Aug 2026· International Journal of Language and Literary Studies· Vol 8, pp. 99-108· 0 citations· 3 references
Abstract
The ability to read and fully comprehend is a major step in an individual's education. The same text on the page speaks differently to each person. Historically, information was disseminated orally through storytellers and scribes, as Jean-Paul Sartre notes in his autobiography ‘Les Mots’ (1964), where he describes the difference between being told a story and being read one by his mother. The path of understanding whatever subject matter is being read subtly alters everything, moving the words from the page to the conscious grasp of meaning and the ‘texture’ of the words. What do we mean by ‘texture’ in this context? Texture, broadly, can be contextualized and broken down into superficial meaning, detailed in-depth meaning, subconscious meaning that may be attributed to it, and the reader's grasp of it. Mikhail Bakhtin speaks of heteroglossia, and Louise Rosenblatt speaks of the efferent-aesthetic scale while reading and assimilating the written word. We use the term ‘language’ even though the spoken word differs from what is on the page or in other media, such as a computer screen. Our understanding also brings about dimensions and grades of perception. In an ESL setting, especially, being able to layer multiple processes of literary theory and outlook helps to deepen and widen understanding and perspective significantly. Readers can tether their reading to these to enhance their reading experience rather than be confined to rote learning and explanatory frameworks. They build their own scaffolding, and this architecture is unique to each reader.
This article argues that the form of a text matters as much as, if not more than, its content. Using Fakhr al-Din ‘Irāqī’s Lamaʿāt (Divine Flashes) as a case study, this article explores the significance of the poetic form and the role of the reader/listener in interpreting and experiencing the poem. The article argues...
This article presents an excerpt based on a scene from a master's dissertation in progress. The scene emerges from the researcher's childhood memories and is rewritten through the characters Eulina and Vó-Zefa. In it, the Black grandmother, a traditional prayer healer and street-market vendor, questions the girl's effo...
Vanessa Conceição dos Santos· Revista de Estudos Interdisc...· 0 citations
The study of the cognitive process of recognising images (signs) that characterise the content component or emotion is necessary for artistic communication. On the one hand, an interpreter is a representative of a specific society, ethnos, a linguistic personality, a communicant in the historical and modern aspects. On...
T. Portnova· Journal of Language and Ling...· 2 citations
The second-hand story is a narrative structure that hinges on a narrator who listens to and reports other people’s words. Updating the older literary convention of the reported tale and responding to the recent marked increase in both the production of and interest in autobiography, autofiction, reportage, and testimon...
The thought before the mark, in essence the beginnings of the processes of painting, in this case abstract painting. Would be to consider possibilities of painting with the context of asemic writing. Where asemic writing offers no description of anything outside of itself, yet maybe the articulation of something, in ot...
Abstract:Asked about her poetics of vagueness in a 2023 interview, Marie NDiaye compared her literary universe to ouate. The French word stands out in an English-speaking context (what), but it also points to a network of sounds and textures that this article sets out to explore. Building on the work of Roland Barthes...
Morgane Cadieu· International Conference on...· 0 citations
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