Wolfgang Iser's study of Walter Pater (1839 94) was first published in German in 1960. It places the English critic, essayist and novelist in a philosophical tradition whose major exponents were Hegel and Coleridge, at the same time showing how Pater differed crucially from these thinkers to become representative of a late Victorian culture critically poised in transition between Romanticism and Modernism. Pater's new definitions of 'beauty' and 'style' in art, his doctrine of 'art for art's sake', his preoccupation with aesthetic existence, his fascination with periods of balance and historical transition are seen in the light of his scepticism towards all systematisation and his view of art as countering human finiteness by capturing the intensity of the moment. This important book, which remains as illuminating now as when it first appeared, will interest those interested in philosophy and aesthetics and Pater specialists alike.

The fourteen essays in this volume--which consider a wide variety of cultures from ancient Egypt to contemporary Japan--address both sorts of discourse and elucidate the two-way or mutual conditioning of cultural positions as well as the illusions and exclusions created by mutuality.

These essays--which consider a wide variety of cultures from ancient Egypt to contemporary Japan-- describe the conditions under which cultures that do not dominate each other may yet achieve a limited translatability of cultures.

The articulation of the unsayable, of negativity-that which has been excluded by what is sayable-is one of the most important areas of contemporary humanistic study. This volume brings together fifteen outstanding literary theorists and philosophers to examine ways to make the unsayable tangible.

Without a beginning and without an end, Tristram Shandy moves in many different directions, defying the conventional expectations of its readers. Wolfgang Iser shows how Sterne exploits the philosophy of his day and its cognitive deficiencies, using digression, humour and play to convey experience of subjectivity, and implicitly to expose the traditional concept of the self.

There is a tacit assumption that interpretation comes naturally, that human beings live by constantly interpreting. In this sense, we might even rephrase Descartes by saying: We interpret, therefore we are. While such a basic human disposition makes interpretation appear to come naturally, the forms it takes, however, do not. In this work, Iser offers a fresh approach by formulating an "anatomy of interpretation" through which we can understand the act of interpretation in its many different manifestations.

For Iser, there are several different genres of interpretation, all of which are acts of translation designed to transpose something into something else. Perhaps the most obvious example of interpretation involves canonical texts, such as the Rabbinical exegesis of the Torah or Samuel Johnson's reading of Shakespeare. But what happens when the matter that one seeks to interpret consists not of a text but of a welter of fragments, as in the study of history, or when something is hidden, as in the practice of psychoanalysis, or is as complex as a culture or system? Iser details how, in each of these cases, the space that is opened up by interpretation is negotiated in a different way, thus concluding that interpretation always depends on what it seeks to translate.

For students of philosophy, literary and critical theory, anthropology, and cultural history, Iser's elucidation of the mechanics by which we translate and understand, as well as his assessment of the anthropological roots of our drive to make meaning, will undoubtedly serve as a revelation.

Iser examines what happens during the reading process, and how it is basic to the development of a theory of aesthetic response, setting in motion a chain of events that depends both on the text and the exercise of certain human faculties.

"Iser is an influential figure, and aficionados will welcome the comprehensive exposition he provides here."--Terence Cave, "TLS"

The pioneer of "literary anthropology," Wolfgang Iser presents a wide-ranging and comprehensive exploration of this new field in an attempt to explain the human need for the "particular form of make-believe" known as literature. Ranging from the Renaissance pastoral to Coleridge to Sartre and Beckett, "The Fictive and the Imaginary" is a distinguished work of scholarship from one of Europe's most respected and influential critics.

"A new book by Wolfgang Iser is an important event in the critical world. This one, with its wide-ranging and ambitious argument, will require the attention of everyone who thinks seriously and at all philosophically about literary culture and what it has to tell us about being human."--Ross Chambers, University of Michigan.

Like no other art form, the novel confronts its readers with circumstances arising from their own environment of social and historical norms and stimulates them to assess and criticize their surroundings. By analyzing major works of English fiction ranging from Bunyan, Fielding, Scott, and Thackeray to Joyce and Beckett, renowned critic Wolfgang Iser here provides a framework for a theory of such literary effects and aesthetic responses.

Iser's focus is on the theme of discovery, whereby the reader is given the chance to recognize the deficiencies of his own existence and the suggested solutions to counterbalance them. The content and form of this discovery is the calculated response of the reader -- the implied reader. In discovering the expectations and presuppositions that underlie all his perceptions, the reader learns to "read" himself as he does the text.

In a series of readings, the author examines Shakespeare's five major history plays and accounts for their continued popularity, both in film and on stage. He examines the historical context out of which the plays emerged, and describes how the period gave birth to a modern form of politics.

