Norbert Neuss
Gaps for fantasy in children's films -
Television and the aesthetic of reception
Gaps for fantasy are created not only
in books but also in art as well as the television film. They are
produced in the gaps that stimulate activity on the part of the
recipients/viewers. These gaps can be created deliberately, for
instance, by means of metaphors, symbols, direct mode-of-address,
a feeling of togetherness, or abilities conducive to fantasy.
Can television stimulate children's fantasy?
This question is customarily answered with the opposing argument:
books are predestined to trigger off pictorial fantasies in children.
As I will demonstrate in the following article, films also have
this capability - and yet the stimulation factors involved are different
to written language on its own. First of all, I will introduce gap
theory from the field of literary studies, a significant element
of reception aesthetics. Whether children's films also leave "gaps"
for fantasy will subsequently be illustrated by several examples.
1. Who looks at the images? - Constructivist
conceptions of perception
The basic premise for the following exposition
is a constructivist conception of communication and perception,
detached from conceptions describing perception as imaging and communication
as the transportation of data from A to B. In addition, the philosophy
of images had a significant impact on the reception of films, as
it was presumed that all human beings receive the same images that
are then stored in the brain. This conceptualisation produced simple,
technically oriented models of information transfer. The customary
idea that our sense organs are a window onto the world, through
which we receive reality in the form of information, is not doubted
only by scientists oriented towards constructivism: biologists,
brain researchers and psychologists mostly agree nowadays that the
human brain is by no means a stimulus-response system exposed to
the environment but that perception is always governed by existing
previous experiences. It is thus crucial who is looking at the images.
This is well illustrated by an easily remembered pictorial example
from the brain researcher/scientist Gerhard Roth. By showing students
a picture, Roth attempted to activate fixed elements in their visual
memory. The viewers of the picture were instructed to combine its
initially unconnected black-and-white contours to form a stable,
meaningful complete picture. This probably caused most viewers considerable
difficulty, no matter how hard they tried. After a considerable
period of time spent considering the picture in the knowledge that
it is a cow, the perception was stabilized and it became impossible
to see anything apart from a cow. Roth thus indicates the special
significance of prior knowledge and experience for perception.
"The memory is consequently our most
important sense organ." (Roth 1994, p. 242). Hence environmental
events do not themselves determine their impact on the brain; the
decisive factor is the human being who decides their effects and
meanings. Thus the human being, his or her quality of experience
and appropriation of reality constitute the focus of analysis -
and research.
2. Gap theory in media sciences
Characteristically, the most important prior
considerations concerning the links between narrative levels and
reception scope are much older than the re-establishment of reception
research in Germany. The latter was developed by the Polish philosopher
Roman Ingarden in 1930; however, his book "The Literary Work
of Art" was not noted until it was translated in 1968. As a
pupil of Edmund Husserl, Ingarden was oriented towards phenomenology;
he conceives the literary text as possessing a multi-layered structure,
whose individual layers stick together in a harmonious relationship.
Due to the selectivity of the nature of the epic he maintained that
the literary work of art is organized schematically: "It is
not possible to determine unequivocally and exhaustively the infinite
diversity of the certainties of the individual objects portrayed
in the oeuvre by means of a finite number of words or sentences;
a number of certainties will always be missing" (Ingarden 1975,
p. 45). Proceeding on the basis of this observation, Ingarden coins
the term spots of indeterminacy. "I call the page or the place
of the portrayed subject - which on account of the text fails to
reveal precisely how the object in question is determined - a 'spot
of indeterminacy' (Ingarden 1975, p. 44). It is the readers' task
to ascertain relevant places of uncertainty and subsequently to
decide which should be filled and which left. The reader does after
all have to undertake the reconstruction of the text by concretising,
in a suitable fashion, the relevant spots of indeterminacy to be
filled. Ingarden takes great credit for relating the uncertainty
of literary texts to the recipients, which proved to be of consequential
value for issues concerning the aesthetic of reception. The most
significant development of his concept stems from Wolfgang Iser,
who corroborated Ingarden's phenomenological approach in terms of
communication theory and language psychology. Iser defines the uncertainty
of literary texts as no longer only a characteristic of these texts
themselves but as, expressly, a "condition for effect"
(Iser 1975a, p. 228 ff.). For him it is not the work itself that
is significant; "the meanings of literary texts are not generated
until the reading process takes place, they are the product of an
interaction between the text and the reader and not dimensions hidden
in the text that can only be unearthed by means of interpretation."
