Reader Response

Matt 1:17 indicates that Jesus' genealogy is formed by three series of fourteen generations; however, this total number of generations does not match the preceding list in Matt 1:2-16. Interpreters have proposed multiple ways to understand this inconsistency which have yet to be collected and evaluated. A double literature review displays the limitations of this seemingly insoluble biblical conundrum. This article presents the tension between verse 17 and verses 2-17 of Matthew's gospel as a puzzling reading experience that can best be described, in line with Stanley Fish, as a self-consuming artifact: an experience of incongruity in which the text and the reader are transformed through a process of negation. This approach also highlights other potential reversals in Matthew 1, such as Davidic traditions, that can yield a renewed outlook on this gospel.

In the spring of 1944, the Yiddish poet and partisan Avrom Sutzkever was airlifted into the unoccupied Soviet Union. With him he brought more than new information about the Holocaust. He brought a distinct approach to witnessing, one that summoned Soviet Jews, and refugees especially, to tell him their stories in response. Sutzkever’s testimony differed from other important testimonial publications that appeared in
the Soviet media at the time. In the latter, we find a stylistic and conceptual separation between the voice of Jewish victim and Jewish advocate, observer and interpreter of catastrophe. By contrast, Sutzkever’s work, the epic poem “Kol nidre” in particular, emphasizes dialogue and reciprocity among different witness perspectives. His writing also
ascribes dignity and poetic beauty to the voice of the Jewish victim from Poland-Lithuania. In this essay, these observations about Sutzkever’s writing are set in conversation with
epistolary responses to the author from Soviet Jewish refugees.

The last twenty years have seen a growing interest in the ethical value and ethical significance of literature. Some argue that literary works have moral affects on their readers while some others claim that literature can be approached only from an aesthetical point of view. If literary works have such an effect on the reader, the question is how do they achieve this function? What differs them from other kinds of texts? In this paper my aim is to reveal the peculiar ethical significance of literary works. In order to achieve this aim, I will argue that these works should be approached as fictional and aesthetic texts. Hence, I will also side with autonomist who defends the aesthetic and fictional autonomy of literary works. I will try to show that moralism and autonomism do not have to be formulated as rival camps, rather one can defend the ethical significance of literature by staying in the autonomist sphere. Moreover, one has to stay in the autonomist sphere if she wants to understand the peculiar ethical power of literature; the ethical power of literature as literature.

Suspendus aux lèvres d’un conteur, incapables d’interrompre la lecture d’un roman, captivés par un film haletant, nous faisons tous l’expérience quotidienne de ce plaisir apparemment paradoxal que nous tirons de notre insatisfaction provisoire face à un récit inachevé. Bien qu’une mode esthétique et théorique ait tenté de nous convaincre que ce plaisir était honteux, on peut néanmoins avoir l’intuition que le cœur vivant de la narrativité réside précisément dans ce nœud coulant, toujours plus serré à mesure que nous progressons dans l’histoire, qui nous attache à l’intrigue et creuse la temporalité par l’attente impatiente d’un dénouement. Si le récit a quelque chose à voir avec la manière dont nous éprouvons le temps, cette expérience n’apparaît jamais avec autant d’éclat que dans le suspense, la curiosité ou la surprise qui font la force des intrigues fictionnelles. La compréhension des fonctions narratives engage donc non seulement l’analyse littéraire, linguistique et sémiotique, mais aussi l’analyse cognitive et la psychologie des émotions.

