An Introduction to Stereotypes and Creative Reading

8/9/2019 An Introduction to Stereotypes and Creative Reading

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Aris Giavris

An Introduction to stereotypesAnd Creative Reading

Each document set up an interpretation. Many readers of the preceding sentence

will seem reassuringly obvious. But let's get the time to think a bit more content

and depth. Assume initially that the depth is much greater than the phenomenon

and for this reason, the legitimate need for deeper study, can contribute both to

changing the emotional mood, and the formulation of more complex ideas than

we are willing to allow to our thought.

Incidentally, we say that in this introductory text will not read the stereotyped

expressions (clich) usually encountered in spoken or written texts with a few

exceptionsof our everyday lives. The reason is that phrases like "in bad

times", "collective madness", the "crisis of Greek society" and other similar,

because of endless repetition, form, even occasionally, grids of meanings and

predispositions, able to provide readers with viewpoint from which it is

necessary to consider all the events that shape the reality, to make their

arguments (correctly or not is of least interesting) and eventually turned into

satellites of the current reality which they invited to interpret.

Temporarily closing parenthesis opened, back in the previous paragraph. No

text exists in itself, is itself, in a vacuum. In each text found first, the invisible

expectation of the author and the obscure will of the reader. But in the order of

phrases in the visible syntagmatic axis and the resonances of meanings, the text

particularly the commentaryis been transmuted to screen or (to become

more colorful) to a system of crystals, which on the one hand calls attention to

focus extract of the reality that the writer proposes enlarging, and the other hand

managed in a way that makes it inevitable to impose an interpretation .


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Aris Giavris 2010

www.arisgiavris.gr

Foto: MagiCircle

1st Publish: June, 2010
http://www.arisgiavris.gr/http://www.arisgiavris.gr/http://www.arisgiavris.gr/


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An Introduction to stereotypes and Creative Reading

Each document set up an interpretation. Many readers of the preceding

sentence will seem reassuringly obvious. But let's get the time to think a bit

more content and depth. Assume initially that the depth is much greater than

the phenomenon and for this reason, the legitimate need for deeper study, can

contribute both to changing the emotional mood, and the formulation of more

complex ideas than we are willing to allow to our thought.

Incidentally, we say that in this introductory text will not read the stereotyped

expressions (clich) usually encountered in spoken or written textswith a fewexceptionsof our everyday lives. The reason is that phrases like "in bad

times", "collective madness", the "crisis of Greek society" and other similar,

because of endless repetition, form, even occasionally, grids of meanings and

predispositions, able to provide readers with viewpoint from which it is

necessary to consider all the events that shape the reality, to make their

arguments (correctly or not is of least interesting) and eventually turned into

satellites of the current reality which they invited to interpret.

Temporarily closing parenthesis opened, back in the previous paragraph. No

text exists in itself, is itself, in a vacuum. In each text found first, the invisibleexpectation of the author and the obscure will of the reader. But in the order of

phrases in the visible syntagmatic axis and the resonances of meanings, the text

particularly the commentaryis been transmuted to screen or (to become

more colorful) to a system of crystals, which on the one hand calls attention to

focus extract of the reality that the writer proposes enlarging, and the other

hand managed in a way that makes it inevitable to impose an interpretation.

Reading the last sentence of the preceding paragraph, the observant reader will

rightly complain, saying that in front of the text is "plain paper" (tabula rasa);

that is free to consider the ideological aspects of the author and to evaluate the

correctness of his views. And she is right. But he must consider that the

expression of preference for texts of x based columnist is found, often but not

always, on a form of structural coupling or even complicity: the columnist

writes for a public audience and in turn the public chooses the text written

directed it. In this way is opened between the two (the columnist and the

public) a field of meanings, contexts and finally interpretations which are

maintainlike as a recursive functionthe writing activity the first and confirm

the interpretative abilities of the latter.