(Iser 1975a, S. 229) According to Iser, "the constitution of
the meaning of the text becomes an unmistakable activity of the
reader" (Iser 1972, p. 7), to whom the text affords "scope
for updating opportunities" (Iser 1975a, p. 230). This scope
makes itself manifest in so-called gaps, which he terms the "most
important switch element between the text and the reader" The
gaps comprise the appeal structure of the texts, according to Iser.
Filling the gaps, however, is not left to the whims of the recipients
but must be accomplished in accordance with the "instructions"
of the text (Iser 1976, p. 7). These instructions assume the form
of the concretisation being "guided but not completely controlled
by the structures of the text" (Iser 1976, p. 45). Iser thus
discards a simple stimulus-response model of literary communication
and postulates instead an interactive model. In order to clarify
the constantly given but not completely determining instruction
character of the texts, their "appeal structure", Iser
draws on the concept of the implicit reader , already plotted out
in Umberto Eco's oeuvre (Eco 1987, p. 64).
As in the case of television reception research, Iser's gap concept
was accused of radical subjectivism by supporters of structuralistic
hermeneutics. A structuralism-oriented view conceives of literary
texts (and films) as autonomous, self-contained constructions with
a recorded meaning. It is the recipients' task to find out this
meaning and discuss it. This work-immanent approach ignores contradictory
interpretations, ambiguities and influences on the recipients. Hans
Georg Gadamer demands that the work of art should be set "in
the clarity and openness of its actual meaning" (Gadamer 1975,
p. 113). Arthur C. Danto also envisages an interpretation of works
of art that "submits to the exigencies of truth and falsehood
(Danto 1996, p.56). In the view of this classical aesthetic, works
of art are regarded as objective, timeless and autonomous without
any consideration of the recipients' role. It also seems to be problematic
that a structuralism-oriented perspective assumes normative parameters,
for the "correct" meanings of texts can only be elaborated
by experts. Complex interpretations by recipients are bound to conflict
with the "specified meaning" because they and their amateurish
understanding of the text do not and cannot do it justice.
Theoretical and practical approaches in the reception research of
the early eighties became more significant due to the interpretation
of the "text" as a semantically open work of art and the
postulation of the recipient generating a meaning. Pioneering literary
studies witnessed the beginning of a trend towards a radical-constructivist
reception theory, led by Siegfried J. Schmidt as its most prominent
representative. The aim of this orientation, also termed empirical
literary studies, is to investigate recipients' text comprehension.
The so-called aesthetic of reception, mainly influenced by Jauss
, Iser and Kemp , adopts - as mentioned previously - an intermediary
position between radical-constructivist and structuralist approaches.
It emphasizes the view that works of art are basically aimed at
observers, that they do not assume their meanings until the subjective
process of reception takes place. Via the inclusion of gaps, the
text calls upon the recipient to bridge the omitted links in meaning
with ideas and fantasies. The observer "is inclined, not only
as a result of the environment commonly shared by him- or herself
and the work but also due to inner prerequisites - he or she has
as an observer a specific present and past." (Kemp 1986, p.
203) Works of art have their own scope for interpretation, permitting
the observer a subjective approach to unknown reality, as they provide
space for projection, empathy, identification as well as delimitation.
Gaps are therefore invitations for the recipients to participate,
to occupy fantasies with their own subjective interpretations, their
own experience and fantasies. Let us look at the painting "Woman
at the Window" by Caspar David Friedrich (Fig. 2). Where are
the gaps or spots of indeterminacy in this painting? Probably the
clearest empty space is created by the view from the rear. We do
not know what the expression on the woman's face is. Is she smiling
at a neighbour or is she watching her husband sailing out to sea,
full of longing, perhaps even crying? When we look at this painting,
the view from the rear directly provokes us to create our own thoughts
and a meaningful extension to the scene.
In both literary studies and in the fields
of media science and media pedagogy research the film-recipient
relationship has been reassessed and the role of the active recipient
re-emphasized (cf. Milos 1994). Whereas previously the content of
the film had usually been the centre of observational interest in
media science research, now attention was focused more on the recipients.
