Generally, reader-response criticism rejects the notion that a literary function is an object (Fish 42). This approach to literary criticism positions the reader in a seminally important subprogram and suggests that every reader "knows" or understands written texts as the result of a personalized stock-still specific strategy developed to explore and explicate such texts. Indeed, it can all the same be suggested that virtually all criticism - even those types of critical inquiries that are positioned within an alternative speculative school - involve some element of a reader's give response.
In the present study, which focuses on a single nominate by Jamaica Kincaid, reader-response criticism testament be employed to appraise the central themes in The Autobiography of My Mother. To illustrate the viability of reader-response criticism, this study will also examine other critical analyses of Kincaid's novel. For example, Craig Seligman (12), a origin colleague of Kincaid at the New Yorker, has studied Kincaid's writing and has argued that running through prohibited her swear out is a strong element of bitterness, even of anger, which validates the female while denying the efficacy of the male.
Other critics, including Diane Simmons (23), be duplicityve that Kincaid's work invariably produces crises of loss centering upon the mot
Keller, Johanna. The Autobiography of My Mother."
"Of the two main arguments of reader-response theory, (1) that because an intentionalist understanding of "meaning" is short(p) for a description of the reading process, meaning must lie elsewhere, and (2) that the ultimate impossibility of an objective viewpoint privileges the reader, neither follows from the premises. Postmodernists crap reasoned as though making the accessibility of a text's authorial purpose problematic somehow inveighed against the authorial-intentionalist definition of that text. It does cryptograph of the sort. At most, it only inveighs against the success of the text.
Nor does the impossibility of a whole objective reading of a text rule out the goal of an objective reading."
Morris (954) states that while at school, in a class with seven boys and herself, she is conscious of the marks that distinguish her from the instructor and the other students:
Feminist criticism of Jamaica Kincaid's work in everyday and of The Autobiography of My Mother in particular makes much of the role of language (Anatol 938), the reclamation of the self and identity as an independent actor (Bernard 114), and the reclamation of the female body as a means of bringing erasures back to life and re-placing the lives of women and indigenous cultures as foundational elements of the discursive Caribbean (Morris 954). Kathryn E. Morris (954) notes that Xuela must begin to identify and catalog the histories that get her identity and in the process, clings to the history of her dead mother as a matter of belonging.
Jamaica Kincaid wrestles with the issues that surround biological notions of motherhood, but her first-string focus is on sexual power. I would agree with Anatol (948) that in Xuela's relationship with Phillip Bailey, Xuela holds the power and has inverted the traditional hierarchy in which the white male colonist is viewed as the superior being. Xuela's rule is that in marriage, she does
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