This thesis explores the ethical impact of literary narrative fictions on the reader. It does so by focusing mainly on the reading experience since one of the main claims of the thesis is that literary narrative fictions are co-products of the author and the reader. In that sense the aforementioned impact cannot be understood without taking into account the creative acts of the reader. The exploration is carried out by focusing on three scholars whose investigations on the problem of literary experience can be read as complementary works.In the first chapter I descriptively lay out Roman Ingarden’s investigation on the ontological and structural character of the literary work of art along with his phenomenological inquiry into the cognition of this work. By examining his basic claims about the nature of the literary work ofart and its cognition, I discuss the ontological incompleteness of these works which necessitates the active role of the reader in giving the work its final shape. In the second chapter I focus upon Wolfgang Iser’s reader-response theory.  Iser’s theory goes parallel to Ingarden’s in the sense that they both accept the openness of the work to the creative acts of the reader. Iser, however by his notions of depragmatization, negation and negativity suggest us a two-way traffic between the fictional work and the reader. Through the reading proses, by virtue of the negations and de-pragmatizations, the work invites the reader to reflect on the familiar norms it represents and suggest to her a new model to understand the real world. In this way, while giving ashape to the work, the reader is also shaped by it.The third chapter addresses the phenomenological hermeneutics of Paul Ricoeur. By exploring his notion of “narrative identity” as a mediator between the ipseand idemidentities, my aim is to show the influence of the literary fictional narratives in understanding the identity of the individual subject as a temporal, historical, and intersubjective being. It is only through this understanding that we can construe the subject in her ethical identity. I will also focus on Ricoeur’s notions of “emplotment,” and “threefold mimesis,” which implies the active role of the reader in realizing the literary narrative fiction, so that I can reveal how fictional narratives enhance the notion of narrative identity.

RESUMO Este artigo trata das possibilidades de personalização características das tecnologias digitais, que se estendem aos livros, cujo projeto gráfico pode, muitas vezes, ser alterado pelos usuários. As questões que encaminham o texto dizem respeito à relação dos leitores com os livros digitais, com ênfase no uso, das possibilidades de customização dos livros digitais. Para abordar o tema, partimos de uma revisão bibliográfica sobre o design editorial, após a qual apresentamos os resultados de uma pesquisa junto a leitores, realizada através de questionários online. O texto termina com uma reflexão sobre o papel do designer frente às possibilidades de customização do livro digital. Palavras-chave: "design editorial", "e-book" e "tablets". INTRODUÇÃO Ao longo dos séculos que compõem a história do livro, diversos padrões de composição legitimaram-se e passaram a ser considerados sinônimos de conforto e eficácia de leitura ao usuário-bem como da capacida...

Avete appena ricevuto un libro in regalo? Natale o compleanno che sia... oppure state per andare in libreria a comprare un libro? O, peggio, siete su Internet e state esplorando i vari siti che vendono libri on line per acquistarne uno? Fermatevi, per carità! Prima di fare gesti malsani leggete questo paper preparato per voi... stolti lettori!
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Visit my website https://literacy-power.com/site/galleries/responding-to-poetry.
See more students' responses to reading.
When we work with creative reading responses, it doesn't matter if the student has read every page or if she liked the book. It makes no difference if the student is rereading a book he likes or what “level” the book might be, or whether only the action parts or the dialogue were read. Real independent reading is ultimately about some form of thoughtful engagement with a text and our personal enrichment.  Every student responding to a text achieves success, and by sharing the responses with the class, all of our experiences are enriched.

Perceptions of black representations in literature and other visual mediums as positive or negative continuously cause consternation and debate (Fleetwood, 2011). Because African American children are literacy participants and consumers, they are not immune from experiencing this tension. This essay considers the effects and affective threads of racism and racialization connected to visuality (Foster, 1988), and how educators might support and nurture children’s roles as aesthetic critics and critical readers of books featuring racial imagery and representations. The young African American readers in this study resist a picturebook using colorist logic and macro-level social indexing of phenotypic traits. The author argues that negative social messages about blackness within the larger ethos of society, as well as the absence of diverse representations in children’s literature, contribute to such interpretations. She suggests explicitly teaching African
American children about counter-visuality and the ways in which ‘‘art works’’ to shape and transform understandings about complex experiences like racism.