The subject of research was, in particular, how television is integrated
in everyday life; for example, which use motives play a role in
selection and reception and which needs are consequently satisfied
(cf. Merten 1991, p. 62 ff.). Besides the theoretical turning point,
this paradigm shift away from research into media effects to research
into media uses meant it was necessary to conceive new research
methods suitable for the subject under investigation (media appropriation).
Media pedagogy also underwent a change from quantitative to qualitative
methods, for whether children occupy the gaps with fantasies, which
fantasies they create and how these are "directed" by
the film production can only be ascertained by descriptions of the
gaps and the fantasies expressed.
3. Gaps in children's films
Concerning gap theory, the following questions
were of interest:
- Where can gaps in the structure of children's
films be found?
- Where are recipients targeted with the
appeal to "get involved"?
- How does self-involvement (fantasy) come
about in television?
As expected, gaps can be traced and described
in all elements of (children's) films (language, music, sounds,
dramaturgy, editing, history, etc.). As films represent a dynamic
construction of simultaneous information items, the gaps within
them cannot always be classified analytically but are particularly
made manifest by the simultaneity and combination of sounds, images,
language and actions.
Gaps are created
by imaginary time and imaginary space
The words "Once upon a time..."
introduce many a fairy tale. This introduction makes it clear that
the story about to be read came to pass a long time ago. The question
as to when the story occurred remains unanswered. Children's television
and children's films also feature such introductory reception references
assigning the story to an imaginary time and/or imaginary space.
We hear, for example, in the intro to Biene Maja (Maya the Bee):
"In an unknown land, not so long ago, a bee was very well-known
." and in Teletubbies: "Behind the hills - unknown
to anybody - is Teletubby Land." Such introductory phrases
are reception instructions inviting us to set out for another time-and-space
reality. What this reality is really like or when this story really
takes place is left to our imagination. Such phrases also serve
the purpose of attuning listeners or viewers to the fact the stories
they are about to watch or hear cannot be classified in the reference
system of our profane everyday experience. That these stories are
still relevant is expressed by the fairy-tale's final ritualized
phrase "and they lived happily ever after."
Gaps are created
by metaphors or language images
The following lyrics are sung at the beginning
of the Feuerstein Junior (Flintstone Junior) programme Abenteuer
mit Pebbles und Bamm Bamm (Adventures with Pebbles and Bamm Bamm):
"Just imagine us sitting around on a cloud and then flying
around on a pink Dino. It's easy, it's kid's stuff. I'll tell you
why. This is Pebbles' and Bamm Bamm's world. We fly, we fly on the
wings of our imagination. Pebbles and Bamm Bamm will show you how
to do it. This is how Pebbles and Bamm Bamm do it. We fly, we fly,
our dreams are bright and colourful, they soon become true. Everything's
possible with Pebbles and Bamm Bamm." Following this introduction,
we see a pink Dinosaur, on which two children are flying through
the air; transformed, they immerge into a colourful cartoon world.
Can we tell immediately what it is like to fly on the "wings
of our fantasy"? An approach based on logic is not possible,
only associative understanding is useful in this case. Perhaps we
think of the following associations: fantasy inspires us, gives
us wings; flying to our fantasy, drifting from one thought to the
next; disregarding reality or giving free rein to our imagination.
It is in this associative comprehension mode that the gaps are found.
Every one of us may understand something different by "wings
of fantasy", but the spontaneous associations, if compared,
would not be arbitrary. Metaphors like these act as bridges between
images and concepts, spanning the gap between pictorial and conceptual
thinking. They connect highly unconventional material with immaterial
circumstances, or psychological with concrete things (astute judgement,
absolutely clear conscience etc.). Everyday matters are combined
with uncommon phenomena, the metaphors representing a form of poetry.
These language images seek our interpretation. Metaphors are language
constructions comprising similarities, implying "what something
is like": What is the lawn like? What is a velvety pullover
like? Children also construct such similarities because the "real
concepts" are not yet available; moreover, they are closer
to magical thinking than adults are.
Gaps are created
by the use of pictorial symbols
Film is symbolic material in two ways. On
the one hand, it compresses complex stories (e.g. entire biographies)
by showing a selection of relevant events. On the other, in order
to help the viewers decipher this compression, film uses pictorial
symbols that produce "whole stories" in themselves as
well as references to other stories (intertextuality). A prime characteristic
of symbols is their ambiguity, their equivocalness. A red traffic
light is a culturally unequivocal sign with a clear meaning (Stop!),
but symbols demand interpretation. We intend to illustrate the exigent
nature of pictorial symbols with two pictures from the film The
Lion King. Before Simba is expelled from his prospective kingdom
by his evil uncle's ruse, he sits with his father on a rock (Fig.