Wolfgang Iser's study of Walter Pater (1839 94) was first published in German in 1960. It places the English critic, essayist and novelist in a philosophical tradition whose major exponents were Hegel and Coleridge, at the same time showing how Pater differed crucially from these thinkers to become representative of a late Victorian culture critically poised in transition between Romanticism and Modernism. Pater's new definitions of 'beauty' and 'style' in art, his doctrine of 'art for art's sake', his preoccupation with aesthetic existence, his fascination with periods of balance and historical transition are seen in the light of his scepticism towards all systematisation and his view of art as countering human finiteness by capturing the intensity of the moment. This important book, which remains as illuminating now as when it first appeared, will interest those interested in philosophy and aesthetics and Pater specialists alike.

WOLFGANG ISER: STEPPING FORWARD Wolfgang Iser's books include The Implied Reader (1974), The Act of Reading (1978), Prospecting (1989) and The Fictive and the Imaginary (1993). He has written books on Laurence Sterne (1988) and Walter Pater (1987). He was Professor of English and Comparative Literature at the University of Constance in Germany.

This book of lectures, essays and interviews includes pieces on Wolfgang Iser's work in reader-response theory, the literary text, British culture, and Henry Fielding's novel Tom Jones. The interviews contain many insights into the nature of reading, one of Iser's key areas of research.

Includes bibliography and notes. ISBN 9781861713865.

www.crmoon.com

Stepping Forward: Essays, Lectures and Interviews

New, unpublished pieces by Wolfgang Iser on reader theory; the novel Tom Jones; fictionalizing; and cultural studies, among others.

Wolfgang Iser is a leading exponent of 'reception theory'. Wolfgang Iser's books include The Implied Reader (1974), The Act of Reading (1978), Prospecting (1989) and The Fictive and the Imaginary (1993). He has written books on Laurence Sterne (1988) and Walter Pater (1987). He is Professor of English and Comparative Literature at the University of Constance in Germany. ?

EXTRACT FROM CHAPTER ONE

If a literary text does something to its readers, it also simultaneously tells us something about them. Thus literature turns into a divining rod, locating our dispositions, inclinations, and eventually our overall makeup. The question arises as to why we may need this particular medium, in view of the fact that literature as a medium is put on a par with other media, and the ever-increasing role that these play in our civilization shows the degree to which literature has lost its significance as the epitome of culture. The more comprehensively a medium fulfils its sociocultural function, the more it is taken for granted, as literature once used to be. It did indeed fulfil several such functions, ranging from entertainment through information and documentation to pastime, but these have now been distributed among many independent institutions that not only compete fiercely with literature but also deprive it of its formerly all-encompassing function. Does literature still have anything to offer that the competing media are unable to provide?

"An important transitional book, usefully summarizing the past and thoughtfully mapping out the future of a significant critic's theoretical project."-- "Modern Philology."

"There is a much greater emphasis on the reader's function as 'performer' of the text in "Prospecting" than in Iser's other books. The two brilliant chapters on Beckett's fiction and drama are crucial here... Literature becomes 'play' and 'game, ' and the reader becomes a performer of himself. This idea of performance becomes central to Iser's new theory. Art does not present life; it performs it."-- "Yearbook of English Studies."

There is a tacit assumption that interpretation comes naturally, that human beings live by constantly interpreting. In this sense, we might even rephrase Descartes by saying: We interpret, therefore we are. While such a basic human disposition makes interpretation appear to come naturally, the forms it takes, however, do not. In this work, Iser offers a fresh approach by formulating an "anatomy of interpretation" through which we can understand the act of interpretation in its many different manifestations.

For Iser, there are several different genres of interpretation, all of which are acts of translation designed to transpose something into something else. Perhaps the most obvious example of interpretation involves canonical texts, such as the Rabbinical exegesis of the Torah or Samuel Johnson's reading of Shakespeare. But what happens when the matter that one seeks to interpret consists not of a text but of a welter of fragments, as in the study of history, or when something is hidden, as in the practice of psychoanalysis, or is as complex as a culture or system? Iser details how, in each of these cases, the space that is opened up by interpretation is negotiated in a different way, thus concluding that interpretation always depends on what it seeks to translate.

For students of philosophy, literary and critical theory, anthropology, and cultural history, Iser's elucidation of the mechanics by which we translate and understand, as well as his assessment of the anthropological roots of our drive to make meaning, will undoubtedly serve as a revelation.

Without a beginning and without an end, Tristram Shandy moves in many different directions, defying the conventional expectations of its readers. Wolfgang Iser shows how Sterne exploits the philosophy of his day and its cognitive deficiencies, using digression, humour and play to convey experience of subjectivity, and implicitly to expose the traditional concept of the self.