NING
1. What will you use to make the caterpillar?
2. How many balls will you need to make the
caterpillar's body?
3. Which part of the body will need the biggest ball
of dough?
4. How many colours are mentioned in the text?
5. What will you run through the body of the
caterpillar to make it wriggle?
What is this colourful
Answers
Answer:
establish whether the effects are particular to literature or a more common process that we may see in nonliterary narratives as well evaluated it again. As the researchers had expected, after rereading the original text appreciation increased, whereas evaluation of the manipulated version remained unchanged after a second reading. However, this held only for a part of their sample, that is, the frequent readers among the participants. Hence, the emergent effect depends on text qualities but also on who reads.
Dixon et al. (1993) suggested that their rereading paradigm might help to find an empirical basis for literariness, with literariness defined as an effect that emerges as the result of an interplay between specific literary text qualities and their readers. They suggested this effect reveals itself in an increased appreciation, or “depth of appreciation,” that can be operationalized as the difference between first and second evaluation.
This notion of literariness was picked up later by other researchers, using different texts but comparable text manipulations. In a study by Hakemulder (2004) participants either reread a poem by Nabokov or a manipulated version in which the language usage had been normalized by the researcher. In a study by Zyngier et al. (2007) participants reread poetry lines of various complexity levels. In a study by Hakemulder (2008) movie adaptations of Shakespeare plays were used. Participants either watched a scene from a mainstream adaptation twice or a corresponding scene from an atypical adaptation. The results of all these studies confirmed the conclusions of Dixon et al. (1993): Deviation from standard representations leads to increased appreciation on second exposure, whereas without such deviations such increases do not occur. These studies do not clarify, however, what the nature of the emergent literary effects might be. It remains unclear, as Dixon et al. emphasized (1993, p. 14), what those literary effects are. For instance, we do not know whether the participants in their study, all nonexpert readers, noted the significance of the ambiguous narrator, let alone whether they came to the same conclusion as the researchers about its specific relevance for the interpretation of that literary text (assuming that is what they were working on during their rereading