3).
Mufasa tells his son: "Look at it, Simba.
That is our kingdom, everything touched by light. The reign of a
king rises and sets like the sun. One day, Simba, the sun of my
reign will also set - and rise with you as the new king." The
metaphor used in these phrases (sun of my reign) is supported by
corresponding pictorial symbolism. Striking features in this freeze
frame are the proportions between father and son as well as the
view from the rear. But what is, apparently, more important is the
interpretation of the tension arising from the combination of picture
and text. It is still certain that the sun is floating in the sky
behind Mufasa's field of vision, but at the same time we have a
premonition that his reign will soon come to an end, the sun being
about to set. The path of the sun is used here to indicate the mythical
interpretation of circular sovereignty (not linearity). Fig. 4 seems
even more symbolically "charged". Simba, who has fled
abroad and who does not recall and does not even want to remember
his original identity (his duty as heir to the throne and ruler),
is confronted with his reflection in the waters of a lake. What
ensues is a dialogue between him and his reflection, the latter
assuming the voice of his father: "Simba, you have forgotten
me." Simba replies: "No, I couldn't do that." The
reflection continues: "You have forgotten who you are and therefore
me, too. Listen to your heart, Simba. You have another destiny.
You must occupy your place in the eternal circle. Do not forget
who you are. You are my son, the true king. You must remember."
The reflection is used here as a symbol of unreserved honesty and
imminent awareness.
Jacques Lacan, for example, in his acclaimed
article "The mirror stage as the sculptor of the ego-function",
also emphasized the concept of the mirror as a mode of behaving
to oneself by the subject. The reflection, in another sense, can
be termed a symbolic mirror of the inner world that has not been
affected by the outside world. Of course, children do not know anything
about Lacan, but they are very sensitive to archetypical, constantly
recurring symbols and themes in development stories. The pictorial
symbols thus elucidate children's thematic perspectives, which in
turn integrate them into the story by a process of identification.
Some examples of these thematic perspectives are justice and morals,
living alone and separation, death and dying, social relationships,
one's own sexuality, being young and growing up.
Gaps are formed
by creating " a feeling of togetherness" and actively
addressing the recipient
Examining the following introductory text
on the Pokémon series, one is immediately struck by two interesting
aspects: "Each of us would like to become a master, everyone
wants to prove what they are capable of; everyone dreams of being
the very first to climb to the top. Every attempt brings you a little
bit closer; what you achieve is your opportunity the next time round.
This world in which we live is still completely new for us; we haven't
yet explored this new world. Come with us and go for it - do your
very best, all the time." A compelling feature is how the young
viewers are involved in the Pokémon world in terms of language.
The kids are actively called upon to play their part and to set
out with the film characters for the "completely new world".
The film characters have no edge on the kids in terms of experience
- the like of which children usually encounter in their everyday
lives; they are adventurers with the same rights, with no reason
to be concerned, for everything can be learned. The active appeals
to take part in the action of the film, the creation of "a
feeling of togetherness" pave the way for strong para-social
interaction (Horten/Wohl 1956, p. 215 ff.). Questions that remain
unanswered are how kids in their thoughts participate individually,
the roles into which they project their fantasies and the actions
through which they show their courage.
Gaps are created
by abilities that open up fantasy
Of course, it is the TV heroes' abilities
that invite the kids to join in with their fantasies. Let's listen
to the introductory song in the Bibi Blocksberg programmes: "There's
Bibi! She's flying on a broom! Hello, Bibi! Hello, Bibi! Hello,
everyone! Nice you're here! I'll conjure up something fantastic,
okay? Hey presto. Bibi Blocksberg, the little witch, can do many
things you dream of, she'll always help you because she's your best
friend. Bibi Blocksberg, you little witch, come and show us what
you can do. We like your tricks, the magic you do, the way you laugh
and dance! Come to us, Bibi Blocksberg, and be our friend, Bibi
Blocksberg. We are curious, Bibi Blocksberg, what you're going to
do today." Apparently, not only children know when somebody
rides a bike or throws a ball. But what happens when somebody does
magic tricks or witchcraft is far more open. The appeal and openness
of many children's films stem, in particular, from the heroes' abilities
and what they do with them: witchcraft, flying, becoming invisible,
magic, changing form or disappearing from the scene are all actions
that emphasize the fictional nature of the film but which also invite
the kids to integrate these magical actions into their own world
of experience. 8-year-old Saskia, for example, drew a picture after
a fantasy trip (Fig. 5), which, in retrospect, turned out to be
a media trace (Neuss 1999c, p. 62 ff.) related to Bibi Blocksberg
(Fig. 6)
The following is a summary of the interview
with Saskia about her drawing: "I'm in the jungle with my Mum.