In Reading as Interaction, Nathalie Schwering argues that the activity of reading turns fiction into a physiological reality: reading fiction can produce real emotions in readers, and these emotions can bias readers’ moral judgments of characters, texts, and even authors. Ian McEwan’s texts teem with moral issues of trust, guilt, confession, deception and complicity, unreliability, and the blurring of reality and fiction, and because of this, reader reactions to them can be emotional and divided, and debates about them tend to be heated. Schwering uses findings from behavioural biology and moral psychology to identify narrative strategies that bias readers in specific ways, and to analyse the impact of affective and cognitive biases, heuristics, and moral emotions on readers’ judgments. She argues that understanding the biological roots of narrative manipulation can help us question our own reactions, biases, and judgments as well as those of others, and that these skills transgress the boundaries of reading fiction.

Following Wolfgang Iser’s studies, literary criticism could no longer avoid a confrontation with the phenomenology of the act of reading. This has led the analysis of a literary text towards new researches regarding the reader’s response theory . In particular, it is impossible to define the field of literary investigation, its coordinates and characteristics, without considering the anthropological dimention which defines the epistemological nature of literature itself. We propose in this study a new approach that we call “neurohermeneutic approach”. Unlike an analytical or descriptive approach, the neurohermeneutic approach investigates broth the relations that the reader’s mind establishes with the text figurations and how these figurations stimulates the reader’s mind in that inexhaustible, always new and surprising act of the reading. A partire dagli studi di Wolfgang Iser, la riflessione critica non ha piu potuto evitare il confronto con la fenomenologia dell’atto della lettur...

Dit artikel doet verslag van een verkennend onderzoek naar wat vo-leerlingen zelf zouden willen bespreken als zij over verhalen praten op school. Daarnaast is onderzocht wat leerlingen daadwerkelijk bespreken over verhalen, als zij zelf invulling mogen geven aan een gesprek daarover.  In hoeverre komt ‘willen’ overeen met ‘doen’? Dat blijkt in de praktijk niet helemaal met elkaar overeen te komen. Leerlingen geven aan dat zij vooral willen praten over interpretatie en oordeel, en in mindere mate over beleving. In de praktijk blijkt dat interpretaties inderdaad veelvuldig besproken worden, maar dat praten over oordeel maar weinig aan bod komt in hun gesprekken.

"This essay is a study of the Old English word swifeth as it is used in the much talked of Riddle 12. Although it is not a hapax legomenon, as it occurs five other times in the entire Anglo=Saxon corpus, its use here is a curious one, made all the more so by its rarity. In place of the ordinary usage of swifeth (intransitive), 'moves,'  I propose that it mean something else in Riddle 12, something more akin to the meaning (transitive) that it developed in Chaucer's day. This puts it in the realm of what C.S. Lewis might have called a 'dangerous sense,' since it can so easily bend to one's desire to make it have this meaning, make it solve the problem of its difficult grammar, make it prove the salaciousness of its context, and the contemned activity of the woman who is the centerpiece of the riddle.  In short, I want to make swifeth me yield its probable, vulgar, and most 'dangerous sense' of unveiled coitus, and to show that it may exhibit not only a double meaning in an obscene riddle but double valency--that is, in linguistic terminology, an extra argument and transitive force. . . . This essay, then, has two thrusts: it tackles the problems of both grammar and solution in Riddle 12, and also the fraught issues of hermeneutics and sexuality that inform our readings of it. It strives to locate the tension between critical desire and careful philology, a difficult task when the latter many not easily serve the former, especially given the rare words and double entendres."

This article is an account of fieldwork carried out in a school in East Sussex, in the south of England, with a group of 10-and 11-year-old children, to discover whether they perceive social class in a selection of children's fantasy fiction texts. The methodology will be described, and there will be a discussion of the initial findings. I am grateful to University of East London's School of Arts and Digital Industries for the funding that enabled me to buy the books used in this research.

