ¸û¤£²£¥Í½Ä¬ðªº¦X²z¤Æ¸ÑÄÀ¡A¦p¥ì¤ó©d¸¤§J¨½©ù¡]Creon¡^ªº³´®`µ¥¡C

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