We stand there looking at all the things around us. There are loads
of animals: a snake with many colours, a monkey, a spider, a bird,
a butterfly, a peacock and a parrot. And of course many other things,
but we can see them. And of course there are trees and grass, and
so on. But there are no people and nothing at all bad or evil. If
I can, I would like to stroke a hare or feed a parrot, for example.
Yeah, I'd love to go into the jungle sometime." Saskia's statements
clearly reveal that she does not simply reproduce the programme
and its contents but finds inspiration here for her own fantasies
and wishes (cf. Götz et al. in this volume).
Gaps are created
by the choice of perspective
As previously seen in the case of Caspar
David Friedrich's painting, gaps can be created by the perspective
of the scene. In films, gaps are also created by the editing. To
understand parallel editing, i.e. to recognize jumps in time and
space, children must have acquired a certain amount of televisual
literacy. The generation of such gaps therefore does not comply
with children's development-specific perception qualities.
Gaps are created
by abstraction
Who has never stretched out on their back
and gazed up at the clouds, watching them assume the most incredible
figures and shapes? Pre-school kids probably had a similar experience
when they were shown an experimental film featuring only white circles
moving at different speeds on a black background (Fig. 7). The circles
sometimes overlap to create very different forms, initially with
no meaning. The children project into the film fantasies of an "overturned
tractor, a snowman, a can, a rocket, balls and a fight". They
use these pictures as opportunities for generating fantasies and
their own interpretations of the meaning. Clearly, this experimental
film has no chance of topping the kids' ratings. Its only intention
is to show that the trend towards reduction - i.e. not presenting
and explaining everything in detail - also has an appeal. In addition,
this film can manage without any editing, thus leaving scope for
inner verbalisations.
Naturally, not only images but also the sounds
can be abstract and stimulate fantasy.
In Jim Knopf, for example, there is a scene in which Lukas and Jim
want to go to Dragon Town. On the way they have to pass through
a long, dark tunnel, in the middle of which "the Mouth of Death"
is located. During the journey the viewer sees only the two full
beams of Emma the locomotive (Fig. 8) and hears highly mysterious
noises (howling, whistling of the wind, groaning, voices etc.) In
this scene particularly, the abstract audio-visual information can
induce dynamic fantasies in the children - partly frightening fantasies,
too (Neuss 1999b, p. 205 ff.).
Media Characters and heroes too can somehow
be abstract and open for interpretation. Wickie, for example, in
Wickie und die starken Männer (Fig. 9) (Wickie and the strong
men) is sometimes interpreted by the kids to be a boy and sometimes
a girl. In the film the way this character is seen results in completely
new perspectives and relationship constellations. Wickie therefore
tends to be androgynous with regard to its gender-specific characteristics.
Personally, of course, I have always considered Wickie to be a boy.
4. Children's fantasy in everyday life
As we have seen, television can stimulate
children's fantasy in many different ways. Naturally, this is not
only revealed by analysis of the contents but also by close observation
of children during daily life (Neuss 1999a, p. 11 ff.). They don
the role of their favourite heroes, draw on their television experiences
to work on a whole variety of personal themes and make use of the
language, including other television symbols, for communication
and contact with other children. When adults, in particular, notice
that children relate to television contents in their games, fantasies,
associations, the child's activity is usually deprecatorily regarded
as "copying". If adults (parents and teachers) are unable
to interpret television-related expressions of fantasy as the kids'
own fantasy achievement, this is a situation that is less ascribable
to the kids themselves than to adults' ingrained interpretation
pattern that "television harms fantasy". This article
has clearly shown that this is by no means the case.
NOTES
Roth, Gerhard (1994). Das Gehirn und seine Wirklichkeit:
Kognitive Neurobiologie und ihre philosophischen Konsequenzen.