On the often overlooked irony in Jorge Luis Borges’ “The Library of Babel” (which is not the exhaustion of possible expression) and “Pierre Menard, Author of the Quixote” (which is not a death-of-the-author-birth-of-the-reader allegory). The narrator of "The Library of Babel" claims that it contains everything it is possible to express in all languages, yet the play with the library's character set (twenty-two lowercase letters, space, comma, and period - so we are told) shows that it is incapable even of expressing this brief story. The narrator of "Pierre Menard" is tied, through several allusions, to a prominent Nazi that Borges had elsewhere criticized - which demonstrates that his insistence that meaning be tied to the context of reading is meant as an implicit critique or deconstruction of reader-response criticism in the style of Barthes or Jauss.

Because online digital writing has become an important means of text production, this paper argues that the core concept of genetic criticism, ‘avant-texte’, should be kept up-to-date with the new medium and environment. It will show how online comments in interactive and collaborative textual production should be recognized within the translation’s genesis. The online comments on a widely read news translation in China’s largest virtual translation community is used to showcase how these digital comments can be identified and examined to facilitate our understanding of the microhistory or genesis of news translation. Situated at the juncture of genetic criticism and translation studies, this paper concludes by addressing theoretical and methodological implications for conducting a genetic analysis based on the proposed analytical model.

As a nature parable, THE LEGEND OF ZELDA: BREATH OF THE WILD involves players in a dreamlike gameworld in which their unconscious desires for an ecological sustainable Utopia and a romantic imagery of nature are evoked, exposed to distress, and eventually saturated. By sending players on the journey of a hero to restore order in a polluted but majestic world, the game evokes a bewildering variety of affects in them. These oscillate between positive and negative ones—such as curiosity and fear, excitement and distress, startle and anger, pleasure and terror—and are outlined by the game’s structural peculiarities (its implied player) in different ways, depending on the region of the gameworld. The players’ affective responses then culminate in the tumultuous emotion of astonishment and in the aesthetic response of the sublime. The experience of play—in the interaction between (eco)game, player, and world (culture)—is thus a regenerative one on an affective and subsequent aesthetic level. It resensitises players to the beauty of the natural world, while granting them a different point of view on ecosystems and ecological issues that plague their contemporary surroundings.

The article provides teachers with explicit support for planning and implementing interactive read-aloud for social justice that is responsive to the needs of their own students. The authors present how to choose appropriate high-quality books and use a template for responsive planning with their children in mind. They share an implementation of an interactive read-aloud that demonstrates how responsive teaching builds exploratory talk to develop children’s co-construction of knowledge for the dialectic expression of reading the word and reading the world.

The objective of this article is twofold. In the first part, I discuss two issues central to any theoretical inquiry into mental imagery: embodiment and consciousness. I do so against the backdrop of second-generation cognitive science, more specifically the increasingly popular research framework of embodied cognition, and I consider two caveats attached to its current exploitation in narrative theory. In the second part, I attempt to cast new light on readerly mental imagery by offering a typology of what I propose to be its four basic varieties. The typology is grounded in the framework of embodied cognition and it is largely compatible with key neuroscientific and other experimental evidence produced within the framework.

Abstract: The marks left by readers in their personal copies of Charlotte Smith’s Elegiac Sonnets provide traces of how manuscript engages print, and readers materially engage writers, in the Romantic period. Surveying 152 copies of Elegiac Sonnets and other contemporary sonnet collections by Bowles, Robinson, and Seward, this essay considers how marginalia challenges us to reconsider how readers used books—and how books might use their readers—in soliciting and forging affective relationships through print. We chronicle Smith’s careful recollecting and reframing of her own poetry in printed editions, a practice which seems to have licensed readers in turn to change how they responded to her verse. Why did Smith’s readers mark, interleave, or otherwise thicken their copies more often and with greater urgency than the readers of other late eighteenth-century sonneteers, particularly as the Elegiac Sonnets grew? Tracing these various annotations, from the most conventional to the most transgressive, heightens our historical sense of the dynamism of Smith’s publishing practice and illuminates the sentimental and aesthetic bonds she formed with readers. It also, we argue, exposes something more radical: a blurring of lines between persona and poet, author and reader, and between book-writer and book-owner.

