By William Elford Rogers
William Elford Rogers proposes a genre-theory that may make clear what we suggest after we communicate of literary works as dramatic, epic, or lyric. targeting lyric poetry, this publication keeps that the wide genre-concepts needn't be discarded yet will be preserved via a brand new interpretive version that offers us conceptual wisdom now not approximately works yet approximately interpretation.
Originally released in 1983.
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Extra resources for THE THREE GENRES AND THE INTERPRETATION OF LYRIC
Sample text
Wejust hiss at the appropriate times in the appropri ate places, if we understand the convention, and when anyone asks us why we are hissing we say that it is conventional in such a situation. The case is similar with literary genres, con sidered as conventions. In an important sense, to say that GENRES AS INTERPRETIVE MODELS 29 literary genres are conventions is to say no more than that they are one phenomenon, a large and complex phenome non, of language. Genre-concepts for the interpreter then be come descriptive concepts, arrived at by abstracting from in dividual interpreted texts certain shared qualities; and the nature of genre itself is not interpreted except insofar as it is seen to belong to the overarching system of conventions that is lan guage.
Inter pretation of the concept would emerge only insofar as there is interpretation of the work, the given object, and only in the process of interpretation itself. Even though we can ap ply the category of causality, for example, elsewhere than in literary works—indeed, to any object conceived as a part of nature—still we never directly intuit the category, and we can give it meaning only in terms of the particular causal laws that we construct for the object we are studying. It seems, then, that it might be possible to find in the Kantian categories themselves the interpretive model we are seeking.
Not only is the lyrical author concerned with feel ing—he recollects his subject-matter (as does the understanding reader). The epical author presents; the dramatic author pro jects and experiences tension (Spannung). Staiger's crucial in sight for a theory of interpretive models is that genre-concepts can be treated as relational concepts constitutive of understanding. Staiger does not develop the insight. In his model, inter preting the lyric does not make explicit the concept of "rec ollection," for example—the concept is a "given" from Hei degger's philosophy.