Frankfurt a. M., p. 240 f.
Cf. Steinmetz, Horst (1974). Rezeption und Interpretation. Versuch
einer Abgrenzung. In Labroisse, Gerd (Ed.): Beiträge zur
Methodendiskussion. Amsterdam, pp. 37-83, here p. 39.
Cf. Ingarden 1960, pp. 261-303; 1968, pp. 49-63, 312-345, 413-439;
1975.
Iser 1975a, p. 248. cf. Warning (1975, p. 31): "Die ästhetische
Erfahrung verdankt sich nicht mehr einer von den metaphysischen
Qualitäten ausgelösten Ursprungsemotion, sondern den
Leerstellen, die es dem Leser erlauben, die Fremderfahrung der
Texte an die eigene Erfahrungsgeschichte anzuschließen."
(Translation: Aesthetic experience is no longer due to an original
emotion triggered by metaphysical qualities, but due to gaps permitting
the reader to associate the alien experience of the texts with
his or her own biographical experience."
Der implizite Leser ist im literarischen Kommunikationsmodell
nicht - wie der Name nahe legt - auf der Seite des Lesers angesiedelt,
sondern auf der des Textes, und er ist dadurch definiert, dass
er die Lesetätigkeiten vollzieht, die der Text ausdrücklich
fordert. (Translation: In the literary communication model the
implicit reader is not - as the term would suggest - located on
the side of the reader, but on that of the text: he or she is
defined as completing the reading activities expressly required
by the text.)
Bachmair macht daraus später die "individuelle Bedeutungskonstitution"
(Translation: Bachmair later turns this into the "individual
constitution of meaning" (1996, pp. 13 ff. and 96 ff.).
Jauss, Hans Robert (1975). Literaturgeschichte als Provokation
der Literaturwissenschaft. In Warning, Rainer (Ed.). Rezeptionsästhetik.
Theorie und Praxis. München, pp. 126-162.
Iser, Wolfgang (1975a). Die Appellstruktur der Texte. In Warning,
Rainer (Ed.). Rezeptionsästhetik. Theorie und Praxis. München,
pp. 228-252.
Cf. Kemp, Wolfgang (1986). Kunstwerk und Betrachter: Der rezeptionsästhetische
Ansatz. In Belting, Hans u.a. (Eds.): Kunstgeschichte. Eine Einführung.
Berlin, pp. 203-221.
Lacan, Jacques (1991). Das Spiegelstadium als Bildner der Ichfunktion.
In Lacan, Jacques: Das Werk. Schriften 1. Weinheim/Berlin.
Sturm, Hertha (1991). Fernsehdiktate: die Veränderung von
Gedanken und Gefühlen. Ergebnisse und Folgerungen für
eine rezipientenorientierte Mediendramaturgie. Gütersloh:
Verlag Bertelsmann-Stiftung.
Sturm, Hertha (1987). Medienwirkung und Wahrnehmung, Emotion und
Kognition. In Issing, L.-J. (Ed.). Medienpädagogik im Informationszeitalter.
Weinheim.
REFERENCES
Ammann, Daniel (1999). Pfade, Knoten, Leerstellen
- Leserstimulation und textuelle Mitarbeit. In Ammann, Daniel; Moser,
Heinz; Vaissière, Roger (Eds.). Medien lesen: Der Textbegriff
in der Medienwissenschaft. Zurich: Verlag Pestalozzianum. pp. 10-34.
Bachmair, Ben (1996). Fernsehkultur. Subjektivität in einer
Welt bewegter Bilder. Opladen: Westdeutscher Verlag.
Barth, Michael; Gärtner, Christel; Neumann-Braun, Klaus (1997).
Spielräume der Faszination oder die Zuschauerirritation als
dramaturgisches Prinzip in modernen Filmen. In Charlton, Michael;
Schneider, Silvia (Eds.). Theorien und Untersuchungen zum Umgang
mit Massenmedien. Opladen: Westdeutscher Verlag, pp. 170-195.
Charlton, Michael; Schneider, Silvia (Eds.) (1997). Theorien und
Untersuchungen zum Umgang mit Massenmedien. Opladen: Westdeutscher
Verlag.
Danto, Arthur C. (1996). Kunst nach dem Ende der Kunst. München:
Fink.