Keywords: Charlotte Smith, Elegiac Sonnets, Sonnet Collections, Marginalia, Reading, Thickening, Affect

A paper discussing the differing opinions on what denotes a piece of writing as being "literary", from a New Criticism perspective and that of reader-response theory. John Donne's 'Holy Sonnet XIV' and B. S. Johnson's 'A Few Selected Sentences' are used to demonstrate both sides of this much debated coin.

The purpose of this article is to discuss the theoretical, educational and creative aspects of an alternate history creative writing project with young adults, based on Terry Pratchett’s fantasy novel Nation (2008). First, we focus on the potential of the project as a platform for studying how close teenage audiences are to ideal readers of utopian texts who, as Kenneth Roemer (2003) characterizes them, ‘approach literary utopias as opportunities to discover questions, ambiguities, and contradictions out of which they imagine their own models of utopia’ (p. 2). We also see the proposed project as a useful tool both to promote the knowledge of world history and to provoke a reflection on contributions of individuals to larger historical processes. Moreover, we discuss the project as a means to develop those English language skills necessary for students to construct narratives, express causality, and formulate hypothesis or predictions. Finally, we confront the assumptions underpinning the project with students’ reactions to the novel, as recorded during an initial workshop, and with their creative work in English following the workshop.

This article explores the complex nature of the literature classroom by drawing on the cognitive linguistic framework Text World Theory to examine the teacher’s role as facilitator and mediator of reading. Specifically, the article looks at how one teacher used visual representations as a way of allowing students to engage in a more personal and less teacher-driven transaction with a poem, and to encourage them to reflect on their own roles as active makers of meaning and knowledge in the classroom. The article shows how teachers can be mindful of the various contextual factors that can privilege and legitimise certain kinds of response in the classroom and be wary of external factors and pressures that can promote the idea of preconceived knowledge. The teacher in the case study presented was able to both facilitate the experience of reading poetry in an unmediated way and also develop her students’ metacognition in relation to the reading process itself. The article shows how Text World Theory’s status as a socio-cognitive grammar may be of benefit to teachers in understanding the nature of communicative interaction and literary transaction.

[Proofs; please cite published version.] While it is often assumed that fictions must be informative or morally improving in order to be of any real benefit to us, certain texts defy this assumption by functioning as training grounds for the capacities: in engaging with them, we stand to become not more knowledgeable or more virtuous but more skilled, whether at rational thinking, at maintaining necessary illusions, at achieving tranquility of mind, or even at religious faith. Instead of offering us propositional knowledge, these texts yield know-how; rather than attempting to instruct by means of their content, they hone capacities by means of their form; far from seducing with the promise of instantaneous transformation, they recognize, with Aristotle, that change is a matter of sustained and patient practice.

This paper details a multimodal practice of response and transmediation, called a Thought Chronicle, which I employ in my undergraduate work with preservice teachers. I position this intervention in relation to the theoretical discourses of multimodality, social semiotics, and psychoanalytic ideas of dreaming and play.

Objects do not simply appear in L'Éducation sentimentale; they reappear. The memory of the reader is solicited in order to establish links between different occurrences of the same object, or closely related objects reappearing within a paradigm. Three main objects are examined in this article: the series of bracelets; the parasol; and Madame Arnoux's coffer. Flaubert uses these inanimate objects not only as traditional 'realist' metonyms standing for money, industrial art, or a social type, but also as clues pointing towards whole narrative segments that are never otherwise made explicit. Objects thus have a diegetic function, effectively working as narrative synecdoches. At times they also function through misplaced metonymy, that is, a relation of contiguity in which one object is substituted for another in an inappropriate way. Objects invite the reader to fill in the famous 'gaps' in the novel, in a way that is sometimes misleading. The act of misreading is thus an integral part of L'Éducation sentimentale.