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Aris Giavris || An Introduction to stereotypes and Creative Reading4

The potential reader has certainly the ability to read the text or reject it. She

will not, however, cease possessed or be gripped by the potentiality of its role,

namely confessed or untold, because custom, belief that we must always return

to the text and, therefore, to read. So we could talk about addiction to reading

or otherwise for the addiction of reading? Before answering, we need a

clarification. The creative reading has little in common with addiction

mentioned. And to dare a dramatic difference, we would say that both versions

of the reading are two ways of inner life and personal style

The addicted reading feeds on the inescapable need for confirmation: "That is

the stuff! Not because the way I think, but because wiser people are verify with

the strongest possible terms what I think." This is not the closure of

interpretation, by which anyway we characterized as interpretative and

narrative beings, but a kind of intellectual arrangement of our household daily

upsets the violent onslaught of television news by greedy intention to redirect

our attention to the 'new', the' explosive' in 'unprecedented' in the interim

"excessive interest worth."

At this point, before continuing with the creative reading, it seems appropriate

to return to the stereotyped expressions (clich). We mentioned that form grids

ofg meanings and predispositions. A clich such as "we need a different

institutional context ' is not just a constantly recurring order of words or

meanings that reassure the unannounced and strain to protest the suspicious

reader. Much more is as we understand etymologically, a fixed point (in the

math sense) in the continuous flow of the tide of potential semantic

correlations, namely thought. The presence in the text (spoken or written)

reflects the efforts of the author or speaker to turn it into a magnet while a

capacitor (with the strict sense of the concept in physics) of intellectual energy,

and thus flow controller of it. Prima facie this function is not unfair. I would

dare even to liken clich simplistically of coursethe rhetorical ground (loci),

gave the orator the ability to draw on a ready arsenal of arguments, the figure

of speech, starting to be contemplating the strategy of confrontation with the

interlocutor .

Bypassing the intention of the author or speaker to persuade, we stress that the

clich lacks a similar ambition. Furthermore, the purpose of this introduction is

to focus on the reasons for the use of stereotyped expressions by the author or

speaker. Instead, having as a pretext the presence of these expressions in some

texts, our intention is focused on how the reader affected.

Stereotyped expressions (clich) serve as attractors (with the meaning given to

the term by the theory of dynamical systems). Their function is consist of the

conscious or

more often

unconscious pursuit of the author to establish the


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Aris Giavris || An Introduction to stereotypes and Creative Reading5

note down thought until thickened solidification meanings, from which

originates or to which converges almost whole verbal material constituting the

text. We would add even (to shorten this lengthy parenthesis) that in many

cases a stereotyped term is regulated in the propositional space provides a

major premise usually or, simply, a "universal" assumption. Especially if we

consider that thinking in words (with meanings more accurately), that with the

words we see and hear, we can conclude that the current stereotyped

expressions (whether manifested as witticisms or as cues or as parts of

arguments), in conjunction with the multiplicity of meanings that they evolve

and attract, create understanding; require a way to interpret and understand.

Creative reading is not novel idea. Each reading requires a reader-observer.

The difference lies in allowing him to remain, even for a short time, the

thoughts of silence at rest: in an anteroom where anything goes and where the

rules do not require confirmation of the public; in other words, a playful and

experimental space. Indeed we would add that it would be useful to avoid the

emergence (anadeixis) of some of the articles publishedon the website,

newspapers or blogsas leading texts with our comments. Any creative

reading implies an absence and a minimal silence. As for the lack we refer to

the previous paragraph. As for the silence, and it has its own strategy.

The purpose of this introduction is not to propose definitive solutions; solutions

that does not claim it holds. The intention is to provide a simple tactic. First it

proposes to the reader equip with weapons of suspicion. Then it reminds him

that the very introduction is just a screen that is almost impossible to disengage

without the risk of returning to a pre-conceptual level.

What is really this tactic? The reader can submit texts and his own reading of

the temptation of ignorance and improvisation. He can play the game of the set

of keywords to try out the ideas that create the sudden of their proximity. The

deeper he proceed, that is to say as much space her thought occupies in the

anteroom mentioned in the previous paragraph, both would be released from

the "unique" or imposed interpretations which in fact we are all exposed by

way of ultraviolet radiation.

Translating the text into a few simple words or phrases we are not relieved

completely from addicted reading, but remove the dull part of the load, in order

to translate texts offered a starting point for patient improvisation. This whole

process may constitute one of the aspects of reading release.

Aris Giavris

Documents

An Introduction to Stereotypes and Creative Reading