Eco, Umberto (1993). Das offene Kunstwerk. Frankfurt a. M.: Suhrkamp
(6th. edition).
Eco, Umberto (1987). Lector in fabula. Die Mitarbeit der Interpretation
in erzählenden Texten. München: Hanser.
Fieguth, Rolf (1971). Rezeption contra richtiges und falsches Lesen?
Oder: Missverständnisse mit Ingarden. In Sprache im technischen
Zeitalter, No. 38, pp. 142-160.
Fieguth, Rolf (1973). Zur Rezeptionslenkung bei narrativen und dramatischen
Werken. In Sprache im technischen Zeitalter, No. 47, pp. 186-202.
Gadamer, Hans Georg (1993). Wirkungsgeschichte und Applikation.
In Warning, Rainer (Ed.). Rezeptionsästhetik. Theorie und Praxis.
München: Fink, pp. 113-126.
Grimm, Gunter (1975). Einführung in die Rezeptionsforschung.
In Grimm, Gunter (Ed.): Literatur und Leser. Theorien und Modelle
zur Rezeption literarischer Werke. Stuttgart: Reclam, pp. 11-85.
Groeben, Norbert (1997). (Meta-)Theoretische Desiderata der Medien(wirkungs-)forschung
unter der Perspektive der Text-Leser-Wechselwirkung. In Charlton,
Michael; Schneider, Silvia (Eds.): Theorien und Untersuchungen zum
Umgang mit Massenmedien. Opladen: Westdeutscher Verlag, pp. 40-58.
Gumbrecht, Hans Ulrich (1976/1977). Besprechung von "Der Akt
des Lesens. Theorie ästhetischer Wirkung. Wolfgang Iser. München
1976. In Poetica, No. 9, pp. 522-534.
Habermas, Jürgen (1971). Der Universalitätsanspruch der
Hermeneutik. In Apel, Karl-Otto (Ed.): Hermeneutik und Ideologiekritik.
Frankfurt a. M.: Suhrkamp.
Ingarden, Roman (1960). Das literarische Kunstwerk. Tübingen:
Niemeyer.
Ingarden, Roman (1975). Konkretisation und Rekonstruktion. In Warning,
Rainer (Ed.): Rezeptionsästhetik. Theorie und Praxis. München:
Fink, pp. 42-70.
Ingarden, Roman (1968). Vom Erkennen des literarischen Kunstwerks.
Tübingen: Niemeyer.
Ingen, Ferdinand von (1974). Die Revolte des Lesers oder Rezeption
versus Interpretation. Zu Fragen der Interpretation und der Rezeptionsästhetik.
In Labroisse, Gerd (Ed.): Rezeption - Interpretation. Beiträge
zur Methodendiskussion. Amsterdam: Rodopi, pp. 83-147.
Iser, Wolfgang (1976): Der Akt des Lesens. Theorie ästhetischer
Wirkung. München: Fink.
Iser, Wolfgang (1972). Der implizite Leser. Kommunikationsformen
des Romans von Bunyan bis Beckett. München: Fink.
Iser, Wolfgang (1975a). Die Appellstruktur der Texte. Unbestimmtheit
als Wirkungsbedingung literarischer Prosa. In Warning, Rainer (Ed.):
Rezeptionsästhetik. Theorie und Praxis. München: Fink,
pp. 228-253.
Iser, Wolfgang (1975b): Im Lichte der Kritik. In Warning, Rainer
(Ed.). Rezeptionsästhetik. Theorie und Praxis. München:
Fink, pp. 325-343.
Jauss, Hans Robert (1993). Literaturgeschichte als Provokation der
Literaturwissenschaft. In Warning, Rainer (Ed.). Rezeptionsästhetik.
Theorie und Praxis. München: Fink, pp. 126-162.
Kaiser, Gerhard (1971). Nachruf auf die Interpretation? Besprechung
von Wolfgang Isers "Die Appellstruktur der Texte". In
Poetica, No. 4, pp. 267-277.
Kemp, Wolfgang (1986). Kunstwerk und Betrachter: Der rezeptionsästhetische
Ansatz. In Belting, Hans et al. (Ed.): Kunstgeschichte. Eine Einführung.
Berlin: Reimer, pp. 203-221.
Labroisse, Gerd (Ed.) (1974). Rezeption - Interpretation. Beiträge
zur Methodendiskussion. Amsterdam: Rodopi.