SUMMARY When approaching a new field of study, in this case, video games, one of the first tasks is to analyze the existing and governing theories. Such approach provides two very strong claims which are decidedly different – ludology and narratology. The difficulty lies in the varieties and the medium of games. On the former, it must be noted that Tetris, a puzzle video game, very simple in narrative terms, and Dragon Age: Origins, a role-playing video game which is mostly story-driven, both belong to the category of video games. Trying to combine the two in order to find common properties is quite difficult, since their genres make them decidedly different. Literature does not have the same genre related issues, which is why most critics argue against a narrative approach to video games. Mass Effect trilogy stands as an example of middle grounds, with strong characters and compelling narrative properties, characteristics only available through action and gameplay. While some information is presented in the form of text, other is influenced by the player, thus changing the manner of experiencing the narrative. By comparing the reader to the player, it is obvious that the medium expands the role of the receiver, since the reader of the games becomes the author to an extent. Mass Effect series should be observed as a new way of storytelling, one that involves a greater level of investment. When approaching a new field of study, usually one of the first tasks is to analyze the existing and governing theories. In case of video games, such approach provides two very strong claims which are decidedly different – ludology and narratology. While the former tries to create a fresh start for a new and promising art form, the latter tries to prove that no new approach is required, since the reimagining of the existing one is enough. In analyzing BioWare's Mass Effect trilogy, consisting of Mass Effect (2007), Mass Effect 2 (2010) and Mass Effect 3 (2012), both approaches are appropriate and insufficient at the same time. Therefore, a new approach is required, that of video games with strong narrative properties. Since the release year of the last installment of the series is 2012, and the games are revolutionary in many aspects, either through innovation or through the improvement of the old properties of other games, it is understandable why no comprehensive studies exist yet. However, an attempt must be made to analyze and, subsequently, explain the demand that Mass Effect trilogy creates for a modification of the field and the dismissal of certain preexisting conditions.

Évènement éditorial à sa parution en 1935, l’ouvrage de Carrel a été depuis cité par les mouvances les plus radicales, de Sayyid Qutb à Jean-Marie Le Pen. Qu’est-ce qui motive un prix Nobel de médecine à s’attaquer à des problèmes de société ? Quelles réponses y trouvent son époque, sa génération ? Qu’y trouvons-nous? De l’ancrage littéraire (Arrowsmith de S. Lewis, 1925) au réseau d’amis à son origine, on assiste à la radicalisation d’un discours comme effet, sur l’auteur, du succès auprès du public. À la croisée de l’histoire culturelle et sociale des sciences et de l’histoire littéraire, le propos, basé sur l’analyse de correspondances souvent inédites (Bergson, Hoover, Lindbergh, Artaud), peut éclairer les débats sur l'eugénisme, l'euthanasie, voir sur le transhumanisme

Using participatory action research, the first researcher functioned as co-teacher in a fifth-grade class in a large northeastern city public school. The researcher and classroom teacher guided 28 students working in book clubs to compose digital stories in response to historical fiction. The research questions were as follows: (a) What interpretations did students have of their historical fiction novels through the mediational tools of digital storytelling? (b) How did the dynamics of the book club structure contribute to the students' interpretive work? Data sources included students' process and product work, video and audio recordings of work sessions, reflective notes and journal, a semi-structured interview with the teacher, and stimulated recall interviews with three case study book clubs. Both researchers used multimodal analysis, particularly the concept transmediation, concepts of interpretation in reader response, and grounded theory, informed by activity theory, to analyze data. Findings show students' expression of and limits to interpretation in the multimodal ensembles of their digital stories. The purposeful use of digital technology generated ongoing problem solving. Activity systems expanded students' learning by generating collaborative zones of proximal development, a dialectic among mediational tools, and opportunities to take on roles that shaped students' identities and repositioned who they could be in this learning community. The study shows the value of project-based multimodal responses using digital technologies in collaborative groups to develop students' comprehension of literary texts. The study

Cutting against the grain of much contemporary thought about biblical interpretation, this conversation-starting article prompts reflection on the significant influence of language and culture upon interpreters themselves.

