Literature, Criticism, and the Theory of Signs - Tejera, Victorino (John Benjamins Publishing Company, 1995)
LITERATURE, CRITICISM, AND THE THEORY OF SIGNS; Editorial page; Title page; Copyright page; Dedication; Table of contents; PREFACE; INTRODUCTION. A Guideto the Project Undertaken by this Book; Chapter 1. Bakhtin, Dialogism, and Plato's Dialogues; 1. The Dialogical Nature of Dostoyevsky's Narratives; 2. The Dialogical Nature of Speech and Thought; 3. Dialogical Poetics in Dostoyevsky and Plato; 4. Problems in Bakhtin's Poetics; 5. The Voices That We Hear in Plato's Dialogues; Chapter 2. The Text, the Work, and the Reader; 1. The Need for Text Reception History and an Aesthetics of Reading
2. Peirce's Account of Interpretants and their Signs3. The Generic Identity of the Literary Work, and Its Design; 4. The Mode of Judgment of the Work, and of Its Responsive Articulation; Chapter 3. Deconstruction as Poetics; 1. Deconstruction and the Sense of Structure; 2. Deconstructive Attitudes toward Writing; 3. Dialogism and Sophism, Logicism and Creative Rationality; 4. The Aesthetics of Non-Graphicist Deconstruction; Chapter 4. The Modes of Judgment & the Nature of Criticism; 1. Reprise on the Semiotic Approach to Literary Significance; 2. The Poetics of Aristotle and Buchler
3. Poetic Responsiveness as the Model of Valid Reading4. Mimêsis as Re-enactment and Expression; 5. Assertive, Active, and Exhibitive Judgment; 6. Reading as a Communicative Interaction; 7. Testing Peirce's Semeiotic: the Problem of Metaphor; Chapter 5. The Contexts of Reading; 1. Flawed Texts, Flawed Readings; 2. The Transactional Nature of Critical Reading; 3. Poststructural Criticism, Modernism and Postmodernism; 4. Context-Determined Misreadings; Chapter 6. The Semiotics of Reading; 1. The Reader; 2. The Critic; 3. On the Dependency and Autonomy of Criticism
Appendix: Ten Classes of SignsBIBLIOGRAPHY; INDEX.
Following Peirce in his non-reductive understanding of the theory of signs as a branch of aesthetics, this book reconceptualizes the processes of literary creation, appreciation and reading in semiotic terms. Here is a carefully developed theory of what sort of criteria serve to distinguish apposite from inapposite readings of literary works-of-art. Given Peirce's triadic account of signification, it enlarges Aristotle's view of mimesis as expressive making into an understanding of literary works as deliberatively designed sign-systems belonging to Peirce's eighth class of signs. In parallel w