Lacan, Jacques (1991). Das Spiegelstadium als Bildner der Ichfunktion.
In Lacan, Jacques: Das Werk. Schriften 1. Weinheim/Berlin: Quadriga.
Link, Hannelore (1973). "Die Appellstruktur der Texte"
und "Ein Paradigmenwechsel in der Literaturwissenschaft".
In Jahrbuch der deutschen Schiller-Gesellschaft 17, pp. 532-584.
Link, Hannelore: (1976).Rezeptionsforschung. Eine Einführung
in Methoden und Probleme. Stuttgart: Kohlhammer.
Merten, Klaus (1991). Allmacht oder Ohnmacht der Medien - Erklärungsmuster
der Medienwirkungsforschung. In Funkkolleg Medien und Kommunikation.
Studieneinheit 22. Tübingen: Beltz, pp. 38-73.
Mikos, Lothar (1994). Fernsehen im Erleben der Zuschauer. Vom lustvollen
Umgang mit einem populärem Medium. München: Quintessenz.
Neuss, Norbert (1999a). Fernsehen in der Tupperdose. In Eder, Sabine;
Neuss, Norbert; Zipf, Jürgen (Eds.). Medienprojekte in Kindergarten
und Hort. Berlin: Vistas.
Neuss, Norbert (1999b). Bedeuten Punkte Traurigkeit? In Neuss, Norbert
(Ed.): Ästhetik der Kinder. Interdisziplinäre Beiträge
zur ästhetischen Erfahrung von Kindern. Frankfurt a. M.: Gemeinschaftswerk
der evang. Publizistik Verlag, pp. 205-220.
Neuss, Norbert (1999c). Medienspuren und handlungsleitende Themen
von Kindern erkennen und verstehen. In Eder, Sabine; Lauffer, Jürgen;
Michaelis, Carola (Eds.). "Bleiben Sie dran!" - Medienpädagogische
Zusammenarbeit mit Eltern. Ein Handbuch für PädagogInnen.
Bielefeld: GMK, pp. 62-83.
Roth, Gerhard (1994). Das Gehirn und seine Wirklichkeit: Kognitive
Neurobiologie und ihre philosophischen Konsequenzen. Frankfurt a.
M.: Suhrkamp, p. 240 f.
Schmidt, Siegfried J. (1988). Der Radikale Konstruktivismus - Ein
neues Paradigma im interdisziplinären Diskurs. In Schmidt,
Siegfried J. (Ed.): Der Diskurs des Radikalen Konstruktivismus.
Frankfurt a. M.: Suhrkamp, pp. 11-89.
Seesslen, Georg (1996). König der Juden oder König der
Löwen. Religiöse Zitate und Muster im populären Film.
EZW-Texte No. 134. Berlin: Evang. Zentralstelle für Weltanschauungsfragen.
Steinmetz, Horst (1974). Rezeption und Interpretation. Versuch einer
Abgrenzung. In Rezeption - Interpretation. In Labroisse, Gerd (Ed.):
Beiträge zur Methodendiskussion. Amsterdam: Rodopi, pp. 37-83.
Sturm, Hertha (1987). Medienwirkung und Wahrnehmung, Emotion und
Kognition. In Issing, L.-J. (Ed.). Medienpädagogik im Informationszeitalter.
Weinheim: Deutscher Studienverlag.
Sturm, Hertha (1991). Fernsehdiktate: die Veränderung von Gedanken
und Gefühlen. Ergebnisse und Folgerungen für eine rezipientenorientierte
Mediendramaturgie. Gütersloh: Verlag Bertelsmann-Stiftung.
Warning, Rainer (1975). Rezeptionsästhetik als literaturwissenschaftliche
Pragmatik. In Warning, Rainer (Ed.). Rezeptionsästhetik. Theorie
und Praxis. München: Fink, pp. 9-42.
AUTHOR
Norbert Neuss, Dr. phil., is an Akademischer
Rat (Academic Councillor) at the Pädagogische Hochschule
Heidelberg, Germany.
INFORMATION
Internationales
Zentralinstitut
für das Jugend-
und Bildungsfernsehen
IZI
Tel.: +49 89 - 59 00 21 40
Fax.: +49 89 - 59 00 23 79
eMail: izi@brnet.de
COPYRIGHT
© Internationales Zentralinstitut für
das Jugend- und Bildungsfernsehen (IZI) 2001
|