This essay appears in the following e-books:
https://www.amazon.com/Contextual-Approaches-Testament-Mark-Roncace-ebook/dp/B07ZTWK6QM/

https://www.amazon.com/Perspectives-Scripture-Edited-Mark-Roncace-ebook/dp/B07VTLLKML/

https://www.amazon.com/Essays-Bible-Edited-Mark-Roncace-ebook/dp/B07VV2XDW1/

https://www.amazon.com/Readings-Bible-Edited-Mark-Roncace-ebook/dp/B07VV59QHG/

The term ‘conversion narrative’ lacks proper definition and can be understood more broadly than is often the case, underlining its fictive nature. I show this by reading William Blake’s Milton a Poem as a conversion narrative, exploring how Blake weaves a wider discourse of conversion around the conversion of his protagonist Milton that forms the narrative backbone of the book. This wider discourse shows us glimpses of Paul’s conversion and conversion in Jakob Boehme’s writings. The result is a work that challenges the idea of a conversion narrative as focussing on the author’s past experience, showing how its ultimate focus is, instead, on the reader.

The reason for Hamlet’s hesitancy has been long one of the controversial issues among Shakespeareans. Different historical, psychological, and political interpretations all drawn out of one text, all about one character, and all incapable of ultimately settling the issue, pose the important question of how Shakespeare provides the fertile ground for such a diverse range of interpretations and makes the ultimate interpretation of his text such a challenging task. The present study seeks to elaborate on this polysemy of Hamlet’s hesitancy in the light of Reader Response Theory and suggests the reason for it to be inherent in the nature of the text, and the brilliant portion of its gaps and textual contradiction. The study concludes that it is this dynamic intertwinement of Shakespeare’s outline and the reader’s filling in the gaps that eventually makes the reader’s personality and worldview mirrored in interpretation and inseparable from the fictional Hamlet.
Keywords: Hamlet, Reception Theory, Reader Response Theory, Polysemy, Interpretation, Hesitancy

Les essais réunis dans ce volume interrogent aussi bien le temps des œuvres que le temps à l’œuvre, c’est-à-dire sa formulation narrative mais également son pouvoir d’érosion et de genèse qui affecte les hommes, les livres qu’ils écrivent ou qu’ils lisent et les genres littéraires qu’ils pratiquent. Si l’on veut explorer l’œuvre du temps, on ne peut s’en tenir à l’hypothèse que les intrigues se contentent de mettre en ordre l’histoire et de la doter d’un sens, il nous faut à l’inverse définir les fondements d’une poétique de la discordance narrative qui permette de suivre le glissement du sens dans le temps. Cette réflexion sur le temps soulève une question subsidiaire mais non moins essentielle : « D’où vient le récit et où va-t-il ? » Tenter de répondre à cette question exige de sortir de l’emprisonnement textualiste pour penser la manière dont la narration émerge de la vie et retourne à elle. Il s’agit aussi de marquer la différence qui existe entre les récits qui visent à clarifier le passé, ceux qui veulent en témoigner fidèlement, et ceux enfin qui mettent en scène des histoires inachevées, tournées vers un avenir à vivre ou à lire. Face à la crise que connaissent aujourd’hui les études littéraires et à l’inquiétude que génèrent les usages médiatiques, politiques ou économiques du storytelling, il s’agit de rappeler que la théorie narrative permet de reconnaître dans la littérature le plus fascinant des laboratoires du récit. Si l’homme n’est pas autre chose qu’un faisceau d’histoires, alors l’analyse narratologique des œuvres littéraires demeure la voie royale pour accéder à son humanité.

This article examines John 21 by means of Wayne Booths reading strategy of conduction. As a later redactional addition, ch. 21 casts a different understanding upon the preceding narrative of chs. 1-20 through the implied author's intertextual interpretation. One of the most obvious ways in which the intertextual interpretation of the implied author is manifest is in the form of narrative echoes, implicit references to earlier parts of the narrative discourse in chs. 1-20. These become intratextual connections for the implied reader, whereby the interplay between the derivations in chs. 1-20 and their intertextual interpretation in ch. 21 creates new meaning.