نظرية التلقي وعلاقتها بالأنظمة المعرفية

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2010-08-31

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لقد تمخض عن الانفتاح على الثقافة الغربية ثلة من المناهج النقدية عل شاكلة المنهج النفس ي،والاجتماعي، والبنيوي التكويني أو التكويني. في حين أن منهج التلقي يرتكز على القارئ أثناء تفاعله معالنص الأدبي قصد تأويله وخلق صورة معناه المتخيلة، يهدف هذا المقال إلى تسليط الضوء على مفهومالتلقي من حيث أسسه المعرفية والفلسفية ومن حيث عناصره الإبداعية التي تنتظم في نظرية متناسقة،لها ركائزها وروادها. وخلص الباحث إلى أن النظرة إلى أركان العملية الإبداعية: المبدع، النص، المتلقي،كانت نظرة متكاملة.
Reception theory and its relationship to cognitive systems
The openness to Western culture has resulted in a number of critical approaches, in the form of psychological, social, and structural or formative approaches. While the reception approach is based on the reader during his interaction with the literary text in order to interpret it and create an imagined image of its meaning. The vision of this theory revolted against the external approaches because it focused a lot on the realistic reference, such as the Marxist theory, dialectical realism, or the biographical curricula that paid much attention to the author, his life and his historical circumstances, and the traditional critical curricula that focused on the meaning and hunted it from the text as part of knowledge and absolute truth. And the structural approaches that focused on the closed text and involved it and ignored an effective element such as the literary communication process, which is the reader, to whom the theory of reception will give great care and attention. This article aims to shed light on the concept of reception in terms of its cognitive and philosophical foundations and in terms of its creative elements that are organized in a consistent theory, which has its pillars and pioneers. The researcher concluded that the view on the pillars of the creative process: the creator, the text, the recipient, was an integrated view. It can be said that the literary work is based on two pillars: the artistic pillar and the aesthetic pillar, the first of which is the author’s text, and the second is the perception that the reader achieves. As long as the literary work cannot be reduced to the reality of the text nor to the reader’s subjectivity, it is effective in itself, and derives its vitality from this activity.
 

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